I've done it with all my films. I always keep an eye on the first time I show it because... I don't know. Neurosis.

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.

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.

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.

If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.

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.

Jumpy is the most incredible animal of all time. The movie [Valley of Violence] is the tamest example of what that dog is capable of.