![]() So the commercial success is not just the success purely because it made a lot of money, but like using money as a barometer for a low-budget movie versus a big-budget movie is kind of fun. Also, for our particular business specifically, we’re competing against movies that cost 10 and 15 and 20 times the price of our movies, so there’s a fun kind of underdog quality in that too. ![]() I don’t think I’m driven by one particular thing. Do I want to do better on the second movie? Definitely. Did I read all of the negative reviews about it? Totally. I look at The Purge as a big success, not just financially but because the concept is so unique and odd, and the fact that it worked makes me happy. But I think it changes – your barometer for success changes. When you have a hit, how to you determine what definitely worked, and what didn’t? What ultimately is your barometer for success for a film? Another example from your filmography might be The Purge, which was a commercial hit but left people with a lot of questions. And I’m glad we did otherwise, we’d get too bored. We had a totally different – it wasn’t like middle class or upper-middle class white suburbia. We released it at a different time of year, we had a different family. I think the mandate going into the movie was “let’s shake it up.” Let’s do something different. In that case, what was your mandate going into The Marked Ones from Paranormal Activity 4? So I think you take in all three of those things – critical, commercial, friends. And if a lot of them say that, you really listen. There are people who will say your movie’s great and other who will say you missed the mark. But mostly it’s a combination of people whose opinions you trust, who will tell you the truth. ![]() I guess it’s a combination of commercial success and critical response. ![]()
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