Jason Blum

I don't believe in ghosts or paranormal activity, but one time I think I saw - I might have seen - no, I think I did see a ghost.

When DVD disappeared but before digital distribution came on strong, there were a few years where a movie that didn't get theatrical would just be gone.

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.

One of my favorite things about making horror movies is, the first time you screen them in front of an audience, it's very fun to hear people audibly react to the work you put into a movie. You don't wonder at the end of the movie whether it worked or not.

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

People complain about Hollywood movies being similar. That goes right down to the fundamental green light process, because the process involves having to compare it to three other movies.

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 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.

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'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 tell directors, 'I can't promise you a hit, but I can promise you the movie is going to be yours.' When you work for a studio, they pay you a lot of money, but in exchange for that, they tell you what to do.