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.

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.