But one of the rules I don't like to break is we still do - 95% of our movies are low budget. We're offered bigger, larger budget movies to produce a lot, and we don't do them. That's not to say there aren't exceptions, there are a few exceptions, but I try and stick by the rules that produce what I think is the highest quality, most innovative work and try and let the rules go that make us feel like we're retreading.

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

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 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 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.

We have creative freedom because of budgets. Ever since I have been doing low budget movies, we've really had creative freedom.

There's S-VOD, which is 3 1/2 months after the theatrical release. The windows are going to get closer and closer, and the sooner they collapse in my mind the better it'll be for everybody. It's coming, but change is hard. It will be more profitable for everybody, including exhibitors.