American - Producer | 1969 -
It is hard to make a movie funny and scary at the same time.
Jason Blum
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I have a real kind of fundamental philosophical belief that movies are better if everyone gets paid when they work, and if they don't work, the people who worked on them make a little bit of money, and the people who finance them, they lose, but they don't lose too much. I believe that that creates better work.
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I'm always trying to make movies that are better than the ones that we've made before. We don't always succeed at doing that by any means, but we're always trying to raise the stakes, raise the bar, make the movies better, and that's hard.
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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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In big movies, interests are not aligned between those above the line and the financier, because above the line gets paid whether the movie works or not. The financier only makes money if the movie works, and that fundamentally sets up a contentious relationship.
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What I love about low-budget movies is my interests and the director's interests and the actors' interests are aligned. No one makes money unless the movie works, and that informs every creative decision.
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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'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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People don't call them horror movies, but Hitchcock, for me, is my favorite storyteller. He was really exploring dark themes, and I don't know what category you put his movies in. Thriller? Horror? Some of them go in either one.
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I wish that more people were willing to turn down upfront money in exchange for doing things that are more original. Turning down a seven-figure check has a ripple effect on the budget, which has a ripple effect on the storytelling. The higher the budget gets, the fewer storytelling risks you're able to take.
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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.
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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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