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If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.
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The stuff I'm designing, I want my action scenes to be intense.
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The Internet is one of the biggest advances ever in our world.
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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.
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When I was a kid, my grandfather used to watch Bollywood films. There's a lot of colour and vibrancy to the Indian films.
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I use myself as a measuring yardstick, and so if I come up with an idea that really scares me, then I'd like to think that people out there would feel the same way as well.
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I guess, deep down, there's a dark side to us. I guess that's why movie fans really love the revenge drama. We like to go into dark movie theaters and fantasize.
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People are so used to seeing John Goodman as a lovable dad or the quirky characters he played in the Coen Brothers films.
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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.
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I love a ghost story. I think they affect me more than other people that are much more skeptical than I am. I think that it's good that I do buy into them to some degree.
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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 love what I did in 'Death Sentence,' but that was a low budget action film.
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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.
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It's good to be finally able to afford food for a change. It's good to move on from potatoes and tin soup.
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What I realized is that it doesn't matter how big or small your film is. The actual filmmaking process, the actual storytelling, it's still the same thing. It's still all about creating characters that you like and creating moments that get you excited or get you tense.
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I took a break from horror; I made three ghost movies back-to-back-to-back.
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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.
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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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If you don't do the suspense correctly, then your jump scares are not going to work.
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I think for me anyway, the most successful horror movies that work are the ones that can create characters who you care about and that have characteristics that resonate with you and I think that is highly important, because if you can create characters that are likeable and people you can relate to, to me it makes the scares that much more scarier.
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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.
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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.
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I joke and I say, 'I need to go back to make a supernatural horror film just to so that I can make a movie that's grounded again.'
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I try to keep the number of projects I'm involved in down to one per year.