I always try to better myself with every movie I make. I don't take anything sitting back, and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film, and I think I am growing with each movie.

I want to start off making the kinds of films that I loved growing up as a kid. Fun horror films that are scary but at the same time, after you finish the movie, it leaves you excited to see more.

Language-wise, my mom and dad's dialect, they're pretty obscure. It's Chinese, but not your traditional Chinese, like Cantonese or Mandarin. It wasn't something that I got to use very much growing up. We eventually just spoke English around the house.

When you conceive the scene, you go, 'That is scary, right?' When you shoot it, a lot of times you're not quite sure. Hopefully what you can shoot is what your conception is.

If I'm working in the city, then as soon as I'm home, I try to lock in on my son for a few hours. Every day. I see how important it is that he's starting to come into my world now. It's just an effort to give him that male mode of being.

Life is not a matter of place, things or comfort; rather, it concerns the basic human rights of family, country, justice and human dignity.

I look at my books the way parents look at their children. The fact that one becomes more successful than the others doesn't make me love the less successful one any less.

Black women's feelings of responsibility for nurturing the children in their own extended family networks have stimulated a more generalized ethic of care where black women feel accountable to all the black community's children.