I love what I did in 'Death Sentence,' but that was a low budget action film.

I think crafting a new, effective horror movie is not just about when night falls and things get scary. It's about setting a tone and mood that permeates throughout the entire movie. So even during the daytime, things are never quite safe-feeling.

I'm a big John Woo fan.

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.

I love to be scared in the safety of a movie theater. It is like a thrill ride; like a roller-coaster ride.

Critics tend to be very hard on the horror genre.

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.

I think that the first 'Saw' was really more of a psychological film about two people stuck in a room, and the traps and games that fans seem to embrace so much now were quite a small portion of the film.

I think you kind of need to acknowledge that the reason why sequels do well is because people that loved the first one come back.

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.

I love high concept movies, but they can only work if the source of inspiration is really human - if they're driven by pain and strong emotions. Once you connect the audience with that, then I swear you can take them on the craziest journey, and they'll come along.

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!

For me, the sound design and the musical score is a big part of what makes scary movies work.

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.

I'm a big movie fan, and I want to make movies in every genre. I want to make my romantic comedy one day.

I love 'MacGyver.' I do!

I took a break from horror; I made three ghost movies back-to-back-to-back.

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.

I see my actors as my collaborators.

The great thing about the 'Fast and Furious' world is everything is up for speculation. Yes, anything is a possibility.

I have a tendency to overcut my movies.

The key is to constantly keep the audience surprised. If they feel like something is going to happen, or they think from an educational standpoint that something is about to happen because of all the moving parts, it is your job to break that expectation and show the audience something different.

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 love the idea of being the underdog, coming in with a take on this underdog character and completely blow people's expectations away. Like, 'Oh, you thought he was going to be a wimpy character? No no no.'

I definitely love to be scared. It draws the primal side out of you.

As we all know, Aquaman is somewhat the butt of the joke in the superhero world.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

Aquaman's such an amazing character.

The thing that ultimately pushed me more towards 'Aquaman' is I love the possibility of creating a whole new world. I've always wanted to do a world creation story and visually create this amazing, incredible, magical kingdom.

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.

Geoff Johns is super talented, super smart.

It doesn't matter how big or small your film is: you still don't have enough money. You don't have enough time to shoot it.

With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.

There's a reason why Smellovision has never really taken off. And I think it's a good thing.

Our culture today that we live in is getting so diverse, yet in Hollywood, there's not a lot of diversity.

You know 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.

One of the things I learned very early on is you need to cast the kids for the characters you want them to play. They need to be who they are, right? If you want a loud, boisterous kid character, you need to find that kid.

I don't have anything against CGI.

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.

I always try to better myself with every movie I make. I don't take anything sitting back, and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film, and I think I am growing with each movie.

Favorite movie of all time? I hate being asked... that's like being asked, 'What's your favorite song?'

I think I should have made 'Dead Silence' as an independent movie.

I am a student of cinema, and I love filmmaking of all kinds.

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.

It all comes down to what is best for those particular genres, and if you believe in the stories that you're telling and the characters that you like that you want to tell those stories with, you can pretty much apply it to any genre.

My low-budget films, more than anything, taught me that you've got to create cool, likable characters and great stories because, if you don't, it doesn't matter how cool it might look - no one is going to care about it.

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 love Sam Peckinpah.

If people want to watch a CG movie, there's plenty out there.

I come from a very straight and adjusted suburban background.