There's something about knowing life is finite that makes it so precious.

Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.

I remember staying up all night waiting to see the first screening of Cape Fear because you knew that every time Robert DeNiro had a performance it was going to be revelatory. Then DeNiro hit this place, he seemed like he was done with the emotional cost of impaling himself like that, and he dedicated himself to comedy.

How to make a scary movie human, take a movie like Sinister. How can I make that guy so real so that the scary elements of it are more scary and it functions as a genre movie - as the way it's supposed to, you want to hear a ghost story at midnight, that's a good one - but how do you fill it up with humanity inside, in staying true to the genre? You know? Does that make sense?

Whenever actors tout off about doing their own stunts, it's always ... they're so protective of you that I always know these stunt guys are so good [and] they're never going to put you in danger. But it's fun to do something kind of exciting, even something as simple as driving 70 through a tunnel with five motorcycles ... it sounds simple, but it's actually really nerve-wracking.

I'd be lying if I said I had confidence in every choice I've made, that I have faith in every film I do on every shot.

I love working on scripts. I love coming up with ideas about what people would dress like or talk like. I love all that.