Producers Jason Blum and James Wan said the success of horror films such as Obsession and Backrooms shows that theatrical movies are far from finished and may be entering a new creative era. Speaking at the Produced by Conference on the Universal Studios lot, Blum described the current moment as “really exciting” for movies, arguing that post-COVID doubts about theatrical releases are being challenged by new kinds of filmmakers and audience demand.
Blum said the biggest shift is the rise of creators who first built followings online, especially YouTube and other digital platforms. According to him, these filmmakers are bringing a different mindset to horror and genre storytelling: they are experimental, audience-aware and eager to make “cool movies” for the big screen. He said films made by this new generation often feel “edgy and weird,” and he compared the energy around them to the rebellious spirit of 1970s cinema.
He pointed to Obsession as a strong example of this trend. The film crossed $100 million at the box office and, according to Blum, has achieved something no movie has done since E.T. by increasing its box office performance over two consecutive weekends after opening. Blum said that success reflects the close relationship digital creators have with their fans, noting that YouTube-based filmmakers tend to be deeply engaged with audience reactions and more open to test screenings than traditional directors.
Blum contrasted that approach with the experience of many filmmakers who come from more traditional backgrounds, saying test screenings can feel painful for them. In contrast, online creators often treat audience feedback as part of the creative process, even watching responses from the front row. He said that obsession with audience reaction helps explain why these films are connecting so strongly with younger viewers.
The panel also touched on the merger of Blumhouse and Atomic Monster, which closed more than two years ago. Blum said the partnership works because he and Wan bring different strengths: Wan is more creatively driven, while Blum focuses more on the business side. He described the combined operation as “two labels and one company,” with both brands keeping their own creative identities while sharing the rest of the business structure.
Blum said the companies’ strength lies in their ability to turn emerging talent into theatrical hits, even though that process is more difficult than it sounds. He also admitted that he initially did not fully understand Obsession, but backed it because he trusted producers Adam Hendricks and Greg Gilreath and believed in filmmaker Curry Barker’s vision. After that, he also committed to supporting Barker’s next feature, Anything but Ghosts, which Focus is expected to release next year.
Looking back, Blum said Obsession reflects a broader course correction at Blumhouse after a period of weaker box office results. He said the company made internal changes, including hiring Sam Zimmerman to refocus on low-budget horror and seeking out younger filmmakers through a stronger partnership with Divide/Conquer. Blum called the strategy deliberate and said the success of Obsession is proof it is working.
For Blum, the bigger lesson is that success in horror will come from staying restless and avoiding complacency. He said the long-term goal for Blumhouse and Atomic Monster is ambitious: to become “the Disney of horror” within five years.
