If you're an impressionistic painter and you want to paint expressionism, you've got to change. You've got to figure out a way to do it and do it. If you've been playing jazz all your life and you want to start to play rock n' roll, blues, then do it.

Saw fans are manic, when it comes to details, so they're going to say, "Wait a minute! Why is that like that? It wasn't like that before." And, they're right.

What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.

One of the interesting things about 'Saw' is that you don't find out about things in sequential or linear order. One of the things that fans have liked a lot is, we don't forget about details. They come back and reveal themselves as the story evolves.

There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.

I was raised on Westerns. They were part of what going into the movies was.

Saw has been a unique experience in that Ive had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.