Directing Actors and Future Projects

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Unlock a better way to make with Adobe Firefly It is Thursday, june fourth There are success stories in Hollywood, and then there are game changing success stories, the kind that are bigger than just one project Last weekend, Kane Parsons, who's twenty years old, became the youngest filmmaker ever to open a movie at number one when backrooms grossed eighty one million domestic and one hundred eighteen million worldwide psychological suspense thriller based on a four chan meme and a series of YouTube videos made by Parsons on his computer were' produced for just ten million dollars and released by A twenty four bigiggest opening ever That, along with the success of obsession, another young YouTuber named Curry Barker directed that one It's got people around town heralding a new renaissance of digital native filmmakers and original materials. Lots of talk in the media about this, including Lucas and I on Monday. You can find that episode. but I wanted to hear what Caine himself thinks about all this Must be crazy for a guy that young to suddenly be the toast of the town. Or is it? What kind of relationship with the business of Hollywood are these YouTube filmmakers going to actually have when at the end of the day, they kind of don't need the traditional entertainment business, or do they Canaine Parsons will now have any opportunity he could ever want So what will he do with that newfound cloud That's today's episode. It's Kaine Parsons, the youngest blockbuster director ever and Hollywood's relationship with a new generation of YouTube filmmakers. From the Ringer and Puck, I'm Matt Ellany and this is the Town. Okay, we are here with Kaine Parsons, filmmaker. King of Hollywood Any other titles you would like right now Hey Matt. Hey, thanks for having me. How are you doing? How is? How's this past weekend It's been interesting. It's actually, I think, more than anything just kind of been surprisingly relaxing, given how it's been such a crunch leading up to like the release of the film and the press tour and everything. just having it be a hard to cut off right pretty much on release day was actually quite nice, I'd say. It feels nice. I want to start with going back to you're sixteen years old You're making these videos You Get a message from Hollywood people interesterested in talking to you. Were you Excited or were you like, ugh, what do they want? It was excitement wrapped in pretty extreme skepticism. Sure. I think, you know, it was sort of a ballooning effect where without naming like names, like the first people who reached out were probably not like the most Hollywood people you could think of. But it did kind of creep over the next week or so and kind of like ping ponged its way up into a territory where it started recognizing names and started recognizing companies. and And you know, with that creep, like, you know, the people I were speaking to, it was obvious that there was a decent level of genuine interest in the idea. I was very creatively committed to backrooms at that time and I still am. but like right then I was like, You know, very worth exploring, but I've grown up seeing IP get sort of torn to shreds when you bring in a writer who doesn't know the material and when an audience kind of gets, I guess disillusioned with the growth of a project So I was just trying to be sensitive to that and sensitive to my own sort of authorship of the project So I think it was paranoia, but generally u, you know It did work out. Why do you think other than the The fact that this was a very clear artistic vision from you What about this process with the producers and the studio worked best S, do I do personally have a lot of gratitude for the ways in which they did lean into and support the ways I like to, you know conduct my pipeline on my own terms on my own time. you know, prepping the script was largely, you know, it was a collaboration between myself and Will Sudk, the writer Um where, you know, I had the world information and so I was able to calibrate a lot and we had like a general outline. like we blocked out the story before we went and wrote it. But like once we're actually getting into prep, I was just using Blender to previs and do, you know, look books for everything and be really, really specific about what I wanted the people who were on booard this project to seeing and thinking about and considering while we're like going day by day Um, Soorry I I think, you know, the openness around kind of going with with the flow, whatever that means with my Blender shenanigans and previs work was pretty fun Um, But know I think one thing that we willll say well I'm sure I'll caveat a few times to this conversation is I haven't been doing this long enough to identify some of these micro patterns and some of these trends that are maybe a little hidden, especially when we're talking about stuff that happened when I was sixteen. So I'm able to look back at it and try my best to analyze it with a critical eye. but Um But I do wonder what'll come from a few more years of being able to reflect and compare experiences a bit. Sure. And I imagine you're meeting with these filmmakers like James Wan and experienced producers, Dank Cohen, you know these guys, they they did James Wan give you any particular advice when you started on the path. James has been a great friend, I would say in like recent months near like the end of near post production Generally speaking, there was it was a pretty like There was a pretty lean team, I would say, leading up to, like being in prep for all of those years where I didn't really get a chance to meet James properly. L I ran into him a couple times over over the years, but I guess I think what I appreciate is that when he did come into the project in a more, you know, significant way was it was in the form of time coded notes that were literally just edit notes, like no English words to it. It was literally just like transposing a few numbers around on the edit timeline. and you know, I was grateful for those. those all worked. So he's quite surgical, I found in the way he works How much you then when you first started and now, how much do you even follow the business business of Hollywood. Not much currently. I think that's something that can come with time, and I'm sure I'll pick up a lot through osmosis, but to try to, you know, But you said there were names that you recognize. Like you had a passing A passing knowledge of just who the players were. Yeah, loose loosely Loosely, very loosely. Like I I had heard these names, but I was not like, um Not to say I don't I love film and like the whole craft and medum of film, but I would say that I haven't spent the hours thus far being like a proper historian and a proper buff when it comes to the growing and evolving culture of it in specific terms U it's a little more abstract in my mind, but but I think, you know, with time grows specificity and grows more intrigue. So U I'm trying to get my head round up. Well, I ask only because It gets to this question of what a filmmaker and a talent like you wants out of the traditional entertainment business, Hollywood. used to be you needed the gatekeepers to give you a career and to let you make your art And then the gates came down, but you still needed the industry to People know about your art to find it an audience. Now you don't need any of that So what is a filmmaker like you get out of Hollywood. Is it meaningful to you that this movie is grossing, what it's grossing Is it Just another thing you're doing? L what do you want out of this business Yes, emmotionally, like on a purely psychological level, I do feel very much the same as I did prior to this when it comes to, you, releasing online. And there's like a, you know, my YouTube following obviously it pales in comparison to what's going on with this film currently, but still at a certain point my brain can't comprehend more people than what I have there. It's like you can't even picture that many people standing in a room or an auditorium, or just it's too massive I think creative satisfaction kind of maxes out at a certain point and I'm really t. I think I always in project first where It's really just about the day to day work, sort of being invested in a project that excites me. And I think you know in terms of what I get out of this, it's more the ability I think you know, this film was a case of it, but I guess even more so in the future having the real ability to Um seek out specific talent and be able to have a meaningful like financial relationship with being able to to you know, make these projects and work together in an official capacity and U I think I think just you're not getting ten million dollars to do your YouTube videos and you're not getting too scaling production value. Yeah, you're not getting two oscar nominees to be in your videos and you're not, I mean, there must be some amazing satisfaction knowing that millions of people around the world paid money to go see your movie You can't match that on Youube. It's abstract and I think the financial area is where it gets the most abstract, but but But yes, it feels very strange and interesting to have backrooms be ballooned in such a hugely cultural way right now. because it was before but you can look at trend data, nothing like this I thought it was big before. I was I was wrong. I know. that and ultimately, I think that's the appeal. By the way Every agency in town wants to sign you. Are you going to take on an agent Uh, you know, I'm I'm aware of of the options and I I I you have a great management companies. Three Ats is good. I know I know your lawyer. But the agencies do want you Yes, yes. Yeah, my inbox is a nightmare right now. So I am considering all options and again, I think I think that that conversation will be expanded upon in the near future. Okay appropriately vag what do you think studios and the traditional Hollywood establishment should learn from the success of your film. You know, I can't adequately speak as an artist to the I guess the corporate interests on the side of these studios where I think, you know, there's going to be a real desire to try to recapture lightning in a bottle with what happened here. And I already see like tons of, you know, just memes and people humorously joking about how We're gonna to try to attach Logan Paul to direct the Skibppy toilet movie and it's going to be like this, this and this. Well, Michael Bay's already doing that one. Yeah I've heard. but you know, I think I think creatively, the answer is kind of obvious, which is that you need to patience and find and really identify the right kinds of projects that are going to be able to take off and really I think really submerge yourself if you're not or I think rely on people who are already submerged. I think I think trying to u jump into the deep end and pull up a project from like a niche internet community and expect it to aking to them within like a six month turnaround, it feels a little sloppy. It's you know, if you can identify people who are already working hard in that area who are just, you know, artists who who have made the internet their home because there's not really another outlet for them U you know, I think the more you can lean on that in an actual like holistically meaningful way Chances are you'll get some interesting stuff, but Truthfully, I'm not one to give advice yet anymore time. I get it. especially with something like backroms when you are adapting to some kind of interternet grown IP. and backgoms is a weird one just to say it in that I do have a specific fleshed out IP iteration of this thing online and that's the only relationship I have with backrooms meaningfully. Like it it is my specific interpretation and it follows a series online and the film exists in that canon U but it's a much, much bigger thing than just that. There's so many different you know, interpretations and projects people have done with it. so it is diffused. By the way A twenty four would very much like you to stop saying that because they will assert intellectual property rights over anyone else who tries to make a backrooms movie No of course, but I wouldn't be able to sleep at night if I did. So I know. No, I get it. and you're very gracious about that. I do think you did something with this that is not replicable So I don't think you or A twenty four has anything to worry about It's a mix spe. But I think making sure that that you know, when adapting a project, you're not just wearing the costume of the thing as it's grown over time, but you're going back to the root of what made the initial, you know, the inception of a project interesting and and sort of pulling from the same initial well, I think You know, it's kind of the mark of any hopefully good adaptation. And I just feel like you don't see it enough. You're pulling like way down the line. It's just like the costume of the thing. You just have the flashy characters, but but that's about it the DNA is gone. you've talked about how you feel there are a lot more stories for you to tell in this world, whether they be teelevision series or web series or Sels Where are you on a sequel right now? I heard that you are looking for a writer?. Yeah I'm not sure where that got out, that seems more like a hallucinated. Get used to it, man. The media sucks. Oh yeah, no, I got docs this weekend You did. Oh that's terrible. Yeah, it's been a fun time Yeah I know and I saw like there was coverage of your parents' house like it's kind of awful. Yeah. ye, yeah. All right, but let's not talk about that I'm curious what If any Legacy IP interests you Would you be curious do a Star Wars movie or to look at Star Trek or any of these kind of big properties. No, I think borrowing like one or two things from my personal childhood stuff from the early two thousands like one or two things really without naming them out loud other. you could name them If you name them The producers will be on your ass in twenty seconds Oh well maybe stuff may already be be moving a little bit. So Oh that's interesting. Those are the only things Yeah, pretty much nothing. I'm not too interested in IP work. I pretty much entirely want to focus on original projects, just because, you know, I do this because it's my way of processing life as is art. and, um I typically find needing to step into someone else's view of life tends to just kind of damageed the initial point for me. So the only ones I would look at are ones that have shaped my own experience of life so much that I feel like I have something to do with that conversation in the first place. So where do you get your ideas Oh. My brain I feel like What are you reading? What is your media intake? What is your you know, I know you're into gaming and stuff. I'm just curious. Yeah, I mean, it's a really assorted sort of diffused array of stuff where, you know, I've grown up with the internet as being like a, pretty big presence in my life as have a lot of people But I think I'm very much on like the science tuber side of the internet and whatnot. So it's a lot of people like Visauce Veritosium, staro pyro just like, you know, people who are just like engineers and technicians and just science enthusiasts just kind of, you know, just talking armchair style for fun about the stuff. And so that's kind of been a lot of my childhood. And then I think more recently it's transformed into Like I I I I've always been attached to science fiction as like a draw, like growing up was really into the portal games and half life and whatnot. But I have found over time that I'm more interested in the grounded parts of science fiction that I can see and interact with in my actual own life in reality and less interested in the stuff that can veer into the fantastical. And so I think with time, I've sort of become even more and more just drifting into like a techno further kind of place. like Daniel Suarez, I'm a big fan of Ted Sharing is great. I won't be able to do a good list of all the authors I read, but I read a handful of things from a few directions and it kind of averages out to just being you know, a general curiosity about the world as I'm entering into it into a meaningful way. You've said in interviews, you never really spent a lot of time in movie theaters and fell in love with movies like so many filmmakers talk about. I thought that was pretty interesting considering you've now got the biggest opening ever for someone your age Yeah. I mean, like I deeply enjoy going to movie theater. and I you know now having actually done this thing, I have such a greater appreciation for just the how much better the theatrical DCP mix is going to be. And and so than the near field suuddenly now with that awareness, I'm trying to go to the theater as much as I can. I have not done a good job of that yet because I've been all to well busy. but I I think I got more of this from like people talking about movies online, if I'm being completely honest. I think it's more the discourse in the the community and I'm very much a fan of things like you were saying before, it's like I am that kind of person who interacts with art likeike I like to pick one in a thousand things that I get into and when I get into it, I really get into it um, like so much that it becomes like a lifelong kind of obsession. L, you know, when I watch W watchatched Mr. Robot. And now I've watchhed it eight times This episode is brought to you by Holiday In by IHG Whenever I'm traveling for work, holiday In has always been my go to And now even more so than ever, it has a whole new energy, especially for business travelers. sppaces that feel like your living room and dining done right, from breakfast to dinner and drinks. 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Manage your activity with our consumer protection tools You said you personally opposed. to using generative AI in the creative process. which I thought was kind of interesting considering that you're a visual effects guy and so much of your upbringing was in creating visual looks and stuff with your computers. exxplain that a little bit and where how you're thinking about AI and the creative process Yeah, I mean, there's obviously a lot of applications and it's used as a buzzword. and you know it's very different to be actually you generating a backdrop versus automating a rotoscope task But I would say, you know barring menial tasks like rotoscoping and whatnot, I personally, like you said, am very opposed to the use of it in my work and in creative work in general. I think most VFX artists I know feel the same way. most mostost artists, you you know, you won't be hard pressed to find an artist saying the same thing I am. But I for my I guess I can explain it in my reasoning, which I think you know, the two things that I care most about with with my art are one, my relationship to the work and like enjoying the day to day of doing the work. And at a certain point you can, you know, you can rewind time fifty years and and do a same comparison with how I do everything on literally the laptop I'm talking to you on right now. So it's like the fact that I can do that in a timely manner is already a version of that scaling ease. But I do think there comes a hump where you lose such an extreme degree of creative specificity that when I I I can speak from my experience when I see in a project online u that generative fill or some sort of generative AI has been used in some way for some detail The part of my brain that desires to really live with the piece of art and like look into the details and the nooks and crannies and get excited about what I might see in the background or look for little details and and just look for our general deliberate richness in like the set direction that immediately goes away because if the artist is willing to make that kind of like completely arbitrary choice and whatever the u the tool they're using to, you know create that piece of media is going to obviously not be something that came from them, it's something that they didn't place there. If it becomes arbitrary I'm then open to conclude almost any choice in that project is arbitrary on a human level. And so I just kind of tune out. and so I want to make clear to people that that's Not ever like that would be a tragedy, I think It's interesting though, because you also said that the difference between working in Blender and working on a movie is that There are limitations on what you can ask Pople when you're working on a movie And there is the human element on the movie that has a lot of upside, but also has some downsides. Yeah. I mean like the downside isn' isn't tremendously terrible. And I think it's all dependent on like the resources any given project has. I think I think on our film, we got by pretty well and I think Um, you know, the downside would be a inability to convey hyers specific art direction where, you know, in relation to how the backrooms, for example, might might form itself, the underlying sort of scientific the pseudos scientific principles that this face uses in the web series that I'm very familiar with and a few people in my community are very familiar with, but someone who's coming on as a contractor for a brief window is not going to be able to get a rule book on Actually, I think I think maybe we should return to this conversation after I've explored a little bit further because you know, creating a rule book would be one of my goals and see how effectively you can kind of distill a lot of the logic and into a guide that can be sort of digested quickly. So I think these could be solvable problems, but I fromrom a creative standpoint, I think it's just a matter of like Yes, of course. You can't expect everyone on a project to be a hardcore fan of five years. That's just not reality at all. That's what I meant when I expressed that in the past Yes Is there a filmmaker out there that you look at and say that's the path? That's that's the goal. I want to be like that guy or girl. I don't like to narrow it down to one. I think there's a lot of like abstract individual projects I get excited by. I think when you blowat up to the whole scope of a career, I enjoy You know, I get excited at the idea of something that hasn't happened happening. What does that mean? Um just creatively or business wise Yes, there's no one path that I look at and personally say, I want that for me. I think it's more desire to take things one step at a time. And I think in terms of, I guess, cateive philosophy, the closest comparison that I would call a North star would be the way that Valve conducts themself with their projects. Obviously, that's on the game side of things. But I think I think the integrity they've expressed with you know, a lot of their their, you know, I guess the philosophy of like, don't make it if there's not like a a meaningful reason motifi motivating it behind the scenes if there's not something to You're quoting Tom Holland. he just said that about Spiderm Man four Oh D. ye Yeah, gave an interview where he said I want to know why we're making this movie other than just the fact that it's Spiderm Man four and it will make a lot of money I think that should be a baseline That's what I said. I'm like, isn't that didnn't somebody bring that up beforehand And should absolutely be a baseline. It's obviously not totally. but I also think that like, you know, valve specifically they take it to such an extreme where it's obviously motivated by by, you know the hardware and the tech aspect. And so, you know, I'm not Solely into film, I just like media curation in general. I like creating experiences for people by whatever means necessary. I do a lot of music work as well. and U I'd love to, you know, look at games in the future. U you know, I think I think I'm just still leaving a lot open and I'm kind of just taking it three year chunk by three year chunk right now. But I am enjoying this. All right, Craig has a question. Okay cameame You know, Backrooms is a very, you know, it's a deliberate film that demands your focus and attention Do you kind of coming from your generation like bemoan the attention span stereotypes of your generation. like do you see yourour movie and what you're creating is like a rejection of that. L Do you think about meeting your generation where they are when you're creating something in terms of like The first two seconds of a video needs to capture their attention. like do you think about that stuff or do you actually want to pivot or do you want to pivot and go the other way No, I don't I don't I want to, I think I if we're talking about like what my stubbornness might be, my stubbornness might be that I'm trying to ignore that as a need on the behalf of some people entirely and not play into it either way I can't tell you why I think it's probably just because I am of an audience that I like to think I have an okay attention span. Obviously, we've all been pretty brutalized by by the way that I don't want to say everyone, but like You know the content algorithms on a lot most platforms have done a decent number on a lot of my peers' attention spans and myself included to a degree, I'm sure Um But no, I think I make stuff for people who like spending who again, are like fans, who like to get obsessive with the things they consume and I think the sort of stuff I make is for people with a very specific kind of itch It's somehow balloon to a degree where it's being marketed to everyone, many people who do not have that itch U And I think the fact that it's working with as many as it is is, you know, certainly not something to complain about. Um it's amazing. And maybe it says more about, you know, how prevalent those sort of that sort of thinking is anyway. And Well, but I think it has to do with the collaboration You were shepherded by people who have a lot of experience both in making and releasing and marketing Movies So to the extent that they were able to, I don't want to say harness because it feels a little demeaning, but to work with you Almost you know, sort of mold your vision into something that might Connect with people who have nothing to do with your web series and don't know anything about it Yeah. I mean, that was quite deliberate. That was obviously something that has to come from the DNA of the project. Otherwise it wouldn't have transferred all the marketing in the world couldn't do that. But I think, you know, the marketing department was great. L I worked with them pretty closely to drive it closer to that place. And I think it came through like we did like fifty cuts of the main trailer and I got to, you know I it was I was probably more like twenty five, I'm exaggerating. But but yeah, and then I did like sound design with Yoheno in Vancouver. U on it. So, you know, it it's all been pretty hands on and pretty collaborative. That's it's all been so small and contained until sudenly now it's not, and suddenly it's this giant global thing. Right what surprised you most about making a movie movie? Yeah, what was it like directing Oscar nominated actors? Yeah. People ask me, I mean, they are as individuals, very interesting, great kind intuitively skillful people So it's like This is kind of, yes, the money is going to a good place in that regard, obviously. It's like not to think of it mechanically, but like I I think my my job was to, you know, have all the all the answers that I possibly could and then have, you know, be able to sort of put up walls that restrict the flow of sort of unrefined growth, I guess, so that it's able to travel in a specific direction in the way that I'm looking for per the the prevision, you know and per the general direction That's just what directing is. I'm just saying what directing is. But but It was good. It was very good. I guess is what I could say. Cid you seek advice or direction for how to direct or did you just go in being like, I'm going trust my gut and do what it feels right Well, I didn't know if it would go well. L I had no idea. I had I hadn't worked with people at the scale. it's a binary. It's like one day I haven't and then the next day I have. I think there was a lot of run upp time where it's not like I go on set and all these people are strangers and like knew like I'd been speaking with the cast for like a couple months at that point. and we had gotten on very friendly collaborative terms. So you know, the first day on set felt more like the twentieth day in terms of how much I've been talking to everyone and how much we had also have been living with the project. So well, they look like geniuses now But I imagine there was probably a little trepidation signing on to film made by a guy who at the time was eighteen, nineteen years old. I wouldn't blame them, but I can't speak for them either. What are you doing for your twenty first birthday? It's a couple of weeks U I don't have any plans. I don't really celebrate my birthdday as much. I know I know I'll I don't know, it's it's I I something sappy and corny like how I don't know, everyvery day is equally special and whatnot and it's like, why? No really? I don't know, years are a little arbitrary in some ways I find I don't know. I will do I will be with my family and there will probably be a cake involved. Well, it's a remarkable achievement. You should be really proud. And, you know, there's a lot of gross people in Hollywood, but there's a lot of people that are really smart and are really good at doing this business. So hopefully you will surround yourself with those people and have a very long and very successful career Thank you very much, Matt We're back with the call sheet Craig, it's so funny that we've been talking about backrooms and obsession and sort of the question of whether old IP is still relevant. And then this weekend, we've got two properties from one's from twenty five years ago, scary movie, scary moovie six. and then one is from the eighties, Kyman and that' was of the universe. So a nice little test this weekend It's a great microcosm of really old IP and kind of this millennial IP that we're saying kind of works now in Scary Movie. Yeah, big, big discrepancy in the budget for these movies. Masters of the Universe is like one seventy five and Scary Moie, I believe is under fifty But the result this weekend could be the opposite. Scary Movie is at forty seven million for the weekend, according to NRG. I've seen estimates right around there. And masters of the universe has been dropping lately. It is at thirty three for the weekend, according to NRG These properties mean anything to you? Scary moovie, D definitely. I mean, My friends and I watched those growing up, they're very funny. He manan in Masters of the Universe means absolutely nothing. And I think I mean I think it sounds like the reviews of this movie are that it leans into the camp much more than you think and it is like fully self aware of what it's doing, but still, no big stars. I would I'm going to take the under on that. Oh, how dare you? Jared Leto as skeletor. We don't even know that it's him and he's done zero press because he got quasi meued last year Even if he did do press, would that really help? I don't know I don't know. I mean, clearly, they don't think so because he's literally done nothing, but which is bizarre because they paid him a lot to be in it Scary movie, the last one opened to fourteen million. In twenty thirteen. So it's been thirteen years since they did one of these. Yeah, I mean, that that the fifth one was it bottomed out Yeah Well, and they kicked the Wayanses off the movie, off the franchise and now they're kind of trying to reboot it with them, which I think is smart Leaning into the nostalgia thing. The question is, is it going to take off like these movies have past few weeks? Is forty seven The low number. L do you take the over or under on forty seven? She feels little high of me to be honest Oh, it does. I'm going to take the over I think it's going to go way past that Oh really I do How big? you think it's going to get to fifty five, sixty or something like that? Don't judge me, but I think it could get to high fifties. Oh, o. But for the purposes of this show, I am taking the over on forty seven million for sccaary. I just don't know if it's a crowded space and if like more obsession in backrooms is going to eat into this movie much more than they anticipated It could be But I think it's a slightly different audience. I think it's a little bit older for the nostalgia stuff, and I think it's a comedy. I mean, this is a fun movie. It's not you know, despair and you leave feeling bad. I hope it does really well. obbviously. It's like, you know, Naked Gun did okay. That's an obviously older IP that they brought back. But this is right in that sweet spot of early Ots millennial nostalgia IP. Yeah. And I think they've leaned into it. the marketing's funny. Masters of the universe, that's the big question. thirty three kind of seems low for something that's been marketed this much and the reviews are decent. Yeah, I mean, if they keep dropping a number eventually maybe the over would look enticing. I know, but I'm still taking the under I can't endorse this movie. It looks just like such a crass IP play that I think people are seeing through that. And I don't think it means anything to younger audiences. and dads like me, I'm not taking my ten year old The Masters of the universe has no interest in this. Also just like the chasm between what masters of the universe is trying to do versus Obsession and backrooms being in theaters, something they masters of the universe did not anticipate at all There is there's no one under thirty five that will be going to see Masters of the Universe while b backrooms and obsession are still in theaters We'll see We'll see. So you are you over under on thirty three I'm gonna take the under. So we're both under on thirty three Both over No, I'm over On forty seven for Scary Mvie, you are under. The question is, what do you think backrooms will do in weekend two? I think it's going to drop, but not by much. It'll probably drop thirty, forty percent which would be Amazing for a horror movie. You think it'll still make fifty is million dollars this week? I think it'll still do like forty fifty. so that would be about fifty, fifty percent drop So do you think do you think backrooms will outgrow scary movies? M It'll be close I'm not prepared to make a prediction I think it will You think it will. Okay I think it will. I think it's going to hold. And that's the universe is going to get lost. And will obsession go up again? That's the real question. Apparently it looks like there's it has a fighting chance, which would be remarkable. That would be crazy four weekends in a row Yes. man Wild times. All right, that's the show for today. I wantan to thank my guest, Kane Parsons, producce Craig Horrback, artitor Matt Pevck. and I want to thank you. We will see you next week This episode is brought to you by FX's loveve story, John F. Kennedy Jr. and Carlyn Bassette The critically acclaimed series explores the undeniable chemistry, whirlwind courtship, and high profile marriage of one of the most iconic couples of the twentieth century with Sarah Piidgeon and Paul Anthony Kelly leading a cast including Naomi Watts, Constant Zimmer, Alessandro Nvola, and Grace Gummer