Explore Quotes by Jason Blum

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.

I think scary movies work best when they're relatable, and I think one of the scariest things to young people now is bullying. Either doing it, being on the other end of it, being caught doing it.

Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.

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

All of our movies are lower budget, and that makes them more interesting, too: we have to come up with solutions other than throwing money at problems.

An effective found footage movie is much harder to make than an effective traditionally shot movie. A crappy one is much easier to make because you take your camera, and you shoot the scene, and you're done. But to make it effective, they're actually much trickier.

When you have less risk, you have more fun. You can take risks. It's much easier to take risks when there's less money on the line.

Anyone who has any kind of success in Hollywood wants to make more expensive movies and spend more money, be bigger. I think it's unusual to have success and want to stay small.

Patrick Wilson and Rose Byrne made very good money from both 'Insidious' movies. Word travels fast, so as soon as you have a success and do what you say you're going to do in a contract and pay out that money, we had a lot more established actors come to us and say they want to work with us.

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.

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.

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.

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.

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.

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.

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.

I think when people are scared, they like to see movies where the scares are not real.

The business of horror movies goes up and down, and people are always like, 'It's working,' 'It's not working,' but generally, I think if you make a good movie that's scary, people will come.

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.'

'The Purge' is really about America's crazy relationship to guns and guns gone wild, essentially, and it kind of laid the groundwork for 'Get Out.'

The one thing I try and do, when people say, 'What kind of movies do you guys look for,' the one thing I look for is 'different.' And I think that's very antithetical to Hollywood.