Sean Fennessey

And Curry Barker did not have James Wan and Oz Perkins shadowing him while he was making that movie.

His father, you know, worked in the business in some respects and understood things.

And he was working with James Harris, the seasoned producer, but...

The things that are in the movie that I think your kind of classic film critic think don't work, like the way that the film is lit, for example, that would have been fixed on a studio film.

Like, a 26-year-old would not have been allowed to kind of make that mistake, quote-unquote.

And I think that that mistake, which feels wrong to a certain kind of trained movie-watcher eye, is actually working to an untrained eye.

It's so funny, though, because most of the movies that we think of as the foundational generational horror films and like, you know, you and David and Alex Ross Perry did this legendary episode on Halloween on your show.

And, you know, Alex talked a lot about the kind of the groundwork of a certain kind of a horror movie.

Right.

But so if you look back at Night of the Living Dead or Texas Chainsaw Massacre or Last House on the Left or even Halloween to some extent.

Those are films that feel handmade independently that have flaws that are not polished.

And I'm not comparing Obsession qualitatively to those movies.

It's not really in their realm in terms of what it's doing.

Although I do think socially it's getting at something about...

desire and sexual relationships generationally but I don't think it's kind of as sophisticated as like what Night of the Living Dead meant about the violence that people were experiencing in America at a certain time whether it be in our country or in Vietnam or all these other ways you can read the film but I just say that to say that sometimes that unpolish

is so essential for a horror moment.

And that the more that something is groomed and buffed, the more suspicious the core audience becomes of the product.

And so that's why this era... And you know, Blumhouse has been guilty of this.

of trying to scale up their movies and IPify their movies over the last seven or eight years and getting away from these kinds of movies has been completely antithetical to, I think, what is at the core of the fandom.

You can say there are counterexamples that the Conjuring franchise, being as big as it is, kind of runs counter to that.