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.

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.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

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

A duped newspaper or magazine could contend that a fiction-spouting journalist obtained part of his salary via fraud, and use a criminal proceeding to try and recoup that money. Given the profession's notoriously low wages, however, it's probably not worth the publicity headache and legal fees. No news organization has ever pursued such a case.

It was always a challenge for me to prove that a Russian financial investor can be as successful in the West as back at home in Russia.

We now have poured in an enormous amount of resources into cancer. The National Cancer Institute Project, you know, runs about $5 billion a year. That's a large amount of money, but let's not be grandiose about the amount of money we're actually spending on a problem that is attacking us at the most fundamental level of the human species.

I am very conservative. I don't invest in anything that is risky. If someone comes to me with a project idea, I let them risk their money, not mine.