In a traditional Western there's always the bravado, and it's almost like they're winking that they know they're in a Western - "Look how good I can spin my gun." In real life, when the bad guy kills somebody, or they're bad guy friend gets killed, they're upset, too, which is not typical in Westerns.

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?

[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.

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.

It's one of those things, when you look back on it, you'd go, "Oh, I could've done without that. If I could go back in time, I would do it different." That's the thing with violence in general.

I have a romantic comedy I'd love to make, but I can't get the money for it. It's hard to get people to give you money for an arty romantic comedy when you've done a horror movie. So I can just sit there and keep complaining about that, or I can go make another horror movie this year. People will get behind me on that, because I'm relatively bankable. As long as I can do my own thing with it, I'll keep doing it.

In general, I go to see the stuff that for me is, "Thank God for that actor, he's doing something that I never imagined; thank God for this filmmaker, because if this person didn't exist, this movie wouldn't exist." That's why I go to the movies. That, to me, is what's so exciting about this movie.