There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

The stuff I'm designing, I want my action scenes to be intense.

People are so used to seeing John Goodman as a loveable dad or the quirky characters he played in the Coen Brothers films.

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.

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.'

There's something very cool about that indie spirit that I try to hang on to even now with the bigger films that I'm working on.

So many movies get made, and so many go to VOD, which is a market I admire.

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.'

I've made one action movie. But nobody saw it, so I guess that doesn't count for most people.

I think I'm a very sentimental person. Conscious or not, that's what draws me to the kind of films I want to make.

I try to keep the number of projects I'm involved in down to one per year.

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.

Whatever it is that makes your movie unique is something you should embrace.

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.'

I'd love to be a filmmaker and look back and be like, 'Ah, man, we were part of that whole '80s video nasty thing!'