Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.

I really wanted our male characters to be a lot stronger. We gave them careers, lives.

Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to.

When I was just five years old, I loved the scary layer and the symbolical power of the red cloak. I made my mom make me that red cloak, and I had to wear it on Halloween, two years in a row.

Now there are three guys who directed "Twilight" films that had a gross of a gazillion dollars. All those "Hunger Games" guys, the "Divergent" guys. All those people. When they are looking for the next big director, they see they have a track record. So there's 20 people that spun off of "Twilight" that have more qualifications than any woman.

When you're in the editing process, you try different things and you get creative ideas.

It's interesting for me to do the commentary with the actors because, as a director, you're so in your own world that you see it from your perspective, your issues and what you were trying to do, and then it's really very fun to hear their perspective on how it was to do a particular scene or how they felt, and sometimes, I didn't even know that, at the time.