I always try to better myself with every movie I make. I don't take anything sitting back, and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film, and I think I am growing with each movie.

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.

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.

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.

What matters to me as a creative artist is the credibility of the production house, the honesty in the script, and the way the filmmaker has conceived the characters in the narrative.

Imagination is the only key to the future. Without it none exists - with it all things are possible.

My mother is a great artist, but she always treated her paintings like minor postcards. Had she pursued it, she would have been a great artist. Instead, she looked down on her art.

In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.