ADAM WINGARD

If we're going to be considered horror filmmakers, we have to prove it not only to ourselves but to the audience that we can actually make something scary.

A lot of people ask me, 'Are you going to do a sequel to 'The Guest' or 'You're Next?' - those movies weren't financially viable, so even though there are a lot of fans of it, it'd be a pretty small market we'd be appealing to. It's got to be a big hit for you to really justify that.

The whole Bond thing has gotten so dour with the direction they've been going in, it feels like they need to move back to Pierce Brosnan-style fun Bond again. If they did that, Dan Stevens would be the perfect choice.

I think, as a filmmaker, it's important to be honest with yourself at all times in terms of what's working and what's not.

To me, the thing about anime is that it's so adult-oriented. I remember going to Suncoast growing up, and you see 'Akira' there with the little 'Not for Kids' sticker on it. That always made an impact on me.

This house I grew up in was built in the 1800s, and the back yard was like a cemetery. Naturally, I grew up in an environment where ghosts and supernatural things were very unnerving to me, because my brothers and I dealt with it on a daily basis.

I think the hardest part about making a scary film is about being able to retain the mystery, especially when it comes to supernatural stuff.

I love going on IMDb message boards, and there are some hilarious things that go on there - the most negative people on the planet.

'Cloverfield' and 'REC' are great examples of movies that took kind of tired genres, the monster movie and the zombie film, and by filming them in found footage, it was a new perspective. It gives you a whole new take and helps you re-experience that all over again.

I like the idea of a character that you wanna like even though you know he's making immoral choices throughout the film.

The whole Bond thing has gotten so dour with the direction they've been going in, it feels like they need to move back to Pierce Brosnan-style fun Bond again. If they did that, Dan Stevens would be the perfect choice.

I think the hardest part about making a scary film is about being able to retain the mystery, especially when it comes to supernatural stuff.

A lot of people ask me, 'Are you going to do a sequel to 'The Guest' or 'You're Next?' - those movies weren't financially viable, so even though there are a lot of fans of it, it'd be a pretty small market we'd be appealing to. It's got to be a big hit for you to really justify that.

What's really scary about the original 'Blair Witch' is that it doesn't really answer any questions, so what makes that ending so scary is you walk out feeling dirty because you don't even know what happened. It feels wrong.

I think, as a filmmaker, it's important to be honest with yourself at all times in terms of what's working and what's not.

You can be precious about something like 'Blair Witch' and say, 'How dare you approach it as a sequel or remake' or whatever, but its legacy was so tarnished by 'Book of Shadows' that someone had to come in and do something in the spirit of the original.

To me, the thing about anime is that it's so adult-oriented. I remember going to Suncoast growing up, and you see 'Akira' there with the little 'Not for Kids' sticker on it. That always made an impact on me.

This house I grew up in was built in the 1800s, and the back yard was like a cemetery. Naturally, I grew up in an environment where ghosts and supernatural things were very unnerving to me, because my brothers and I dealt with it on a daily basis.

I love going on IMDb message boards, and there are some hilarious things that go on there - the most negative people on the planet.

I like the idea of a character that you wanna like even though you know he's making immoral choices throughout the film.

I hate it when you are watching a movie where the characters are on the news, and for some reason they shoot it with a 35mm camera or a 4K camera, and they just put it on the TV as if that's the way it would look - it always takes me out of it by putting a filter on certain things. If it's too high quality, you're never gonna buy it.

I love so-called movies that are bad movies, but 'Prometheus' is one of those movies that people are gonna come back around on in 20 years. There's gonna be midnight screenings of that thing.

If we're going to be considered horror filmmakers, we have to prove it not only to ourselves but to the audience that we can actually make something scary.

'Cloverfield' and 'REC' are great examples of movies that took kind of tired genres, the monster movie and the zombie film, and by filming them in found footage, it was a new perspective. It gives you a whole new take and helps you re-experience that all over again.

'Drive' is definitely an inspiration because it was a film that was able to use what would normally be considered cheesy, kind of bold, electronic music choice and pull it off in a mainstream way.

Normally, you have all this knowledge from all the films that you've done that you've accumulated over the years, and you can constantly look back when you're in some sort of fix and say, "Well, on so-and-so film, we did this, and it worked out fine." You can point to these things, and you can have that assurance.

I think you just have to be realistic to what the reality is, the way people experience movies.

There are only a few genres, horror and comedy, where you can get that immediate feedback from the audience. It's very gratifying when that's what you're going for, and you can hear the reactions in all the places that you intended.

If I can make the movies I want, people are going to watch it how they're going to watch it.