With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.

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.

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.

It definitely could have been a horror story [Valley of Violence], oh my God, if the dog was impossible. So could the horses.

I just really like seeing mundane stuff in movies. It's realistic.

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.

It's unreal. I mean, the dog backflips. It's amazing. Google Jumpy on YouTube - I had seen the dog first and I was like, "Y'all don't even know."