{"id":6305,"date":"2026-06-02T02:10:53","date_gmt":"2026-06-01T23:10:53","guid":{"rendered":"https:\/\/imgist.ru\/prodyuser-filma-zakulise-o-neveroyatnyh-kassovyh-sborah-v-118-millionov-dollarov-v-pervyj-uikend-prokata-telefon-ne-perestaet-zvonit\/"},"modified":"2026-08-29T11:52:17","modified_gmt":"2026-08-29T08:52:17","slug":"the-films-producer-behind-the-scenes-talks-about-the-unprecedented-118-million-box-office-in-its-first-weekend-of-release-the-phone-wont-stop-ringing","status":"publish","type":"post","link":"https:\/\/imgist.ru\/en\/prodyuser-filma-zakulise-o-neveroyatnyh-kassovyh-sborah-v-118-millionov-dollarov-v-pervyj-uikend-prokata-telefon-ne-perestaet-zvonit\/","title":{"rendered":"&#039;Behind the Scenes&#039; Producer on the Film&#039;s Incredible $118 Million Opening Weekend: &#039;The Phone Hasn&#039;t Stopped Ringing.&#039;."},"content":{"rendered":"<p>Chris Ferguson had a busy Monday after <em>film &quot;Backrooms&quot;<\/em> \u00bb&quot;,&quot; directed and produced in Vancouver by Kain Parsons based on his viral YouTube short film series and cost $10 million to make, grossed $118 million in its opening weekend worldwide.<\/p>\n<p> \u00abI\u2019ve never had so many people call me interested in my company,\u00bb Ferguson told the publication. <em>The Hollywood Reporter<\/em> On the phone, during which, as usual, he walks the blocks around his house while talking. &quot;And on Saturday, which is usually not a workday, I didn&#039;t go beyond three blocks from my house and walked 25,000 steps,&quot; he added.<\/p>\n<p> <strong>More from The Hollywood Reporter<\/strong><\/p>\n<ul>\n<li>\n<p> Why did the films &quot;Behind the Scenes&quot; and &quot;Whiplash&quot; spark rumors that they might be directed by &quot;ghost&quot; directors?<\/p>\n<\/li>\n<li>\n<p> The film industry is about to turn into something like VidCon.<\/p>\n<\/li>\n<li>\n<p> Jason Blum and James Wan on Whiplash and Behind the Scenes: &quot;Saving Our Industry&quot; and the Future of Blumhouse and Atomic Monster: &quot;The Disney of Horror&quot;\u00ab<\/p>\n<\/li>\n<\/ul>\n<p> Ferguson says that when he receives offers for new collaborations, his friends have gone from betting on his films&#039; opening weekend box office to betting on his daily steps, with Hollywood knocking on his door. &quot;Because the phone never stops ringing,&quot; he insists.<\/p>\n<p> But when it comes to 20-year-old Kane Parsons, whom Atomic Monster first pitched to his Vancouver production company, Oddfellows Pictures, Ferguson has little time to discuss his youth. &quot;The story of his early life intrigued me for about 24 hours until I had time to really connect with him. At that point, the story truly became about a man who was incredibly intelligent and curious, and unlike anyone else I&#039;d ever worked with,&quot; Ferguson recalls. <\/p>\n<p> \u00ab&quot;He&#039;s like a wise old man just waiting for his body to age. If you watch his interviews, it would make more sense if his face looked much older,&quot; he added. For his part, Ferguson isn&#039;t an old-school coach who believes new players need to go through all the stages before they can truly break into the game.<\/p>\n<p> Believing Parsons had what it takes to make his film debut after his YouTube web series, Ferguson assembled a film crew with a director and producer <em>\u00ab&quot;Leggy&quot;\u00bb<\/em> Osgood Perkins to help Parsons cope with his first feature-length film shoot.<\/p>\n<p> \u00ab&quot;I knew it would be best for him to immediately integrate into our tight-knit team that we&#039;ve been building for all the films we&#039;ve been working on for the past few years, precisely because I was essentially looking for an extension of his hand. He chose every camera angle for his YouTube series because he animates everything by hand. He chooses every art direction because he creates those models in 3D. He composes the entire score for the film. He does everything,&quot; Ferguson recalls. <\/p>\n<p> But a film set is completely different from shooting a web series. &quot;It&#039;s a different scale, a different timeframe, a different model. You need a lot of people to do all of that for you, and so I knew our team could be a great help,&quot; he added.<\/p>\n<p> The film, about a strange doorway that appears in the basement of a furniture store, was first announced in January 2023 as a co-production between A24, Chernin Entertainment, 21 Laps Entertainment, and James Wan&#039;s production company, Atomic Monster. But, like the director, <em>\u00abObsessions\u00bb<\/em> Curry Barker, Parsons was an unknown talent emerging from YouTube, and Ferguson insists it would be a mistake for Hollywood to rush to social media in search of something new in the world of horror cinema.<\/p>\n<p> \u00ab&quot;We&#039;ve all been considering a lot of options for a while now. And I&#039;m sure there will be some reassessment when everyone starts buying the rights to every random short film on YouTube. Not all of them are feature-length films,&quot; he asserted. Ferguson adds that Kane and Barker were essentially making long videos on YouTube.<\/p>\n<p> \u00ab&quot;I think people would make a mistake by taking a bunch of TikTok videos and turning them into feature-length films. The internet is a great platform for self-expression, but it still depends on people who are prepared to create long and memorable videos,&quot; he adds.<\/p>\n<p> The success of the film &quot;Behind the Scenes&quot; ( <em>Backrooms<\/em> ), filmed in Vancouver, also continues a string of successes for Ferguson and his producing partner Perkins through their joint production company, Phobos, which is backed by Neon. Released in July 2024, <em>the film &quot;Longlegs&quot;<\/em> established Perkins as a renowned horror director, grossing $128 million worldwide on a budget of less than $10 million.<\/p>\n<p> Neon released the first film, and its marketing campaign was hailed as a model for how to generate interest in a horror film. Perkins is already working on a new film. <em>about the Longlegs<\/em> , which will see the return of star Nicolas Cage, but Ferguson is keeping quiet about the project.<\/p>\n<p> Perkins also directed the film <em>\u00ab&quot;Monkey&quot;\u00bb<\/em> for Neon, also in Vancouver, and directed a local film <em>\u00abYoung People\u00bb<\/em> , although he and Ferguson had a rare box office flop with <em>the film &quot;The Guardian&quot;\u00ab<\/em> . Ferguson also explained why some of the biggest American independent horror films in recent years have come from Vancouver.<\/p>\n<p> \u00ab&quot;We&#039;ve been building a whole business here. We have an energetic young team who want to make films and are passionate about cinema. We&#039;ve been assembling this team gradually, since the company&#039;s founding. So I believe this is a credit to our team and our approach,&quot; he said.<\/p>\n<p> <strong>The Best of The Hollywood Reporter<\/strong><\/p>\n<ul>\n<li>\n<p> How the Warner Brothers Started Their Film Business<\/p>\n<\/li>\n<li>\n<p> Meet the World Makers: Hollywood&#039;s Leading Physical Production Executives of 2023.<\/p>\n<\/li>\n<li>\n<p> Men in Blazers, Hollywood&#039;s favorite football podcast, is aiming for a global empire.<\/p>\n<\/li>\n<\/ul>\n<p> Subscribe to the THR newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.<\/p>","protected":false},"excerpt":{"rendered":"<p>Chris Ferguson had a busy Monday after Backrooms, the Vancouver-based film directed and produced by Kain Parsons based on his viral short film series\u2026<\/p>","protected":false},"author":1,"featured_media":6306,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-6305","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kinoindustriya","hvn-theme-has-thumbnail"],"_links":{"self":[{"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/posts\/6305","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/comments?post=6305"}],"version-history":[{"count":2,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/posts\/6305\/revisions"}],"predecessor-version":[{"id":150180,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/posts\/6305\/revisions\/150180"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/media\/6306"}],"wp:attachment":[{"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/media?parent=6305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/categories?post=6305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imgist.ru\/en\/wp-json\/wp\/v2\/tags?post=6305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}