Director of Cinematic Arts at @marinschoolarts @MSACineArts
Writer/Director of @OuterWildMovie, Subject Two & more creepy fare. #supportindiefilm#stayindie
@JoeyMagidson Dude. He’s 20. He’s not there yet? WTF? He’s a lot further than just about anyone else. Where is there anyway? Why do we push a destination which only stems from someone’s own preferences? Not there yet? Where is he? Are you there? Are you close to there? What’s it look like?
Kane Parsons was asked on The Tonight Show what he would bring to survive the Backrooms, to which he answered:
“Hydrogen Bomb, a really big magnet, and a toaster.”
@CvatikPhoto He didn’t have the money or connections. He worked hard, dedicated himself to his craft, had a great concept and made it extremely well - and generated enough of an audience online to make it go viral. Talented with both creative and business acumen - and Hollywood found him.
@CruiseCrave You can say the same about most stars who were huge at one point. It’s HARD to make consistently strong and relevant movies /roles year after year. Hard pressed to think of examples of those that actuallly do this. Leonardo maybe?
Absolutely. And let’s not forget Tarantino, Smith, Linklater, and Rodriguez of the early 90s. Every 20-30 yrs or so, film shifts in a seismic way. Kane and Curry are spearheading them all this time around. This is a legit sea change. But…
What’s striking to me is that the film school generation of the easy riding raging bull mavericks, including Steven Spielberg, George Lucas, Francis Ford Coppola, Martin Scorsese, Brian DePalma & John Milius, who were underestimated by the old guard some 50 odd years ago have parallels with what is happening today with a new generation of @YouTube@YouTubeCreators /filmmakers. Mark Fischbach (Markiplier), Curry Barker, Kane Parsons (Kane Pixels), Chris Stuckmann & Danny and Michael Philippou (aka RackaRacka) are, in my opinion, the modern era version of this phenomenon. Is my comparison valid?
BACKROOMS is an astonishing box office achievement. So Is OBSESSION. But consider this. American Graffiti cost $750,000 in 1973. It earned $144 million. In today's dollars, American Graffiti made $1.2 billion on a $5 million budget. Nothing will ever come close.
@codyclarke I can’t speak of Barker - but I know Kane. I was there when it started. He did not manufacture any grassroots effort. He truly was discovered by building his own channel with his own content and hard work and great talent. In my classroom. Don’t mistake your cynicism for truth.
@basche42 There’s always a self congratulatory aspect w/ film articles. An inherent slant that film is the pinnacle of everything. It’s not. The success of Curry and Kane are proof - but now they get a larger spotlight. Film is not the end all be all but articles don’t recognize that.
@robertlasagna1 The cynicism here and in some replies is startling. If you don’t like or get it, fine but can’t deny its uniqueness and inspiring backstory. A teenager pulled this off and made history! To just dismiss it as ‘terrible movie’ with such seeming authority is sad & shortsighted.
When I first saw @backroomsmovie weeks ago I equated Kane & Curry Barker with marking a new film era.
Like Tarantino, Rodriguez, Smith, Linklater in 90s.
Or Coppola, Spielberg, Scorsese, Cimino, Lucas in 70s
Or Welles and Lean in 40s.
It’s amazing this is now true.
Okay #backrooms fans: question: you know that funny breaker switch that shouldn’t be there? Why was it there - when we’re not yet inside the backrooms?
Or ARE we? Theories welcome. Go.