{"id":1834,"date":"2026-06-15T13:05:56","date_gmt":"2026-06-15T13:05:56","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=1834"},"modified":"2026-06-15T13:05:56","modified_gmt":"2026-06-15T13:05:56","slug":"curry-barker-got-his-wish-inside-the-obsession-directors-wild-month-exclusive","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=1834","title":{"rendered":"Curry Barker Got His Wish: Inside the \u2018Obsession\u2019 Director\u2019s Wild Month (Exclusive)"},"content":{"rendered":"
\n<\/p>\n
\n

\nCurry Barker was deceived.\u00a0<\/p>\n

\n\tLast week, the 26-year-old writer-director of Obsession<\/em> was told was going to a routine meeting at the Focus Features offices in Universal City. Instead, he arrived at the production company to find himself facing 250 employees \u2014 all holding glasses of champagne.<\/p>\n

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\n\tBarker thought \u2014 for perhaps the hundredth time in recent weeks: Holy shit<\/em>.<\/p>\n

\n\tFocus Chairman Peter Kujawski declared, \u201cCongratulations on the biggest movie Focus has ever had!\u201d The employees burst into applause and toasted Barker\u2019s success.<\/p>\n

\n\tThen Kujawski held out a box. \u201cIn the music business, they hand out gold records,\u201d Kujawski said. \u201cWe don\u2019t do that. So here\u2019s this.\u201d<\/p>\n

\n\tInside the box was, of course, a One Wish Willow \u2014 the spell-casting prop from Barker\u2019s hit film. Only this willow was in a glass case \u2026 and gold.\u00a0<\/p>\n

\n\tIt was a fitting gift for a young filmmaker from Alabama who, during his film\u2019s pre-release marketing tour, had snapped a One Wish Willow toy as part of a press stunt. \u201cI wish for Obsession<\/em> to be a huge hit at the box office,\u201d Barker declared at the time.<\/p>\n

\n\tThen, like a character in his own story, Barker\u2019s wish was fulfilled to an almost supernaturally sarcastic extent: His movie shot for just $750,000 has toppled one box office record after another on its gravity-defying trek toward $300 million globally. Almost overnight, Barker became the hottest young horror director in the industry (he has already shot his follow-up, Anything But Ghosts<\/em>, and has signed to write and direct an A24 reboot of Texas Chainsaw Massacre<\/em>). One company even offered Barker $10 million for literally whatever idea he wants to pitch next.\u00a0<\/p>\n

\n\t\u201cIt is like when The Wish gives you more than you bargained for,\u201d agrees Barker, who got his start by posting sketch comedy and horror shorts online while working in a coffee shop. Producer James Harris took a chance on his Obsession<\/em> script, then Focus picked up the project at last year\u2019s Toronto International Film Festival.<\/p>\n

\n\tBelow, in his first-ever cover story interview, Barker gets candid about what the last month has really been like for the Gen Z filmmaker. From those tumbling box office records, to being overwhelmed with career options, to suddenly having famous friends, Barker lets us live vicariously through his Hollywood dream come true.<\/p>\n

\nFirst, I want to walk you through the wild ride you\u2019ve been on since Obsession<\/em> was released. The film was initially projected to open at $8 million to $10 million, which seems funny now. What was your reaction when you heard that?<\/strong><\/p>\n

\n\tA little disappointed. I\u2019m a dreamer. The film was bought for $15 million, so I was hoping it would make at least that [on opening weekend]. People told me that doesn\u2019t really happen.\u00a0<\/p>\n

\nThen it made $7 million its first day \u2026\u00a0<\/strong><\/p>\n

\n\tI told myself, \u201cI\u2019m not going to turn off my phone. I\u2019m going to check the numbers every moment I can.\u201d So when I woke up that morning and I saw that number, my jaw dropped. I was like, \u201cHoly shit. What does this mean?\u201d My agent, manager and I made a pact: If it passed $20 million that weekend, we would get tattoos of the One Wish Willow. But it didn\u2019t.<\/p>\n

\nIt came close \u2014 <\/strong>$17 million. Then weekend two is when things began to get crazy. Because the numbers went up, which almost never happens.<\/strong><\/p>\n

\n\tWhen it made $27 million, I couldn\u2019t believe it. I\u00a0didn\u2019t know that was an option. Like I didn\u2019t think it was mathematically possible. It became a word-of-mouth movie. I started going to the theater to sneak in and watch the film too because I wanted to be part of this thing. \u00a0<\/p>\n

\nDid it feel different to watch it with a non-premiere, non-festival audience?<\/strong><\/p>\n

\n\tYeah. It was so exciting to be with a crowd \u201cin the wild.\u201d I told my friends, \u201cI\u2019m not going to watch the whole thing. I\u2019ve seen it too many times.\u201d I ended up watching the whole thing. I\u2019m not going to lie \u2014 I\u2019ve done that three or four times.<\/p>\n

\nAnd your phone must have been ringing \u2026<\/strong><\/p>\n

\n\tThe opportunities were just unbelievable. I realized I can do whatever I want now. My whole career, I\u2019ve had to come up with crazy ideas and pitch them and if it didn\u2019t go over well, I\u2019d have to come up with something else. They were like, \u201cIf you could do any movie you wanted, what would it be?\u201d I was like, \u201cWhoa. Let me think about that for a second.\u201d\u00a0<\/p>\n

\nWhen the box office numbers went up yet again for weekend three, it tied a record for week-over-week growth that went all the way back to 1982\u2019s E.T. the Extra-Terrestrial<\/em>. Did other filmmakers reach out?<\/strong>\n<\/p>\n

\n\tYeah, that\u2019s when people really started to reach out. Nathan Fielder reached out. Tim Robinson, who I freaking love. Steven Spielberg, Christopher Nolan and Paul Thomas Anderson publicly said things. I was becoming numb because it was so unbelievable, my brain couldn\u2019t really process it.<\/p>\n

\nIt also seemed like every entertainment outlet was suddenly doing a \u201crise of the YouTubers\u201d story given Kane Parsons\u2019 Backrooms<\/em> opened to $118 million globally that weekend. But you actually did the classic Hollywood thing of moving from Alabama to L.A. when you were 18 to make it in showbiz. Like that\u2019s the old-school way of breaking in.\u00a0<\/strong><\/p>\n

\n\tExactly. I never thought of myself as a YouTuber. I feel my journey isn\u2019t that much different from the greats we know and love like Spielberg \u2014 not to compare myself to those people, but they started by making short films. They made films over and over until finally someone gave them a chance. YouTube was just a platform. Also, most of our fame started on TikTok, then we started putting [videos] on Instagram, and then<\/em> we started putting them on YouTube. It\u2019s just a buzzy thing to say \u201cthis is a YouTube thing.\u201d<\/p>\n

\nDid you trade messages with Parsons as all this was going down? \u00a0<\/strong><\/p>\n

\n\tWe very briefly chatted but haven\u2019t really talked. He followed me on Instagram, I followed him back, and that\u2019s been it \u2014 nodding our heads at each other in a way that feels very internet style. I\u2019ve heard he\u2019s such a nice kid and wish him nothing but the best. I\u2019m definitely down to chat. I\u2019d love to talk to him because we\u2019re having very similar experiences. \u00a0<\/p>\n

\nDo you think you still would have been able to accomplish what you did if you had stayed in Alabama and made content from there?\u00a0<\/strong><\/p>\n

\n\tI feel like people can stay in Alabama and accomplish this. For me, moving to L.A. kind of put me in a city where I felt like this was possible. The industry is all around you, and it\u2019s contagious. It fuels you to drive past Warner Bros. every single day and wish I could go on the other side of that fence. In Alabama, [Hollywood] feels so far away that it doesn\u2019t feel real. If my parents weren\u2019t so supportive, I don\u2019t know if I would\u2019ve had the guts to move out here.<\/p>\n

\nDuring the fourth week of release, there was a viral Instagram post from the film\u2019s art director (Sally Choi, who criticized being paid $6,741 and advocated for industry change on low-budget films). I know you didn\u2019t produce the movie and aren\u2019t responsible for writing checks. But I wondered if you have feelings about this.\u00a0<\/strong><\/p>\n

\n\tI have nothing but respect for the art department, and the work they did was extraordinary. Everybody on this film worked so hard and they deserve to be recognized. This movie was made for so little money that it\u2019s typical that the only people who [directly] benefit from its financial success are the people who took on some sort of risk. But what I hope is that every person that worked really hard on this film will see opportunities to catapult their careers in ways that can be very financially fruitful for them \u2014 like what\u2019s happening for me.<\/p>\n

\nSpeaking of which, I heard there\u2019s been a bit of a feeding frenzy over your short films \u2014 that people are looking to see if there\u2019s like another Obsession<\/em> in there.<\/strong><\/p>\n

\nThe Chair<\/em> could definitely be a horror film. I think eventually it would be cool to bring a feature version of the haunted chair story to life. Milk and Serial<\/em> [about a serial killer with a YouTube prank channel] is probably going to happen [as a film]. I wonder if there\u2019s an opportunity to bring somebody else onto Milk and Serial<\/em> and I\u2019ll produce but not necessarily direct.\u00a0<\/p>\n

\nThere\u2019s been debate over what lessons Hollywood should take from Obsession<\/em>. What lessons would you like to see Hollywood take from it?<\/strong><\/p>\n

\n\tI saw \u2014 I think it was Hollywood Reporter<\/em> actually \u2014 a \u201cWho\u2019s the next Curry Barker?\u201d story. I did comment on a video like, \u201cGuys, I just got here!\u201d But as for what Hollywood should take away from it \u2014 and not to sound conceited \u2014 but they let me do my own thing. And because it was such a low-stakes movie for these people, they didn\u2019t feel like they needed to babysit the process. So let a filmmaker take the reins and have creative freedom and not try to stick your claws into it is a lesson Hollywood should learn.<\/p>\n

\nWhat do you wish studios understood about Gen Z audiences \u2014 who are now the biggest moviegoing population?\u00a0<\/strong><\/p>\n

\n\tI wish they understood that we\u2019re tired of slop. We want good movies back. People are still hungry for movies that are original without some big IP, as long as the story is good.<\/p>\n

\nYou\u2019ve said <\/strong>there were multiple moments on Obsession<\/em> where you fought for things that others doubted. What\u2019s an example?<\/strong><\/p>\n

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\n\tThe [scene where there\u2019s] money dropping from the ceiling was a big battle for me.<\/p>\n

\nI wouldn\u2019t have expected that. Because there\u2019s an element of comedy to it?<\/strong><\/p>\n

\n\tYeah. I wrote the script and pitched it as a horror movie. Some people got to that scene and were like, \u201cOh, this is silly. This is a silly movie where money falls from the ceiling. You have to take it out.\u201d I\u2019m like, \u201cNo, it\u2019s not silly. It\u2019s crazy that it\u2019s real.\u201d They didn\u2019t understand that the way I was going to shoot it wasn\u2019t going to feel silly. I had to fight for it.\u00a0<\/p>\n

\nI found it fascinating how the movie handled the tricky issue of consent. From the first night Bear (Michael Johnston) and Nikki (Inde Navarrette) spend together when he\u2019s worried about crossing a line, to the Hansel and Gretel poem at the party, and many other moments, it\u2019s clear you put that issue front and center \u2014 only in subtle ways. I wondered if there was nervousness about that aspect, and if anybody wanted to make it more clear what side the movie was on.\u00a0<\/strong><\/p>\n

\n\tYeah, there was. When we were shopping this around, there were companies that told me they would give me $2 million if I just rewrote the script to make Bear a hero. I was like, \u201cI\u2019m not rewriting the script to make Bear a guy that does all the right things. It\u2019s so much more interesting that he doesn\u2019t do the right thing and instead tries to make [the relationship] work and he just keeps making bad decision after bad decision.\u201d The movie would have been so boring if Bear was going on a journey to figure out the lore of the One Wish Willow.\u00a0So I turned down more money to tell the story that I was more interested in telling. <\/p>\n

\nYou\u2019ve talked about casting Inde and how she nailed the wide range of notes the character needed. Was there a particular moment you knew you made the right choice?<\/strong><\/p>\n

\n\tThere was a moment when shooting that we were nervous about, because we hadn\u2019t yet seen her do any of the big explosive [acting]. She\u2019s very reserved in rehearsal, which is pretty common. We were on set and she was on the bed kissing Bear. My producer, Haley Nicole Johnson, and I looked at each other like, \u201cOK, here we go. I hope she can do this.\u201d I [said to Inde], \u201cYou\u2019re going to look at Bear, look around the room, realize where you are, and freak out.\u201d Then she did it and \u2014 boom<\/em>. First take! That\u2019s what we used. I was like, \u201cOK, this movie might work.\u201d<\/p>\n

\nHas Focus given you a sense of whether there will be an Oscar campaign?\u00a0<\/strong><\/p>\n

\n\tThere\u2019s going to be an awards campaign. I\u2019m not sure exactly what that entails. I\u2019m not trying to get my hopes up about it and stay focused on what I\u2019m doing next.\u00a0<\/p>\n

\nLet\u2019s get into that. I know you haven\u2019t written the script for your take on Texas Chainsaw Massacre<\/em>. But how do you take something that\u2019s been made and remade so many times and make it feel fresh?<\/strong><\/p>\n

\n\tI wouldn\u2019t be interested if I didn\u2019t think I could find a way in that feels fresh and new, while still respecting the original. The canon itself is all over the place, so there\u2019s not much to stay loyal to other than the original. I want to make a new generation of people scared and give them this feeling of: \u201cWhat if you went on a road trip with your friends and this happened to you?\u201d I want to capture the rawness and the grounded-ness of the original.\u00a0<\/p>\n

\nYou recently watched the previous 10 films. Is there anything you learned about what works and what doesn\u2019t in this franchise?<\/strong><\/p>\n

\n\tSome of those movies just turn out to be a guy with a chainsaw chasing a person around. It doesn\u2019t work to just have a chase movie. They\u2019re hiding in a barn. It gets old. And I don\u2019t buy it \u2014 a chainsaw is loud but they don\u2019t hear it? I hate when you\u2019re watching a movie and you\u2019re thinking, \u201cJust do this [instead].\u201d\u00a0<\/p>\n

\nYou\u2019re currently editing your next film, Anything But Ghosts<\/em> (which stars Barker and his YouTube channel partner and Obsession<\/em> actor Cooper Tomlinson as ghost hunter con artists who encounter their first real haunted house \u2014 which is owned by characters played by Aaron Paul and Bryce Dallas Howard). Is there anything from the reaction to Obsession<\/em> that\u2019s impacted your post-production on that film?<\/strong><\/p>\n

\n\tThere was a time when Obsession<\/em> was on the festival circuit that Cooper and I were thinking we needed to make Ghosts<\/em> scarier. It affected the script a little bit. It\u2019s a buddy comedy, but it\u2019s still going to be scary and messed up. You can\u2019t not have these feelings when your first movie is breaking box office records and you\u2019re in your room editing your next movie thinking, \u201cOh my god, did I take this beat from Obsession<\/em>?\u201d Thank God I have people around me to ground me and tell me that Anything But Ghosts<\/em> is good and different, and that\u2019s OK. Nobody wants the same movie twice. So people can expect it to be very different than Obsession<\/em>, but my voice will still be very strong in it. \u00a0<\/p>\n

\nYou shot this film before having any idea of how big your profile was going to get. Now that you know your second film is going to be a big deal, does it make you nervous to put yourself front and center as a lead in the film?<\/strong><\/p>\n

\n\tNo, because I was meant to play this character. This character is really fun because I got to play a really selfish guy who doesn\u2019t realize how rude the things he says sound when he\u2019s saying it. He\u2019s a con artist and lacks empathy and he has to learn to empathize with people. There\u2019s real growth to the character, and to Cooper\u2019s character. If I\u2019m worried, it\u2019s comparing it to Obsession<\/em> that\u2019s hard.<\/p>\n

\nYou\u2019ve said you were nervous to direct Aaron and Bryce. What about acting opposite them?<\/strong><\/p>\n

\n\tIt was only intimidating for a day, then I got over it. And it wasn\u2019t [nerves] about acting with them, but about being in the film in general. I knew the producers were going to be watching and [thinking], \u201cWe let these YouTubers be the leads of this movie. I hope they can carry it.\u201d I was like, \u201cI got to show them I\u2019m supposed to be in this.\u201d<\/p>\n

\nI don\u2019t think people realize you\u2019ve appeared in a few things as an actor and went to tons of auditions. When you first moved to Hollywood, how much of your goal was to be a filmmaker versus an actor?<\/strong><\/p>\n

\n\tMy love for acting started at a very young age. When I moved out here, I went to film school, but I was in the acting program. I tried to audition for everything and luckily booked a couple things here and there. But my love for filmmaking is something that grew and grew and grew.\u00a0<\/p>\n

\nYou\u2019re still living in an apartment with Cooper and The Chair<\/em> star Anthony Pavone. Have you guys talked about getting a bigger place, or your own place?<\/strong><\/p>\n

\n\tI still live in the same apartment I\u2019ve had for the last three years in my tiny room. We\u2019re still going to live with each other and we\u2019re just going to try and get an upgrade. I\u2019m not going to go crazy. I just want enough closet space for my clothes and shoes.<\/p>\n

\nSomebody said you also have 200 pairs of eyewear.<\/strong><\/p>\n

\n\tAbout 60 or 70. As a kid when watching Kingsman<\/em>, I thought those glasses were so cool. Even watching Harry Potter<\/em> as a kid, I would search at the glasses shop to see if they had round glasses. I think Jacques Marie Mage is my top favorite.<\/p>\n

\nDo you expect Cooper to continue to be your creative partner on all projects? Or do you see<\/strong> yourself doing solo work?\u00a0<\/strong><\/p>\n

\n\tAbsolutely. We\u2019ll always work together. I have my solo things. I don\u2019t think Cooper\u2019s going to help me write Texas Chainsaw<\/em>. But we\u2019ve got a lot of stuff going on and I\u2019ll always ask him for input. I\u2019ll ask him to come on and produce. We\u2019re becoming our own production company.\u00a0<\/p>\n

\nWho do you turn to for professional advice at this point?<\/strong><\/p>\n

\n\tI\u2019ve been reaching out to my heroes, and they\u2019ve been reaching back. I\u2019ve befriended [Weapons<\/em> director] Zach Cregger. [Hereditary<\/em> director] Ari Aster. I had a dinner with Zach and [Alien: Romulus<\/em> director] Fede \u00c1lvarez the other night and picked their brains and asked them for advice. They\u2019re all so welcoming and I feel like I\u2019m part of this community now. Apparently there are these dinners where a bunch of directors get together and talk about stuff.<\/p>\n

\nWhat part of success has been disappointing, or not what you thought it would be? \u00a0<\/strong><\/p>\n

\n\tAll you see is the glory of [celebrities] and you assume they\u2019re living this super fun life. I think it would surprise people if they saw my day to day. I live pretty humbly and my life is kind of boring. I\u2019m not complaining because I choose this. I could make my life more interesting, but I\u2019m a pretty boring guy.<\/p>\n

\nSo what do<\/em> you want to do next?\u00a0<\/strong><\/p>\n

\n\tThe big conversation is: Do I want to do an IP movie? Or do I want to do my original? I have an idea for my original, but I have so many ideas for Chainsaw<\/em> as well. I have a lot to weigh and that\u2019s where the stress really comes from. I don\u2019t know what to do next.<\/p>\n

\nIs there something you know you don\u2019t want?\u00a0<\/strong><\/p>\n

\n\tI don\u2019t want to go straight into Obsession 2<\/em>. I have such a cool idea for it that I won\u2019t say. I\u2019m not saying it has to be five, six years from now. But I think people would be just as excited for it if it came a little down the road. It\u2019s a whirlwind and I\u2019m trying to figure it out.\u00a0<\/p>\n

Read more Fox to Acquire Roku in $22 Billion Deal<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Interview: The 26-year-old ‘Obsession’ filmmaker on the thrills and pressures of suddenly becoming the most-wanted young director in Hollywood<\/p>\n","protected":false},"author":1,"featured_media":1833,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[16,23,20],"class_list":["post-1834","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-curry-barker","tag-focus-features","tag-obsession"],"yoast_head":"\nCurry Barker Got His Wish: Inside the \u2018Obsession\u2019 Director\u2019s Wild Month (Exclusive) - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=1834\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curry Barker Got His Wish: Inside the \u2018Obsession\u2019 Director\u2019s Wild Month (Exclusive) - 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