James Wan Quotes
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For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
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I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.
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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.
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Up until 'Fast and Furious 7,' every movie I've made has been a film that I've created, franchises that I've created.
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I've made one action movie. But nobody saw it, so I guess that doesn't count for most people.
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So many movies get made, and so many go to VOD, which is a market I admire.
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'Poltergeist' was the film that scarred me for life. I saw it at such a young age - 5 or 6 years old - and it has one of the creepiest doll sequences with the clown, and ever since then, I've just been fascinated by dolls.
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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.
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I love Sam Peckinpah.
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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.
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I like the 'Twilight' films.
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Not many people remember this, but in the first 'Death Wish' film, Charles Bronson doesn't actually go after the people that hurt his family: he just goes after every punk. He just blows them all away.
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We live in a world that relies on technology.
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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.
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I feel like, with most filmmakers of my generation, I like the over-the-top stuff. I like to be wacky and really in your face.
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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.
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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.
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I hope people will like 'The Conjuring 2' because I think it is a very natural and organic progression of the first movie.
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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.
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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.
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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.
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'Saw,' in many ways, was like my student film. The first crappy student film you don't really want people to see.
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We all live in some kind of home, so the idea that our home could be invested with a supernatural entity is kind of frightening, I think.
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I think the 'Saw' universe, the 'Saw' brand, is too big to just let it just sit there on a shelf.