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.

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.

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

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.

All those awkward moments - that's on the cast for doing such an amazing job. I think it was funny on the page, but when they did it, you definitely went, "Oh!" Watching it with a crowd that, like you said, was not expecting it to be funny, but then genuinely finding it funny, is totally a credit to their performances.

The Innkeepers were two nerds in a dead-end job and then they try to get involved and they get in over their heads, and how does it affect them? That, to me, just seems like what happens to people.

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?