Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things.

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.

Technology has just been the major progression of the last 15 years - instant communication. That stuff has gone so global. That's what's interesting about it. When someone sits down in front of a computer, it's the same everywhere in the world, and it's the same screen looking back at you with the same Google, and there's no individuality to it. So I decided it would be kind of visually uninteresting to have in my films.

[Valley of Violence] was written for James Ransone. PJ's a friend of mine, I've known him for a long time, he's always like, "Dude, when are we going to make a movie together?" I finally called him.

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.

If people don't like [my film], the ship's sailed. There's nothing I can do about that.

Really, I wanted to make a movie [Valley Of Violence] about: How does violence affect people? This is a take from me on how violence affects people.