[on 'Saw'] That was part of my aesthetic that I was going for. I wanted to make the film really claustrophobic, and one way I was going to do that was, every time we go to a new location, I'm not going to set it up using an establishing shot. You don't see a house, and then cut to the inside of the house. You cut to inside, to inside, to inside.
When we handed in our first cut, the Sundance version, we were essentially told the film was too intense. Really? I'm going to be penalized for doing what I'm supposed to do as a director? I think they have a problem with the 'tone' as well. How do you cut 'tone'? How do you censor 'tone'?
I can't point anything specific out, but I'm a big David Lynch fan, he's a big influence on Saw, and another director I truly admire as well, is an Italian, Dario Argento? These two guys have a big impact on us, Deep Red, Lost Highway.
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.