You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.

Toby [Huss] gets shot, or that part when [John] Travolta says this, or the part where Ethan [Hawke] says that cool thing - those details are the things that are interesting to me. So just acknowledging we don't have a lot of money [for Valley of Violence], so we're going to make a Western that's kind of contained, but we're going to make it super charismatic and we're going to make it memorable for what it is as opposed to what we couldn't afford.

Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.

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

If you make just a straight scary movie, people are just - you don't know what they're thinking.

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

I don't think you want to preach to people. I don't think In A Valley Of Violence, and the same with The Sacrament, there's a social commentary and a political element to both the films, but it's not like, "Think this because I think this."