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.

We don't have to accept an economy that doesn't work just because some people have got rich in the status quo. That is not democracy.

It worries me about what happens if people in government are looking for that next job: 'Yeah I'm working now, not as much money as I could be making, but when I leave here, that's where I'm headed.' That ultimately infects whatever it is that they're doing.

America's peak years of indigenous innovation ran from the 1820s to the 1960s. There were a few financial panics and two depressions, to be sure. But in this period, a frenzy of creative activity, economic competition and rapid growth in national income provided widening economic inclusion, rising wages for all, and engaging careers for most.

Feminists who say that I switched sides because I am an opportunist should know that exactly the opposite is true. It's cost me a lot of money. I've gone from being well-to-do to being $70,000 in debt. I have done something self-destructive financially. I could only do it because I don't have to support a wife and child.