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.

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.

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

I try to work with people who you're not used to seeing in scary movies. I think it makes for a more interesting mix, when you're watching the movie.

People love being scared, even for long periods of time.

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