You get to actually make your movie. As a filmmaker, that's the dream. That's why you get up in the morning, to be able to do that. You feel constrained sometimes, but if the movie makes sense in the budget realm, then it isn't hard.

To me it's not so much that the movies are slow-paced as much as they are about spending time building a relationship between the audience and the characters. If you don't spend an adequate amount of time doing this, then how can you expect to scare anyone?

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'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie [Valley of Violence], but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.

From a performance standpoint, it just gives [actors] so much - I had such a great cast [ in Valley of Violence] - and it gives them the ability to go wild with it and to have performances that are memorable.

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.

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.