I always feel like the less you say when you're making a movie, as a director, is the best. That means everything's going great.

I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.

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'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.

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 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.

I don't go to see movies to see plots. I'm not interested in puzzles like an Agatha Christie story.