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.

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

My easiest judgment for a script is 'do I want to keep reading it?'

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.

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.