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You have to want the haunted house to scare you. It completely steals your money to go through with one of those people who shrug it all off, who touch the monsters' faces to show they're fake.

Once I have the grain of an idea, it haunts me until I finish the story. I don't like to be haunted, of course, so immediately get to work.

John and I had a few meetings about what direction the sequel should take. I made some real insane suggestions. True to what you'd expect, he ignored them all and just picked up Halloween II where the original left off.

I took a break from horror; I made three ghost movies back-to-back-to-back.

The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.

I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.

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've often thought that we left the original 'Phantom' with a little bit of a cliff hanger, and I thought, 'Well, why not to do a sequel to it' at one point.