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.

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].

Humor is more so. For this, there's definitely moments that I think, "I know this part is really funny and I want to see people laugh." And they do and you go, "Yesss." That's really satisfying, because I'm so proud of the performances in the movie and everybody worked so hard.

If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.

It definitely could have been a horror story [Valley of Violence], oh my God, if the dog was impossible. So could the horses.

I'd been all hyped about it, I was like, "Please come," and to have that and know Tommy Nohilly is probably going like, "This is cool," it makes me feel good.

Movies aren't "slow burn," and aren't serious, aren't interesting, because everything from the movie to the promotional materials is telling you that you have to see it between Friday and Sunday, and then you can forget about it. It's not an important movie, it's just a lowest-common-denominator thrill-ride for three days when you've got nothing to do. That does a major disservice to the quality of the films