Blumhouse Books is not an outlet for us to mine intellectual property for movies and TV.

I wouldn't be creatively satisfied if all we did were sequels, but in the same breath, I'll say that I wouldn't be creatively satisfied if everything was an original. It's good to use the different parts of my brain. Very different rules apply.

The way we structure our backend, we key the payments to the box office - so that cuts the negotiating way down, and it's very transparent. One of the things I'm most proud of is that we're really transparent with our process.

My favorite thing about horror is that it attracts this great group of nuts, of which I include myself in. I was always kind of an oddball. I collected my fingernails, for instance.

People don't call them horror movies, but Hitchcock, for me, is my favorite storyteller. He was really exploring dark themes, and I don't know what category you put his movies in. Thriller? Horror? Some of them go in either one.

I couldn't stand it. It was what I thought I always wanted. I was there every day in the trenches, and I hated everything about that job. But what I loved - and what I got from 'The Tooth Fairy' - was to see how studio movies were released.

All of our movies are lower budget, and that makes them more interesting, too: we have to come up with solutions other than throwing money at problems.

The minute I was told what to do at any age, I did the opposite. Hopefully I'll do that for the rest of my life.

There are so many factors that go into having a successful movie.. too many that you can't control.

We were producing 'La La Land'... and then we weren't. So it was a very painful topic, but I'm happy the movie was as successful as it was. And, of course, I wish we had produced it.

In big movies, interests are not aligned between those above the line and the financier, because above the line gets paid whether the movie works or not. The financier only makes money if the movie works, and that fundamentally sets up a contentious relationship.

Hollywood looks backwards and tries to repeat. And we really try not to do that. We don't always succeed, but I really think that what we try and do is different.

I love scary movies and respect the filmmakers of scary movies, and it's just as hard to make a great scary movie as it is to make a great comedy or drama or anything else.

I fundamentally believe that your words have so much credibility if you're not taking money upfront. I feel really comfortable pushing actors and pushing executives and pushing marketing people when we're not going to benefit financially unless the movie works. I feel like that makes the playing field so much more level.

Patrick Wilson and Rose Byrne made very good money from both 'Insidious' movies. Word travels fast, so as soon as you have a success and do what you say you're going to do in a contract and pay out that money, we had a lot more established actors come to us and say they want to work with us.

The key to a good horror movie is what happens between the scares. The scares aren't the tricky part. If you're involved in what's going on in between, the scare is going to trick you. If you're not, the best scare in the world will not be scary.

If you are still thinking about a script after five or ten years, that's a sign that it's good - not that it's stale. And the opposite is true - if everyone wants to make your movie, that's a sign that it probably sucks.

For some reason, people value being scared less than they value laughing.

When you have less risk, you have more fun. You can take risks. It's much easier to take risks when there's less money on the line.

You've got to think of fun stories, and if the fun story happened to have a lesson, that's a great thing. If you build a movie around a lesson, you're in real trouble.

'The Purge' is really about America's crazy relationship to guns and guns gone wild, essentially, and it kind of laid the groundwork for 'Get Out.'

I love horror movies, obviously; otherwise, I wouldn't make them.

Rotten Tomatoes is the best thing that happened to the movie business because it means you have to make good movies.

With most other genres, you need movie stars. With horror, you just need a story.