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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.

Jason Blum

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Jason Blum
Age: 55
Born: 1969
Born: February 20
Chief Executive Officer
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Jason Ferus Blum
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You can't be a creative person and not fall in love with everything. Every movie I've made there's a complicated, twisted love affair with.
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I think good suspense and horror is really about creating situations that are relatable, and throwing a wrench in it and watching how people respond to it.
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I think horror movies are still - this can be said of all movies - but being with a group of people scared together is more and more something unusual and fun. Especially for kids who are going out less generally.
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Let's keep making inexpensive movies.
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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.
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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.
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I think the mistake people make with horror movies and what makes them successful is a lot of horror movies get made by people who don't really like them, so they don't respect them. And when you like horror and have admiration for it, that community knows that what's important for a horror movie is important for every other kind of movie.
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I really am passionate about making low-budget movies. You can try new stuff and unusual stuff, and you can break the rules.
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People love being scared, even for long periods of time.
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I'm a believer in screening movies early, and using the movie itself to help sell the movie. If you can't do that, I feel like you shouldn't be releasing the movie.
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I love Hitchcock movies. I took a Hitchcock class in college, so I saw all his movies. I wrote papers on his movies.
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Currently there's no other way to get a movie into 3,000 theaters except with a studio. We have a first-look deal with Universal, and it's been fun to work with them. But studios are a part of our life. I think they'll always be, but they'll play a different role. The consumer and the creator are getting closer together.
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We have creative freedom because of budgets. Ever since I have been doing low budget movies, we've really had creative freedom.
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I found that a lot of people ridiculed contemporary art. I decided I wanted to be involved in art everybody could understand.
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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.
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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.
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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.
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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.
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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.
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