You can never have too much good blessing.

'Saw' was good and bad. It was good in that it gave me a career start, but it was also negative in that it really marginalized me as a filmmaker.

I use myself as the barometer to gauge what is scary.

I'm a student of cinema in general, not just of one particular genre. So it was very important to me and to my soul to go out and do something different.

'Saw' really came from that want, the aspiration to make a feature film on our own.

I think the 'Saw' universe, the 'Saw' brand, is too big to just let it just sit there on a shelf.

I thought the marketing was really smart and really clever and unique at the time. It positioned 'Saw' as a horror film that was different from the other horror films that were in the crowded marketplace.

As a filmmaker, you aspire to want to make movies that can hopefully stand the test of time, but you never know when that will happen or if that will happen.

It's actually smarter to make a dumb film.

It kind of irks me that the studio films still have to be so safe even though they don't really cost as much to make.

You can only go by the instinct that you have.

I want to start off making the kinds of films that I loved growing up as a kid. Fun horror films that are scary but at the same time, after you finish the movie, it leaves you excited to see more.

I'm always excited when I can discover new filmmakers.

I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do. There's something about creating life out of things that have no life.

I'm a big fan of the 'Fast' franchise. I remember when I met Neal Moritz early on, I joked if Justin Lin ever left the franchise, I would be the perfect guy to slip right in and take over, and no one would know the difference.

I love 'MacGyver.'

My first film out of the gate was financially so successful that I guess, being in Hollywood, you get kind of put into a certain box.

I try to pull my inspirations from everyday life. If I came across a situation that is like, 'Oh, that's going to be scary, that's going to be frightening,' that's when I get inspired, and I put that into my films.

I'm a big fan of cel animation, I'm a big fan of computer animation, and, most of all, I'm a big fan of stop-motion animation.

I come from a very straight and adjusted suburban background.

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

I love Sam Peckinpah.

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.

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.