I'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie [Valley of Violence], but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.

I've done it with all my films. I always keep an eye on the first time I show it because... I don't know. Neurosis.

The hardest animal was the vulture. But the horses were great, the dog was great [in Valley of Violence]. It was really easy.

I don't generally watch the movie [ The House Of The Devil ]. It's sort of like hearing your voice on tape.

All those awkward moments - that's on the cast for doing such an amazing job. I think it was funny on the page, but when they did it, you definitely went, "Oh!" Watching it with a crowd that, like you said, was not expecting it to be funny, but then genuinely finding it funny, is totally a credit to their performances.

I wrote [Valley of Violence] entirely with James Ransone in mind. I get such a joy out of watching his performance and seeing people watch this. He's so great. The bravado thing and the foolishness, he does them both so well. It's weird because he's so hateable in the movie, but in the end, you're also going, "I feel bad for him." That's hard to do. It's hard to do that to where you're like, "This guy's the worst, but I know why he's the worst, so it's a shame this is happening." That's the whole thing.

You have to. But I generally try - I'll creep in the back. I'll be outside. I'll pace around. I don't really get that nervous about whether people like [my films].