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.

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.

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 think you make the movie in your head that you have to make, and you have to get it out of you. You have all these pretentious reasons why you want to do it, and you set out to accomplish them. And you think "This is important for what I'm trying to accomplish for the story," and I think those reasons will come through to an audience, and they will find it. That's the best you can do.

The bad guys, when they start getting picked off, they're upset that their friends died, too. But that's the thing. That's what life is. It's that weird gray area.

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.

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.