I think that's my favorite thing about making scary movies, watching people watch them. When my films come out, I like to cinema hop and know what moments are coming up, I pop my head in and watch people squirm or slide down in their seats. I like that sadism!

For me, the sound design and the musical score is a big part of what makes scary movies work.

We think craft is important, and the irony has always been that horror may be disregarded by critics, but often they are the best-made movies you're going to find in terms of craft. You can't scare people if they see the seams.

I think it's good for the fans, as well, because they get to connect with you directly. You know, in the old days, if I wanted to, like, write to (Steven) Spielberg or Sam Raimi or whatever, I'm not sure I could actually write a fan mail and (I'd) have no idea where to actually send it. Nowadays, you can just, like, follow Ashton (Kutcher who still has among the most followers on Twitter) or, like, friend someone, you know, on Facebook, and you can actually just say, "Hey, I like your stuff."

I'm a big movie fan, and I want to make movies in every genre. I want to make my romantic comedy one day.

One of the things I tried to do is to kind of talk my actors through the scene, but at the same time let them know how I plan to shoot the film and just give them an insight into the way I'm thinking, so that when they're acting out their scene, they can kind of see it in their minds' eyes.

Designing the technical aspects of my camera movement for me is very important. I want the camera to be a big part in telling the story as well, like what I really believe in with all the films I make.