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.

I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like - is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever.

I just really like seeing mundane stuff in movies. It's realistic.

There's nothing stopping you from making movies. You can always make and try different things.

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 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."

It is a very classic Western [Valley of Violence], and if you like Westerns, you'll like this movie, but there's a tone to it that's all its own that I think is unique and memorable.