You can't be a creative person and not fall in love with everything. Every movie I've made there's a complicated, twisted love affair with.

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

But, it's much easier to do that than produce the movies from scratch. It excites the same thing in me, whether we build it from the ground up, or whether we come on when the movie is done or almost done. The idea of supporting the underdog and getting a smaller movie out there in a big way is equally exciting.

The scares are the easier part of scary movies. The hard part of scary movies is what leads up to the scares.

The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.

I think the most honest responses to the movies you get to watch are in houses and people's most private spaces, like the bedroom or in your own intimate space. I think that's where you feel safest, so when you're threatened in the place you feel safest, it makes for the scariest situations.

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.