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

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.

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.

You want to be able to say [to Ethan Hawke's character], "Dude, it's okay," but maybe it's not. Maybe he's not a good person. I don't know. That's the thing about people. There is no real good guy or bad guy [in A Valley Of Violence]. It's all context.

As filmmakers, the Western is a historic, cool thing to be a part of once in your life.

I'm not sure I understand the compulsion to label 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.