Occasionally I'll be a producer for hire on a larger budget movie, but with Blumhouse Pictures, we mainly focus on micro-budget, under-$5-million-dollar movies. That's what we're in business to do, and that's what we're in business to make.

It's really hard to make an original movie of any kind that succeeds in the theatrical market place, in the wide release market place.

I'm a big believer in creating parameters for creativity. I think parameters make people more creative. So that starts with my budgets. I only do low budget movies, and I think that makes the movies better.

What I loved about 'War Dogs' was the fact that the tone - turning that story into a spectacular two hour ride is just such a complicated thing to do.

Personally, I love books, and I am interested in the notion that stories are told better in different media depending on the story.

As an entrepreneur, one of my biggest struggles is that you have to focus, but you also have to expand.

I didn't grow up loving horror.

I've grown to love it, but I'm not like a lot of other people who were always crazy horror fans like Eli Roth or Quentin Tarantino.

People look down on it, but I love the community of horror. Writers and directors are a tight group of people, and we help and support each other.

You know how on movie sets there are specific chairs for each person? I hate that. We don't have names on our chairs. We have five chairs. Anyone can sit on them. I think the idea of names on chairs on a set is terrible. It's so dumb. So we got rid of that.

Most people who've had a big hit movie like 'Paranormal Activity,' the next thing they say is, 'I want to make a $100 million movie.' I have no interest in making more expensive movies.

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.

When I was a kid, I really loved game shows. For whatever reason, I was fascinated with them and watched them a ton.

I do want to grow our company, so the way I've been doing that is moving 'scary' to different things.

I love going to see musicals. That was one of the major reasons why losing the chance to produce 'La La Land' was so painful.

Ryan Murphy and I share our love of horror and musicals. I think those things somehow go together.

When you work in low budgets, you can do weird stuff.

I think if you went to a studio and pitched the first 'Insidious,' it never would have gotten made because it was so offbeat.

I really love 'Poltergeist.' I think that's a great, terrific movie. I did really love the first 'Friday the 13th.' I thought that was such a crazy movie.

I think it's frightening for all of us to contemplate that there's more to the universe than just us, in whatever form it takes, that there are higher forces at work, and to me, that's always a scary notion.

I started out producing theatre in New York.

I think there's room for people to love 'Transformers' and love 'Insidious.' They coexist in a happy way; in other words, my movies wouldn't exist if 'Transformers' didn't exist, because they're an alternative to that. They're not better or worse, they're just different.

I love to go see big movies, I just don't make them. It's just a different business.

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.

It's harder and harder to scare people, and filmmakers are aware of that, and they're making the movies better, and I think they feel more original, which I always like.

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

It is hard to make a movie funny and scary at the same time.

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 wasn't a fanboy of horror. I didn't grow up on horror movies. I grew up loving all movies. I still love all movies, but I particularly love scary movies - as much for the culture around them as the movies themselves.

Songwriting is a difficult thing, but it's not so bad when you remove the barriers you put up yourself.

We were both into motocross. My dad would wake me up at 6:30 on weekends, brew some coffee and make some sandwiches for us. Then we'd spend the day racing together. I know he had this reputation as being wild and irresponsible, but I never saw any of that.

The thing with Led Zeppelin songs is that they were never the same. They were very fluid and tight but loose.

Led Zeppelin was Led Zeppelin when John Bonham was on drums. It's timeless.

Joe Morello, my dad was really into him and Little Richard's drummer.

Every drummer I've ever spoken to or read an interview with - my dad is always in their top three. I'm honored to share his name and represent him all these years after he's gone.

When I do the Led Zeppelin Experience I feel sort of responsible and it's a more nerve-wracking gig.

When my father began playing for Led Zeppelin our family was living in a 14-foot trailer.

Dad was pretty solid. He had great grooves and there was occasional moments of sheer brilliance with fills and things, but in general, the sheer brilliance is the simplicity, how much groove, how much feel he had, all the subtleties that we miss.

He was a very quiet and shy person but that drum kit gave him that voice. 'Bonzo' was the guy in Zeppelin. John was my dad.

When the album 'Duke' came out, by Genesis, Phil Collins beat Dad in a drummers poll. My dad got me to learn 'Turn It On Again' by Genesis. I'd play it, and he'd go, 'Do it again,' until I got it right. I'd play it until I nailed it, and then he went, 'I don't see what the big deal is. My 12-year-old son could play that song.'

I'd like to eventually be known as someone who emerged as a songwriter.

I think to myself, How would things be for me if my dad was still alive? Would we get along? Would we argue? You know, we never got to the falling-out stage with each other.

I've been clean and sober for 17 years. I am a control freak and must have a plan for everything I do now. I am also self-contained and happy.

I'm hugely affected by what people think. It could be a million people saying, 'Great.' And then one person writes, 'What the hell is this kid doing?' and starts slagging me off, for some reason, and then I have to join in the blog and sign in under a different name and go,'Why don't you like him?'

Everyone knows who Bonzo is - you can just go pick up those books and read these fisherman's-tale stories. But at home he was a regular dad who would ground me and embarrass me in front of my friends. He was in Led Zeppelin and he would still embarrass me!

If you had asked me in 2005, when I had just joined Foreigner, that I would leave the band in 2007 to play with Led Zeppelin, I would have said you're nuts.

I was listening to the 'Song Remains The Same' version of 'Dazed And Confused' and, oh my God, that is such an amazing version live.

After my dad passed away, I had this bizarre goal. I wanted to play drums for Led Zeppelin. I just wanted to be able to say, 'Dad, I did it.'

My dad provided me with a great way of life, and he was very charitable man.

Led Zeppelin sounded like nobody else. That spoke to the individuality of the band and the direction Jimmy Page wanted to pursue.