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 love being the underdog. It's one of the reason I like making horror movies, because a lot of people don't like them or are prejudiced against them. So it's one of the many reasons I like horror and it's also the reason I like low budget, because it automatically makes us the underdog.

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 really am passionate about making low-budget movies. You can try new stuff and unusual stuff, and you can break the rules.

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.

A lot of the reasons why people are annoyed at found footage movies is because people look at it like it's easy and that they could do it, too.

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.