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.

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.

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.

To me it's not so much that the movies are slow-paced as much as they are about spending time building a relationship between the audience and the characters. If you don't spend an adequate amount of time doing this, then how can you expect to scare anyone?

As filmmakers, the Western is a historic, cool thing to be a part of once in your life.

Jumpy is the most incredible animal of all time. The movie [Valley of Violence] is the tamest example of what that dog is capable of.

The second half [of Valley of Violence], you're with the guys that you should hate, but when you start seeing what their real lives are, you're like, "I do hate you, but at the same time, all right - maybe take it down a notch." The complications of all that are what's so interesting to me, those esoteric details - that's what people will hopefully take away from the movie.