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.

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.

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

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

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

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.

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 don't have anything against CGI.

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.

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.

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

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

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

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.

Geoff Johns is super talented, super smart.

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.

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.

Aquaman's such an amazing character.

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

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

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

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 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.

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.