One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.

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.

There's the moment in 'Saw' where I get up off of the floor at the end. That was shocking, because no one expects it. I thought they did that really, really well.

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.

Horror fans are very passionate people, and they are very much into the 'Saw' thing. So they watch sometimes as carefully as the writers and producers do, in terms of the way the story plays out.

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.

An actor puts himself in the hands of a director. And the director's first responsibility, obviously, is to tell the story, but the smallest thing that's not true reads on the screen. So if a director sees that an actor is not believable, he needs to help him become believable.