Toby [Huss] gets shot, or that part when [John] Travolta says this, or the part where Ethan [Hawke] says that cool thing - those details are the things that are interesting to me. So just acknowledging we don't have a lot of money [for Valley of Violence], so we're going to make a Western that's kind of contained, but we're going to make it super charismatic and we're going to make it memorable for what it is as opposed to what we couldn't afford.
Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.
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.
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.
It's Ethan Hawke and John Travolta [in Valley of Violence]. It's awesome. They're awesome.
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.