I ultimately am probably a pretty anxious person.

I'm ultimately drawn to film many kinds of stories if they are sort of about unlocking the secrets of our human potential.

I think there are always going to be people who say, even if they are engaged in the movie, they just want it to move faster.

To me, sound is a crucial component to, really, any moviegoing experience, but particularly with suspense films or thrillers. I think you need the audience to become subtly really attuned to the soundscape in, like, this uncomfortable way.

Making 'The Invitation' and waiting to make it on my terms and getting final cut and doing it the way I needed to do it was incredibly challenging, but it has really been so great for me. I'm so thankful that that's happened, that I got to work with actors I really like and have just such a good experience in delving into that story.

When horror films are made in times of political strife, I think they're not made with an instinct to add to the chaos but to bring shape to it.

I feel like, generally, the golden eras of cinema seem to be in moments of incredible political turmoil and strife and struggle.

I am a mother now, and I'm a mother to a son, and I want him to go into the world a feminist. I want him to go into the world with compassion for humanity.

I just know I have so much to teach my child. And I just feel kind of like, what would our world be without mothers? What would our world be without mother love? I don't think we'd have a world.

I don't get to make many features. It's not like that's something I can just snap my fingers and make happen.