I liked stuff like 'Halloween,' but I wasn't a horror fanatic until I was in my 30s and then made 'Paranormal Activity.' Now, having a company, I can't imagine doing anything else. But it took me a while to find my love for it.

It is hard to make a movie funny and scary at the same time.

In every art form, nothing exists in a bubble. It exists because of what came before it. A lot of bricks were laid. I think if it weren't for 'The Purge,' 'Get Out' wouldn't resonate as a mainstream movie. You push on the taste of the audience, in a way, get them used to something, and then you keep pushing on it.

The way we structure our backend, we key the payments to the box office - so that cuts the negotiating way down, and it's very transparent. One of the things I'm most proud of is that we're really transparent with our process.

I think, generally, the creative process is hurt if you're thinking about the end as opposed to focusing on day-to-day decisions.

The most effective tool I have to work with artists I admire is to point to other artists that I admire and show that I've worked with them many, many times. It's not because I have option deals; it's because they want to keep working with us.

We were producing 'La La Land'... and then we weren't. So it was a very painful topic, but I'm happy the movie was as successful as it was. And, of course, I wish we had produced it.

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

Not all our movies have a social message, but I love the ones that do, and I'd love to do more of them.

The first thing I learned as a producer is that you have very little control over the life of a project. Anything can stall a film from financing to scheduling to casting. Things fall apart all the time. Don't waste time on something that just won't get made. Try to have as many projects going at one time as you can handle.

It's harder and harder to scare people, and filmmakers are aware of that, and they're making the movies better, and I think they feel more original, which I always like.

I'm a big believer in creating parameters for creativity. I think parameters make people more creative. So that starts with my budgets. I only do low budget movies, and I think that makes the movies better.

I think it's frightening for all of us to contemplate that there's more to the universe than just us, in whatever form it takes, that there are higher forces at work, and to me, that's always a scary notion.

I think being snobby about the kind of storytelling people do, it just irks me. It irks me. And in fact, it's one of the things that drives me to make as many horror movies as I do.

I couldn't stand it. It was what I thought I always wanted. I was there every day in the trenches, and I hated everything about that job. But what I loved - and what I got from 'The Tooth Fairy' - was to see how studio movies were released.

The key to a good horror movie is what happens between the scares. The scares aren't the tricky part. If you're involved in what's going on in between, the scare is going to trick you. If you're not, the best scare in the world will not be scary.

It's really hard to make an original movie of any kind that succeeds in the theatrical market place, in the wide release market place.

I was lucky enough to have made a tonne of mistakes and be kind of frustrated. I was working in the movies for 15 years before I did 'Paranormal Activity,' so I was lucky enough to have that experience. So instead of trying to make, like, 'Godzilla' after 'Paranormal Activity,' I said, 'Let's keep making inexpensive movies.'

'Paranormal Activity' was the first of our independently made/studio-released films. It was also the ultimate low-budget high-concept movie, which is what we are always looking for. 'Paranormal Activity' was the genesis of our model, of which I am so proud.

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.

What I loved about 'War Dogs' was the fact that the tone - turning that story into a spectacular two hour ride is just such a complicated thing to do.

What I love about low-budget movies is my interests and the director's interests and the actors' interests are aligned. No one makes money unless the movie works, and that informs every creative decision.

In big movies, interests are not aligned between those above the line and the financier, because above the line gets paid whether the movie works or not. The financier only makes money if the movie works, and that fundamentally sets up a contentious relationship.

I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.

You shoot yourself in the foot when you think, 'We have to get a good scary movie director to do a script by another scary movie writer.'

I've grown to love it, but I'm not like a lot of other people who were always crazy horror fans like Eli Roth or Quentin Tarantino.

I think there's room for people to love 'Transformers' and love 'Insidious.' They coexist in a happy way; in other words, my movies wouldn't exist if 'Transformers' didn't exist, because they're an alternative to that. They're not better or worse, they're just different.

We make movies for the cineplex. They're designed for wide release. They're designed to be seen by a lot of people and eventually make money.

I love South By because people are more relaxed here, and people are a little more off guard. They say things and react more freely than Sundance or Cannes. I love the feel of this festival.

When you work in low budgets, you can do weird stuff.

I wasn't a fanboy of horror. I didn't grow up on horror movies. I grew up loving all movies. I still love all movies, but I particularly love scary movies - as much for the culture around them as the movies themselves.

Ethan Hawke is not a horror movie fan, but he's a really good friend of mine, and I finally cajoled him into doing 'Sinister.' Later, he said one of the reasons he was really resistant to doing a horror movie is he thought it'd be really scary on set.

Ryan Murphy and I share our love of horror and musicals. I think those things somehow go together.

I think if you went to a studio and pitched the first 'Insidious,' it never would have gotten made because it was so offbeat.

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

I love musicals. I love horror movies and I love art movies.

John Carpenter had a lot to do with putting social messages into genre movies.

All of our movies are lower budget, and that makes them more interesting, too: we have to come up with solutions other than throwing money at problems.

I think scary movies work best when they're relatable, and I think one of the scariest things to young people now is bullying. Either doing it, being on the other end of it, being caught doing it.

Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make 'Get Out.' Nobody. Nobody wanted to make 'The Purge.' I think it was floating around for three years before it came to us. Nobody wanted to make 'The Gift,' when it was a script called 'Weirdo.'

'Paranormal Activity' had fifty versions because it was $250 to reshoot. We'd screen it, see one thing wrong, shoot for an hour, fix it, and then screen it again. You don't have to be disciplined about it. On a regular movie, you have to screen it and think of every problem, reshoot for three days and solve every problem, and then you're done.

Success stems from the producer creating the optimal conditions for the filmmaker's own creative process. Not from steering the filmmaker through a one-size-fits-all approach.

I wouldn't be creatively satisfied if all we did were sequels, but in the same breath, I'll say that I wouldn't be creatively satisfied if everything was an original. It's good to use the different parts of my brain. Very different rules apply.

Blumhouse Books is not an outlet for us to mine intellectual property for movies and TV.

I think when people are scared, they like to see movies where the scares are not real.

With most other genres, you need movie stars. With horror, you just need a story.

I think movies are overdeveloped in Hollywood. There's a big benefit to not overdeveloping and not being so precious about what you're doing. I think you lose a kind of vitality if you develop something into the ground.

Halloween is woke, and there's nothing we can do about it.

We make a lot of movies, and we make them fast.