For me it's much more like a little kid rebelling. 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. I come from the business side and Mark comes from the creative side, but every time a decision came up about Creep it was two emails, and we agreed. I've not had that ever with someone on the creative or the business side.

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

I'm a believer in screening movies early, and using the movie itself to help sell the movie. If you can't do that, I feel like you shouldn't be releasing the movie.

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.

Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.

I really like to work with theater actors. Theater actors tend to do lots of independent movies, and those are the actors that I like.

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.