Obsession and Backrooms are making waves at the box office. Producers Jason Blum and James Wan see these films as a throwback to the 1970s, a time when young filmmakers were shaking things up in horror.
At the Produced By Conference at Universal Studios, Blum and Wan, joined by PGA President Stephanie Allain, talked about the current state of cinema. They shared thoughts on how movie theaters are bouncing back after COVID and what lies ahead for their companies, Blumhouse and Atomic Monster.
Blum expressed concern about the sluggish atmosphere surrounding theaters since the pandemic. “There’s been a lot of doubt about whether going to the movies is still relevant,” he said. But he sees a silver lining with Obsession and Backrooms. Both films come from non-traditional directors who developed their skills online.
Obsession debuted on May 15, made by 26-year-old Curry Barker. With a budget of just $750,000, it’s now breaking records. It’s the first non-Christmas movie since 1982 to see box office growth in its second and third weekends.
On the other hand, Backrooms, created by 20-year-old Kane Parsons, is set to open this weekend. His $10 million film could bring in up to $90 million, potentially marking A24’s biggest debut.
Blum and Wan are also working on a reboot of The Blair Witch Project with Dylan Clark, a creator who began his journey online. “These filmmakers just want to create cool movies,” Blum noted. “They’re doing something different and edgy that resonates with younger audiences. Many young people missed out on theaters during the pandemic; now, there’s something for them to go see.”
Blum highlighted the impressive performance of Obsession. “It increased by 20 percent this weekend, following a 30 percent rise the week before. No movie has done that since E.T. That’s remarkable.”
Wan, known for his work on Saw and The Conjuring, discussed his long-standing love for horror. “I grew up watching greats like John Carpenter and Wes Craven,” he said. “Their influence drives me. I truly believe the horror genre keeps our industry alive.”
Looking ahead, Blumhouse-Atomic Monster aims to stay adaptive. With plans expanding into television and gaming, Blum expressed an ambition to become “the Disney of horror” in five years.
As these films gain traction, they remind us that creativity can thrive, even in challenging times.
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