I've grown to love it, but I'm not like a lot of other people who were always crazy horror fans like Eli Roth or Quentin Tarantino.

I didn't grow up loving horror.

As an entrepreneur, one of my biggest struggles is that you have to focus, but you also have to expand.

Personally, I love books, and I am interested in the notion that stories are told better in different media depending on the story.

What I loved about 'War Dogs' was the fact that the tone - turning that story into a spectacular two hour ride is just such a complicated thing to do.

I'm a big believer in creating parameters for creativity. I think parameters make people more creative. So that starts with my budgets. I only do low budget movies, and I think that makes the movies better.

It's really hard to make an original movie of any kind that succeeds in the theatrical market place, in the wide release market place.

Occasionally I'll be a producer for hire on a larger budget movie, but with Blumhouse Pictures, we mainly focus on micro-budget, under-$5-million-dollar movies. That's what we're in business to do, and that's what we're in business to make.

When there's a great horror movie, people are like, 'Horror's back!' And when there's a series of not so good ones, 'Horror's dead.' I think it's all about the quality. When there are one or two good horror movies in a row, people come out interested again.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

I read an interview where someone said, 'It's a shame that anyone can make a movie now,' and I feel the exact opposite.

I think the location is almost as important as casting the leads of the movie. The location on 'The Purge' was crucial to that movie working.

I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.

Ethan Hawke is not a horror movie fan, but he's a really good friend of mine, and I finally cajoled him into doing 'Sinister.' Later, he said one of the reasons he was really resistant to doing a horror movie is he thought it'd be really scary on set.

My easiest judgment for a script is 'do I want to keep reading it?'

YouTube is found footage. It's here to stay, and people will always come up with new concepts that will make sense for found footage.

I never wanted to get paid by the hour. If I was going to do more work than another guy, I wanted to get paid more.

I found that a lot of people ridiculed contemporary art. I decided I wanted to be involved in art everybody could understand.

There are a lot of parallels between doing a sequel and doing low budget movies, which is they give creative parameters. As a creative person myself, I work better with parameters as opposed to anything goes.

It's easy to get a theatrical release that shows in one theater for a week. But there's no advertising, and no one sees the movie. It's hard to get a real theatrical release. The distribution of independent films is, to me, extraordinarily frustrating.

I'm attracted to things that make a point or have a certain point of view, but it's not a conscious thing that I decide to do every morning. Unconsciously, what I like has a social commentary in it, or it's about race, or it's risky to do. That's what I like doing.

What I love about low-budget movies is my interests and the director's interests and the actors' interests are aligned. No one makes money unless the movie works, and that informs every creative decision.

You shoot yourself in the foot when you think, 'We have to get a good scary movie director to do a script by another scary movie writer.'

I liked stuff like 'Halloween,' but I wasn't a horror fanatic until I was in my 30s and then made 'Paranormal Activity.' Now, having a company, I can't imagine doing anything else. But it took me a while to find my love for it.