James Wan Quotes
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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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The size of the budget doesn't make that much of a difference because the kind of issues I have on a low budget film I have on a big budget film as well, but they're just much bigger.
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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.
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'Poltergeist' was really the film that really scarred but fascinated me with puppets and dolls, clowns, and stuff like that. I've always been afraid of clowns, and then my fear of puppets came around, and 'Poltergeist' was the perfect combination to scare me with a clown doll.
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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 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.
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Isn't it crazy to think that we've explored space more than we have explored the depths of our ocean? That just fires up my imagination about potential sea monsters and cool creatures, that kind of stuff.
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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.
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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.
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I think, when you're a director, you get sucked into your project whether you like it or not, right?
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I love Carpenter, I love Craven - these are all the classics - the Romeros of the world, but I think the biggest influence on me as a storyteller and as a filmmaker is actually Steven Spielberg. I love that even though Steven isn't known for being a horror director, he started out his career making scary movies.
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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.
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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.
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Geoff Johns is super talented, super smart.
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Science fiction is a big, big love of mine. I would love to get into that at some point.
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Not many people realize this, but I'm a really squeamish guy. When I watch other horror films that are really over-the-top with their blood and guts, I cannot watch it.
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Aquaman's such an amazing character.
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I grew up loving X-Men, Spider-Man and Batman.
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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.
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That's the problem: when you make movies, I find that I never have time to go to the movies and enjoy movies like I used to because I'm so movied out, right? I'm so filmed out that the last thing that I wanna do is, with the little spare time that I have, is stick in a dark room and watch more stuff on the screen.
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I think you cannot be too complacent. I think that's dangerous, and you cannot take anything for granted.
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If you don't do the suspense correctly, then your jump scares are not going to work.
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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.
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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.