I think horror is a genre that can be quite good to women.

Horror film fans are pretty starved for quality. If you do something thoughtful or if you make something good, they're so thankful for it.

I feel like if you boil supernatural ghost films down to their core essence, they're really about death.

As I was writing 'Insidious 3' I started to fall in love with the characters and the story. I became very possessive of it and I didn't want someone else to do it.

I think the way to create a lot of terror in a haunted house film is to have a bunch of people who have no idea what's happening to them, and you sort of live the movie through their eyes.

Freddie Kruger, Jason, Michael Myers - they're all our generation. I think the kids wanted some new guys that they could take ownership of and Jigsaw was that guy.

I grew up in Melbourne.

I think you can't help but write in your own voice.

I think repetition is the hardest thing to avoid with sequels, because you've told a story and now you're adding more story to the story.

So when I look back at 'Saw' and 'Insidious,' I just think, 'Wow. Both of those films went way past what we ever could've dreamt for them' and it makes me genuinely thankful, like every single day, once a day, even if it's just for thirty seconds, sitting in my car, I have a moment where I'm like, I can't believe I'm here.

You can't compare David Cronenberg's 'The Fly' to the older version.

Somewhere in the '80s during the home video era something happened and horror started getting more and more marginalized and thought of as schlock.

If you go back and watch 'Saw,' I was very young. I'd never really done anything before.

If you chose to be an actor, if you take that baton and say 'OK, this is what I want to do with my life.' you're really putting your fate and your life in the hands of others.

I think, what happened with 'Dead Silence' is that other people told us that we should be doing that and now that I look back, I realize, 'should' is not a word that comes into an art. It's whatever you're feeling like doing.

One of our film lecturers, one of the guys teaching the course, said to the departing film class, 'No one in this room is going to make it, as a filmmaker.' I have no idea why he said that.

I've actually written a children's film called 'The Myth,' which you could say is like a big 'Harry Potter'-esque fantasy for kids, and that's a film I would love to see get made. That's a dream project of mine.

I was influenced by people like David Fincher and William Friedkin, and these directors who kinda paint their films with these dark shades.

I do try and keep my scripts quite economical.

When 'Psycho' came out back in 1960, it was seen as an abomination and as this really gory thing. We all watch 'Psycho' today, of course, and think it's so tame since there's no blood or any real gore in it. But for the standards of the day when it was released, it was extreme.

Writing feels safe, you know, it's a hard job, but at least you're in your office or wherever you are and there's no one standing over your shoulder staring at what you're writing. And when you're directing, everybody's looking over your shoulder.

I wasn't a frustrated writer who really wanted to act or a frustrated writer who really wanted to direct. I was really happy writing screenplays, and there's a lot of people who just do that - they're screenwriters.

I couldn't believe that people went to see 'Saw,' that people actually lined up.

I'm the opposite of the actor that is bursting with confidence who just knows they're going to make it. I'm the guy who's like yeah, probably, it won't happen.