I think you cannot be too complacent. I think that's dangerous, and you cannot take anything for granted.

I like the 'Twilight' films.

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

I've always loved action movies. The first films I fell in love with were 'Star Wars' and Steven Spielberg films.

'Poltergeist' was really the film that really scarred, but fascinated, me with puppets and dolls, clowns and stuff like that.

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.

I love Carpenter, I love Craven - these are all the classics - the Romeros of the world, but I think the biggest influence on me as a storyteller and as a filmmaker is actually Steven Spielberg. I love that even though Steven isn't known for being a horror director, he started out his career making scary movies.

'Insidious' is independent. It's like the 'Clerks' of horror films, you know?

I hope people will like 'The Conjuring 2' because I think it is a very natural and organic progression of the first movie.

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.

That's the problem: when you make movies, I find that I never have time to go to the movies and enjoy movies like I used to because I'm so movied out, right? I'm so filmed out that the last thing that I wanna do is, with the little spare time that I have, is stick in a dark room and watch more stuff on the screen.

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 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.

People used to always complain that horror films have no stories, that it's all just about kills and stuff like that.

When I was a kid, my grandfather used to watch Bollywood films. There's a lot of colour and vibrancy to the Indian films.

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'm terrified of the supernatural things, which is why I'm very grateful that I don't see things like that. Because if I did see things of the paranormal persuasion, I don't think I'd be able to continue making scary movies.

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 joke and I say, 'I need to go back to make a supernatural horror film just to so that I can make a movie that's grounded again.'

The Internet is one of the biggest advances ever in our world.

What's funny is, when I made 'Saw,' I got accused of being a fascist, when I made 'Insidious,' I got accused of being godless, and now I made the 'Conjuring' films, and I'm accused of being too much God.

I remembered a long time ago when 'A League of Their Own' came out, and they had the opening sequence with an older Geena Davis. We all just thought it was amazing, but you find out it actually wasn't Geena Davis; it wasn't makeup. It was basically finding an actress that looked like her, and then Geena just dubbed her voice.

I never realized how much I cherished having creative freedom.

'Saw,' in many ways, was like my student film. The first crappy student film you don't really want people to see.

As a director you're always so busy - you're go, go, go, you're always moving, moving, moving - so I'm not actually privy to all the weird stuff that's happening around me, but for a lot of the cast and crew, that's what I hear stories from them about weird stuff happening.

When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.

I grew up loving X-Men, Spider-Man and Batman. Those are obviously the key big ones, but there's always something kind of cool about Aquaman still, the idea of creating a huge world that is on our planet.

I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.

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.

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.

It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.

'Fast and Furious' is the only franchise that I've directed that I did not create from scratch. So it definitely was an eye-opening experience for me coming to that world. I had to be respectful of the roles that had been established by the filmmakers before me, and I was cool with that.

Up until 'Fast and Furious 7,' every movie I've made has been a film that I've created, franchises that I've created.

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.

Language-wise, my mom and dad's dialect, they're pretty obscure. It's Chinese, but not your traditional Chinese, like Cantonese or Mandarin. It wasn't something that I got to use very much growing up. We eventually just spoke English around the house.

No one knows how much we went through to finish 'Furious 7.'

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'm a big fan of suspense and tension filmmaking, and that was my goal with 'The Conjuring.'

I didn't direct any of the 'Saw' sequels, but people thought I did.

We think craft is important, and the irony has always been that horror may be disregarded by critics, but often they are the best-made movies you're going to find in terms of craft. You can't scare people if they see the seams.

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 can make any kind of movies. I can put up with any kind of situation. And I can tackle them.

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.

There are expectations with sequels, and people want them to be bigger and better than the prequel.

I've always wanted to do a world creation story and visually create this amazing, incredible, magical kingdom.

I believe in spirits. I believe in faith. I believe in spirituality. I believe in aliens as well.

'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.

Making a movie with people of all different ethnicity, all different skin color and different backgrounds, meant that the movie can literally play all around the world. It's not just a blanket whitewash film like most Hollywood films tend to be.

I think a lot of the Disney cartoons are scary when you watch them at a young age.