If you care about the characters, then whatever scary thing happens to them, you feel it even more.

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.

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'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.

The deep sea is a scary world.

'Poltergeist' was the film that scarred me for life. I saw it at such a young age - 5 or 6 years old - and it has one of the creepiest doll sequences with the clown, and ever since then, I've just been fascinated by dolls.

The flack I got for 'Saw' is why I wanted to direct 'Insidious 2.'

'Insidious 2' is a direct continuation of the first movie. We literally pick up from where we left off at the end of the first film. And whereas the first movie is a twist on the haunted house genre, the second movie is a twist on the classic domestic thriller.

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.

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.

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.

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.

I feel like, with most filmmakers of my generation, I like the over-the-top stuff. I like to be wacky and really in your face.

Supernatural movies generally have a much more brooding pace. If you look at films like 'The Sixth Sense' or 'The Others,' it's more building up the characters and building up the situation as opposed to just opening with a big action set piece.

Still one of my favorite movies is the original 'The Haunting.' I love that style.

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.

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.

We all agreed that violence begets violence, and you can't solve issues with more violence.

I think Mel Gibson could make 'Passion of the Christ' because he really believed in it and gave it his all.

Just because I make movies in the scary world doesn't mean I want to visit scary worlds.

I think, when you're a director, you get sucked into your project whether you like it or not, right?

It's good to be finally able to afford food for a change. It's good to move on from potatoes and tin soup.

I cannot state enough how important post-production is for the success of a horror movie. You bring so much to it with the way you edit it, the way it is sound-designed, and the way the music works with it.

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.