We can't make a giant sprawling movie. We're going to make a small movie. And what we got is what I could get, performance-wise.

The Innkeepers were two nerds in a dead-end job and then they try to get involved and they get in over their heads, and how does it affect them? That, to me, just seems like what happens to people.

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].

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 always talk about movies a lot beforehand, and then we would get there, and I'd say, "Let's play around and see how it goes." And they would do it, and I'd go, "Well, that was awesome." It was really - I don't know, it was really special to watch them.

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.

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.