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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.
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 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.
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 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.
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 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.
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.
'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.