Quotes from James Wan

I try to keep the number of projects I'm involved in down to one per year.

What I would like with the Internet is to have it go faster.

Favorite movie of all time? I hate being asked... that's like being asked, 'What's your favorite song?'

'Saw' really came from that want, the aspiration to make a feature film on our own.

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.

I'm always excited when I can discover new filmmakers.

I think you kind of need to acknowledge that the reason why sequels do well is because people that loved the first one come back.

The thing that ultimately pushed me more towards 'Aquaman' is I love the possibility of creating a whole new world. I've always wanted to do a world creation story and visually create this amazing, incredible, magical kingdom.

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.

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.

I have a tendency to overcut my movies.

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.

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.

I'm a big fan of suspense and tension filmmaking, and that was my goal with 'The Conjuring.'

I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.

Having such a diverse cast and crew is what makes the 'Fast & Furious' films so unique to all the other studio tent pole films that just have a very singular look to them.

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.

It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.

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.

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.

'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.

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

With 'The Conjuring,' I really wanted to create classical cinema-style film-making, pure cinema as it were.

I like to think we're not the only thing that exists on the plane of existence. I like to think that just because we don't see it doesn't mean it's not there.