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

Everything Jumpy could do [in Valley of Violence] was too much. If I put it in the movie you would all check out. When he wraps himself up in the blanket, that's as far as I could go, and that's not even close. The dog's amazing.

The hardest animal was the vulture. But the horses were great, the dog was great [in Valley of Violence]. It was really easy.

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.

There are people - I think this is why there are so many commercial directors doing well in big studio movies, for whom it's not a personal choice - it's "What's the coolest, most effective way to make them laugh, make them scream?" It's a very calculated approach. And that's different. It's not better or worse. It's just a very different approach to filmmaking. That's always been the case.

I've done it with all my films. I always keep an eye on the first time I show it because... I don't know. Neurosis.

With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.