Growing up in the '70s and '80s when my dad had an art gallery, one of the things that frustrated me was the world seemed so tiny, and to appreciate contemporary art, you needed a history of art, a formal education. I was more interested in the people, and that's why I went into the movie business in the first place.

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.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

One of the things is that you need to space out scary movies.

A company can spend hundreds of thousands of dollars on firewalls, intrusion detection systems and encryption and other security technologies, but if an attacker can call one trusted person within the company, and that person complies, and if the attacker gets in, then all that money spent on technology is essentially wasted.

The offshoring of American jobs by global corporations and the deregulation of the U.S. financial system have resulted in American economic failure.

A lot of dumb pictures have made a lot of money, but that doesn't mean they're going to be anything cinema students will revel over in the future.

Never before in modern times has so much of the world been simultaneously hit by a confluence of economic and financial turmoil such as we are now living through.