[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.

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.

I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like - is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever.

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

I'm doing an over-the-shoulder shot on a dog. I'm putting the camera behind the dog's shoulder. This is craziness. You just accept it in the movie [Valley of Violence], but when you make the movie, it's the weirdest thing. There's dog coverage, like it's a person.

There's nothing stopping you from making movies. You can always make and try different things.

It is a very classic Western [Valley of Violence], and if you like Westerns, you'll like this movie, but there's a tone to it that's all its own that I think is unique and memorable.