The Small-Screen Movie Brats: How YouTube Is Transforming Hollywood

Forget “Disclosure Day” and overlook “The Odyssey.” Instead, the two buzziest pictures in cinema at the moment are both low-budget horror films that have gone into near-instant profit thanks to their superlative success at the box office. “Backrooms,” which stars Chiwetel Ejiofor as a furniture store owner who finds himself navigating the increasingly horrific world of Lynchian endless striplit corridors — the eponymous backrooms — made the cult studio A24 more money in its opening weekend than any of its other pictures, including “Marty Supreme,”and has gone on to gross over $260 million internationally: considerably more than “The Bride!” or “Masters of the Universe,” both of which were far more hyped and expensive.Yet “Backrooms”is comparatively small fry when compared to the year’s biggest sensation, the ultra low-budget “Obsession.” It has grossed more money than “Backrooms“ — $287 million, and counting — but, almost uniquely in this day and age, it continued to increase its earnings weekend after weekend, thanks to glowing word of mouth, becoming the first picture since “E.T” to do so outside of the holiday season. It was made on a budget of around $750,000, with no name actors, and a central premise that owes much to the British writer W.W Jacobs’s classic short story “The Monkey’s Paw,” in which a supernatural artefact that grants wishes proves to have deadly consequences. The wish granted here, however, is to establish its writer-director Curry Barker as perhaps the hottest young filmmaker in the industry today.The similarities between Mr. Barker and “Backrooms” director Kane Parsons are striking. Both began their careers on YouTube, where they swiftly built loyal and engaged audiences, predominantly their own age, before branching out into cinema. Parsons, who called himself “Kane Pixels” online, may have had loftier artistic aspirations than Barker. He began posting short films based around the “Backrooms“ idea, which duly went viral and established him as an internet celebrity, which in turn led to A24 giving him a $10 million budget to turn his shorts into a feature. Rather sweetly, his parents accompanied him on his first Zoom call with the studio; he turns 21 on 18 June.Barker, meanwhile, is slightly older, 26, and consequently slightly more experienced. He was a self-confessed mediocre student at high school who spent his days watching horror pictures like “The Texas Chainsaw Massacre,” and set up a YouTube channel entitled “that’s a bad idea” that encompassed everything from sketch comedy to horror shorts such as “The Chair,” as well as getting minor acting roles in shows like “It’s Always Sunny in Philadelphia.” After “The Chair” amassed 10 million views on YouTube, he was approached to write and direct “Obsession,”which became his second feature film, and which has fulfilled the potential his shorts hinted at. He is now working on his third film, “Anything But Ghosts,”which stars well-known actors such as Bryce Dallas Howard and Aaron Paul, and is being made on a larger, although still tight, budget of $5 million, courtesy of horror supremo Jason Blum and his Blumhouse production shingle.Renate Reinsve in ‘Backrooms.’ A24Kane Parsons and Curry Barker will surely now be lumped in together as a contemporary version of the “Movie Brats” who once dominated Hollywood in the Seventies. Back then, the likes of George Lucas, Steven Spielberg, Francis Ford Coppola, and Brian De Palma were united by their love of cinema, low-budget beginnings at film school and through cheap pictures and, finally, their extraordinary breakthrough success with pictures such as “Star Wars,” “Jaws,” and “The Godfather.” Yet none of these films happened by accident. “Jaws” and “The Godfather” were both based on mega-bestsellers and while Lucas’s “Star Wars” was an original idea, it was a clever — some might say cynical — pilfering of everything from “Flash Gordon” serials of the Thirties to Kurosawa’s 1958 adventure film “The Hidden Forest” that gave audiences clean, exciting escapism.What the young directors of today have done is to replace cinema and literature with YouTube, which now exists as an opportunity for anyone to create an audience with minimal resources and, potentially, maximum exposure. It is symptomatic of contemporary filmgoers’ tastes that it is the horror genre that has thrived, although no doubt advances in AI will soon mean that budding David Leans and Christopher Nolans will be able to make epics on the scale of “Interstellar”or “Lawrence of Arabia”for the cost of a monthly subscription to whatever proprietary system offers the best resources. However, it remains unclear as to whether these films will attract audiences. The failure of the Saudi-backed “Desert Warrior” earlier this year suggested that unless someone like Ridley Scott or Mr. Nolan is directing, the public could not care less.It is more useful not to regard the new breed of YouTube-influenced directors as the next giants of cinema, but instead as the present-day equivalents of Eduardo Sánchez and Daniel Myrick, the young duo behind the horror phenomenon that was “The Blair Witch Project” in 1999. The picture grossed nearly $250 million back then, the equivalent of around $500 million today, and made its young filmmakers hugely wealthy. Yet neither ever achieved anything else even close to the same success, and further attempts to expand the Blair Witch mythology largely foundered. The last film in the “series,” 2016’s “Blair Witch,” could only muster $45 million amid dreadful reviews and hostile responses from audiences.YouTube may produce some successful filmmakers, but it is also responsible for a near-infinite amount of dross. For every Kane Parsons or Curry Barker, there are thousands of teenagers with an iPhone and a couple of friends who don’t mind messing around for a few hours, but the results are not interesting or worthwhile filmmaking. And the platform itself, while mighty now, may not last indefinitely. The British government’s recent decision to ban the service, along with all other social media, for children under sixteen may or may not be a valuable tool for parents, but it will also stymie nascent creativity in the young. In the event the Trump administration, or a subsequent Democrat government, do the same, then a whole generation of filmmakers will find a potential avenue removed.Joshua Leonard in ‘The Blair Witch Project.’ Artisan Entertainment via Getty ImagesCinema is currently in an uncertain state, and the success of original ideas from young filmmakers is to be celebrated, just as the failure of cynical IP-baiting pictures such as “The Mandalorian and Grogu” is an inevitable result of audiences being asked to pay to see films with no reason to exist. Yet I remain unconvinced that “Obsession”and “Backrooms”are the long-term future of the industry. Low-budget horror films have been popular for decades, and will probably do well as long as audiences like being scared. But there are other genres and other ideas that YouTube could potentially dominate. Take romantic comedy. There is no reason, for instance why “Four Weddings and a Funeral” might not be remade for a streaming service albeit reflecting a different world — “Three Bar Mitzahs and an Execution,” say. Or a low-budget superhero version of “Seinfeld,” where the characters sit around Manhattan coffee shops and kvetch about not being able to zap baddies any longer with their damaged ray guns.Hollywood is renowned for replicating the first signs of commercial success. So following the recent box office performance of “Backrooms” and “Obsession,” films influenced and inspired by streaming services are sure to be top of mind in the coming months. But perhaps some effort and interest might go into finding filmmakers who have not seemingly spent every moment of their formative years in front of YouTube.

The Small-Screen Movie Brats: How YouTube Is Transforming Hollywood

The Small-Screen Movie Brats: How YouTube Is Transforming Hollywood

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