In fact, we actually listen to fans all the time. It's helpful because you want to get a sense of what people are looking for and what they disagree with.

I think what all the Universal monster movies are defined by, and what makes them very special, is that it's really the only genre entirely unto itself, in which you fear the monster and fear for the monster. That's a very hard thing to do. To fear for and fear at the same time is extremely unique.

I do believe that people go to the movies - for one reason or another - they go to the movies to have an experience.

The thing for me, and I can only really judge this by what I respond to myself as an audience member, I really only respond to a movie if I'm interested in the people who are in it. It's really that simple. If I'm not, then it's all noise.

When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.

You always go by your gut. That's the best you can do. You go by what you feel, and you say yes or no based on what it inspires in you.

In fact, we actually listen to fans all the time. It's helpful because you want to get a sense of what people are looking for and what they disagree with.