My first film out of the gate was financially so successful that I guess, being in Hollywood, you get kind of put into a certain box.

I always say it's very difficult when you're tackling something like 'Spider-Man' or 'Batman' that has been done so many times before.

I think I try to look at all my films and break them down because, at the end of the day, it's about creating characters that you like.

We all live in some kind of home, so the idea that our home could be invested with a supernatural entity is kind of frightening, I think.

I kind of joke that creating franchises is a lot like directing pilot episodes of TV series. You set a look and feel and kind of pass it on.

If you come down to it, there's only a handful of worlds that action films live in. You have your car chases, your gun fights, and your fights.

When I'm making a big movie, I miss and appreciate all the subtleties that come with making a smaller film that is more intimate, more personal.

'Saw' was good and bad. It was good in that it gave me a career start, but it was also negative in that it really marginalized me as a filmmaker.

I wasn't delusional at all when I signed on to do 'Furious 7,' that it wasn't my creation. It's the seventh movie in a series, for goodness sake!

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

The whole wide world scares me! Seriously. I think what happens in our world is so much more frightening than anything I can come up with in my movies.

I'm a student of cinema in general, not just of one particular genre. So it was very important to me and to my soul to go out and do something different.

I don't think action alone is enough to sustain a film franchise. There are tons of action movies out there that come and go and people don't care about.

I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.

A lot of these types of films - the vigilante or revenge drama - were so popular in the '70s because there was a feeling in the culture of loss of control.

The kind of filmmaker that I am, even my darker horror films generally are still very fun. And I think that's important for me and the kind of films I make.

As a filmmaker, you aspire to want to make movies that can hopefully stand the test of time, but you never know when that will happen or if that will happen.

I like to think we're not the only thing that exists on the plane of existence. I like to think that just because we don't see it doesn't mean it's not there.

I use myself as the barometer to gauge what is scary. I like to think if something scares me, then there's a very good chance an audience will feel the same way.

I guess, deep down, there's a dark side to us. I guess that's why movie fans really love the revenge drama. We like to go into dark movie theaters and fantasize.

What the Internet has done is made it easier to stay in touch with people, and social networking has helped me career-wise by helping me keep in touch with my fans.

I like to think if something scares me, then there's a very good chance an audience will feel the same way. The key is creating scenarios that people can relate to.

The 'Saw' sequels went in a direction I wouldn't have gone in. With 'Insidious 2,' I wanted to push a potential franchise in the direction I thought it should go in.

Geoff Johns is super talented, super smart. Part of what got me excited about the Aquaman character is his re-envisioning of Aquaman, the character, with 'The New 52.'

Not many people realize this, but I'm a really squeamish guy. When I watch other horror films that are really over-the-top with their blood and guts, I cannot watch it.

Whether it's a popcorn movie or some really intellectual sociopolitical movie, I think to some degree they're all influenced by the social climate that we're living in.

That's the thing about Aquaman that's cool is he's not an alien, right? He's from our planet, and he's from a society that we're not privy to in the context of the story.

I love a ghost story. I think they affect me more than other people that are much more skeptical than I am. I think that it's good that I do buy into them to some degree.

Having such a diverse cast and crew is what makes the 'Fast & Furious' films so unique to all the other studio tent pole films that just have a very singular look to them.

I think what 'Saw' did was really open up a huge branch of lots of these other movies that ultimately retroactively gave the first 'Saw' somewhat of a negative reputation.

I use myself as a measuring yardstick, and so if I come up with an idea that really scares me, then I'd like to think that people out there would feel the same way as well.

When you conceive the scene, you go, 'That is scary, right?' When you shoot it, a lot of times you're not quite sure. Hopefully what you can shoot is what your conception is.

Ask anyone, and they'll tell you that most of the good horror films made in the U.S. are indie films. You might get 'The Ring' or 'The Others,' but most are independently produced.

When I am making a sequel, it needs to be different from what you have already seen. Yet, it needs to maintain a certain discipline so that people still associate it with the prequel.

The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I have on a big budget film as well, but they're just much bigger.

The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I I have on a big budget film as well, but they're just much bigger.

To some degree, this re-release is to let people remember what the first 'Saw' film was, and let them know there was a time in the 'Saw' history where it wasn't all about blood and traps.

I guess I have a fascination with the idea of puppeteering. I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do.

If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.

I think, like most people, we are familiar with Aquaman. We grew up reading or watching this character on the peripheral. I was never so in depth with Aquaman as, let's say, I was with X-Men.

I am my own worst critic, and I look at 'Death Sentence' now, and I go, 'Oh wow, I have really come a long way.' In terms of a filmmaker, I feel like my filmmaking language has really matured.

We're not just horror fans. We're film fans. I love action films. I want to do action films. I want to do romantic comedies. I love all this stuff. So, if I find the good material, I'll do it.

'Saw' really was like a student film for me; we expected it to go straight to video. I never expected anyone to see that film, and then it becomes one of the most successful horror franchises.

I love my genre films, but I think when I get older, the way I tell it will be very different to how I told it when I was in my mid-twenties, which is how old I was when I made the first 'Saw.'

I always say, what is cool for me with 'The Conjuring', is it's not just another scary set piece or another scary case; it's more about what I can do with the characters of Ed and Lorraine Warren.

I want to start off making the kinds of films that I loved growing up as a kid. Fun horror films that are scary but at the same time, after you finish the movie, it leaves you excited to see more.

I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do. There's something about creating life out of things that have no life.

I always felt that what is scary is actually hearing someone tell you what they think they see. That sense of invisibility makes things a lot scarier, since your imagination tends to fill in the gaps.

I think before 'Saw' came along, there really wasn't a movie franchise that actually went out there and said, 'We're going to come out with one every year during Halloween and make that our trademark.'

Not many people remember this, but in the first 'Death Wish' film, Charles Bronson doesn't actually go after the people that hurt his family: he just goes after every punk. He just blows them all away.

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