James Wan

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.

I like to think if something scares me, then there's a very good chance an audience will feel the same way. The key is creating scenarios that people can relate to.

I'm terrified of the supernatural things, which is why I'm very grateful that I don't see things like that. Because if I did see things of the paranormal persuasion, I don't think I'd be able to continue making scary movies.

My first film out of the gate was financially so successful that I guess, being in Hollywood, you get kind of put into a certain box.

There's a reason why Smellovision has never really taken off. And I think it's a good thing.

I use myself as the barometer to gauge what is scary. I like to think if something scares me, then there's a very good chance an audience will feel the same way.

Poltergeist' was really the film that really scarred, but fascinated, me with puppets and dolls, clowns and stuff like that.

I think that the first 'Saw' was really more of a psychological film about two people stuck in a room, and the traps and games that fans seem to embrace so much now were quite a small portion of the film.

I see my actors as my collaborators.

I guess I have a fascination with the idea of puppeteering. I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do.

For me, what usually makes a horror sequence scary is the journey not the destination.

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.