Jason Blum Quotes
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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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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.'
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Hollywood looks backwards and tries to repeat. And we really try not to do that. We don't always succeed, but I really think that what we try and do is different.
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Sundance is such an acquisition-frenzied, industry-centric experience, and at SXSW, many of the movies have distribution. And the focus is more on positioning the movie as opposed to selling them. People are more relaxed.
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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.
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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.
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When you work in low budgets, you can do weird stuff.
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We make a lot of movies that I don't think merit a wide release. We have this label called Tilt, and we have the movies come out on that, and that's fine. But it shocks me when, having done this a few times, when I really believe a movie should get a wide release, and I struggle to get it released. That does surprise me.
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For some reason, people value being scared less than they value laughing.
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Working with kids is always hard because you have to have very limited hours. They have to have breaks, and they have to have a tutor, and they have to have a lot of - good things! But it makes it hard to shoot.
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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.
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You've got to think of fun stories, and if the fun story happened to have a lesson, that's a great thing. If you build a movie around a lesson, you're in real trouble.
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Not all our movies have a social message, but I love the ones that do, and I'd love to do more of them.
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I'm attracted to things that make a point or have a certain point of view, but it's not a conscious thing that I decide to do every morning. Unconsciously, what I like has a social commentary in it, or it's about race, or it's risky to do. That's what I like doing.
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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.
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I do want to grow our company, so the way I've been doing that is moving 'scary' to different things.
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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.'
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My favorite thing about horror is that it attracts this great group of nuts, of which I include myself in. I was always kind of an oddball. I collected my fingernails, for instance.
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I put more emphasis on filmmakers than maybe Hollywood does.
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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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It's hard to make a movie that's very expensive and not be thinking of the results all the time.
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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.
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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.
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Ryan Murphy and I share our love of horror and musicals. I think those things somehow go together.