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.

Aquaman's such an amazing character.

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.

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.

Geoff Johns is super talented, super smart.

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.

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

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

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

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.

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 don't have anything against CGI.

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 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.

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

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

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

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.

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.

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.

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.

I love Sam Peckinpah.

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

I come from a very straight and adjusted suburban background.

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 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.

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 love 'MacGyver.'

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 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 always excited when I can discover new filmmakers.

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.

You can only go by the instinct that you have.

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.

It's actually smarter to make a dumb film.

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.

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.

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

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

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.

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

'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.

You can never have too much good blessing.