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.

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.

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 can make any kind of movies. I can put up with any kind of situation. And I can tackle them.

I never realized how much I cherished having creative freedom.

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

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

The Internet is one of the biggest advances ever in our world.

It's pretty scary to know how quickly time flies.

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.

There are expectations with sequels, and people want them to be bigger and better than the prequel.

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'm a big fan of suspense and tension filmmaking, and that was my goal with 'The Conjuring.'

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

'The Conjuring' was a massive success, and honestly, it set the bar quite high. So I was nervous about making the sequel, and I wasn't sure if it will still have the same impact as the first one did. But that's what moved me to make the sequel.

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.

The deep sea is a scary world.

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

I'd love to be a filmmaker and look back and be like, 'Ah, man, we were part of that whole '80s video nasty thing!'

What I would like with the Internet is to have it go faster.

No one knows how much we went through to finish 'Furious 7.'

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.

If you don't do the suspense correctly, then your jump scares are not going to work.

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.

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.

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 took a break from horror; I made three ghost movies back-to-back-to-back.

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.

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.

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'm a big John Woo fan.

I don't have anything against CGI.

I believe in spirits. I believe in faith. I believe in spirituality. I believe in aliens as well.

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.

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.

I've always said if I had to pinpoint what's more important in a scary movie, the soundscape or the visuals, I'd pick the sound.

I loved 'Jaws.' I think that is not really a horror film, but it made me afraid of the ocean for a very long time.

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.

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

So many movies get made, and so many go to VOD, which is a market I admire.

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'm a big movie fan, and I want to make movies in every genre. I want to make my romantic comedy one day.

It's actually smarter to make a dumb film.

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 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.

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.

Geoff Johns is super talented, super smart. Part of what got me excited about the Aquaman character is his re-envisioning of Aquaman, the character, with 'The New 52.'

I think I'm a very sentimental person. Conscious or not, that's what draws me to the kind of films I want to make.

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