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

I always say it's very difficult when you're tackling something like 'Spider-Man' or 'Batman' that has been done so many times before.

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

I always felt that what is scary is actually hearing someone tell you what they think they see. That sense of invisibility makes things a lot scarier, since your imagination tends to fill in the gaps.

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 didn't direct any of the 'Saw' sequels, but people thought I did.

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

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.

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

Language-wise, my mom and dad's dialect, they're pretty obscure. It's Chinese, but not your traditional Chinese, like Cantonese or Mandarin. It wasn't something that I got to use very much growing up. We eventually just spoke English around the house.

Ask anyone, and they'll tell you that most of the good horror films made in the U.S. are indie films. You might get 'The Ring' or 'The Others,' but most are independently produced.

Up until 'Fast and Furious 7,' every movie I've made has been a film that I've created, franchises that I've created.

'Fast and Furious' is the only franchise that I've directed that I did not create from scratch. So it definitely was an eye-opening experience for me coming to that world. I had to be respectful of the roles that had been established by the filmmakers before me, and I was cool with that.

It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.

That's the thing about Aquaman that's cool is he's not an alien, right? He's from our planet, and he's from a society that we're not privy to in the context of the story.

When you conceive the scene, you go, 'That is scary, right?' When you shoot it, a lot of times you're not quite sure. Hopefully what you can shoot is what your conception is.

I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.

I grew up loving X-Men, Spider-Man and Batman. Those are obviously the key big ones, but there's always something kind of cool about Aquaman still, the idea of creating a huge world that is on our planet.

When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.

As a director you're always so busy - you're go, go, go, you're always moving, moving, moving - so I'm not actually privy to all the weird stuff that's happening around me, but for a lot of the cast and crew, that's what I hear stories from them about weird stuff happening.

'Saw,' in many ways, was like my student film. The first crappy student film you don't really want people to see.

I never realized how much I cherished having creative freedom.

I remembered a long time ago when 'A League of Their Own' came out, and they had the opening sequence with an older Geena Davis. We all just thought it was amazing, but you find out it actually wasn't Geena Davis; it wasn't makeup. It was basically finding an actress that looked like her, and then Geena just dubbed her voice.

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.