{"id":5042,"date":"2026-08-07T06:07:28","date_gmt":"2026-08-07T06:07:28","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=5042"},"modified":"2026-08-07T06:07:28","modified_gmt":"2026-08-07T06:07:28","slug":"eli-roth-talks-the-unrated-gamble-of-ice-cream-man-and-what-he-hopes-the-town-learns-from-obsession","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=5042","title":{"rendered":"Eli Roth Talks the Unrated Gamble of \u2018Ice Cream Man\u2019 and What He Hopes the Town Learns From \u2018Obsession\u2019"},"content":{"rendered":"
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\n\tLast year, Eli Roth decided to take matters into his own hands.\u00a0<\/p>\n

\n\tAfter his experience on Lionsgate\u2019s $120 million video game adaptation, Borderlands<\/em> (2024), went awry, the filmmaker launched his own soup-to-nuts company, The Horror Section, to bypass the studio system entirely. Together with his partners, Roth aims to shepherd genre films from development through release without forcing filmmakers to navigate layers of studio oversight and executive mandates that so often shape creative decisions.<\/p>\n

Read more Morgan Freeman Will \u201cOverlook Some of the Glitches\u201d in a Script If They \u201cPay You Enough\u201d<\/a><\/p>\n

\n\tThe Horror Section\u2019s inaugural release is Roth\u2019s unrated splatterfest known as Ice Cream Man<\/em>, which opens wide through Iconic Events Releasing on Aug. 7. Throughout his career, Roth has had to pull some of his punches in response to MPA-driven studio notes and exhibitors\u2019 longstanding preference to avoid anything that exceeds an R-rating. But one recent horror franchise shattered that convention, opening the floodgates for more unrated theatrical releases like Ice Cream Man<\/em>.<\/p>\n

\n\t\u201cThere is a [theatrical] audience for the fully unhinged unrated movie with full-on gore,\u201d Roth tells The Hollywood Reporter<\/em>. \u201cOnce Terrifier 3<\/em> opened to around $20 million, all of a sudden, AMC, Regal, Cinemark and all the chains said, \u2018Yeah, we will play an unrated movie.\u2019\u201d<\/p>\n

\n\tFollowing the success of his feature directorial debut, Cabin Fever<\/em> (2002), Eli Roth enlisted his childhood friend Noah Belson to co-write a screenplay about a creepy ice cream man whose frozen treats transform children into bloodthirsty, maniacal killers. But its risqu\u00e9 premise in which kids brutally murder their parents and teachers made financing nearly impossible to secure, leaving the project to languish on a shelf for more than two decades. Roth ultimately dusted it off to kick-start The Horror Section, viewing it as the perfect calling card for the company\u2019s slate of unapologetically offbeat genre films.<\/p>\n

\n\tDrawing inspiration from Steven Spielberg\u2019s 24-minute Omaha Beach battle in Saving Private Ryan<\/em>, Roth\u2019s Ice Cream Man<\/em> stages a 30-minute school-set sequence that unleashes nonstop mayhem involving roughly 100 child actors. Despite the set piece\u2019s over-the-top bloodshed, the young cast and their parents joyously embraced the gory chaos.<\/p>\n

\n\t\u201cThe parents had to have visual eye contact with their children at all times, and they were coming up to me at the monitor. Mothers were like, \u2018My daughter would love a fake head. Can you give my son a leg?\u2019\u201d Roth recalls mid-laugh. \u201cOnce we laid out the blood and guts, the kids just started playing tetherball with a head or jump-roping with guts. The parents came up to me after to say, \u2018This is the most fun day my kid has ever had.\u2019\u201d<\/p>\n

\n\tAfter Curry Barker\u2019s Obsession<\/em> and Kane Parsons\u2019 Backrooms<\/em> combined to gross nearly $900 million at the global box office this past summer, Roth is weighing in on the two horror phenomenons. Obsession<\/em> followed a path reminiscent of Roth\u2019s own Cabin Fever<\/em>, premiering at TIFF before igniting a bidding war and later becoming a highly profitable theatrical release. Roth believes the film should earn Barker and star Inde Navarrette the industry\u2019s highest honors. He also reveals that he attempted to recruit Parsons and Backrooms<\/em> after catching wind of the filmmaker\u2019s viral YouTube series in 2022.<\/p>\n

\n\t\u201cObsession<\/em> should win best [original] screenplay, and Inde Navarrette should win best actress. Everyone else should be nominated because it\u2019s that good,\u201d Roth says. \u201cFour years ago, I reached out to Kane Parsons about how much I loved Backrooms<\/em>, but I think Peter Chernin [North Road] already had it then.\u201d<\/p>\n

\n\tRoth cautions the town against hastily rushing to recruit more YouTubers in hopes of catching lightning in a bottle again. In his view, the success of both Barker and Parsons wasn\u2019t simply the product of existing online followings. Each filmmaker was also surrounded by experienced producers and collaborators who served as mentors. Thus, Roth hopes the next YouTube creator to make the leap to features is afforded the same level of guidance and support.<\/p>\n

\n\t\u201cWe\u2019ve had an incredible run [of YouTubers succeeding on the big screen], but I don\u2019t necessarily think that YouTube is the<\/em> answer. It\u2019s a component. If you\u2019re going to get someone off of YouTube, don\u2019t just throw them into the system,\u201d Roth says. \u201cPair these younger filmmakers with an experienced filmmaker like Jason Blum, Osgood Perkins, James Wan or the Duplass brothers so they can help bring out the best in their work. That will set them up for success like all the smart producers who surrounded Curry Barker and Kane Parsons.\u201d\u00a0<\/p>\n

\n\tBelow, during a conversation with THR<\/em>, Roth also discusses his personal note network on Ice Cream Man<\/em> considering he no longer had to entertain studio notes.<\/p>\n

\n***<\/strong><\/p>\n

\nIn the past, you\u2019ve been beholden to studio notes because they were beholden to the MPA in order to get the movie into theaters with an R rating. But now you\u2019re beholden to no one thanks to the Terrifier<\/em> franchise\u2019s introduction of unrated screenings?\u00a0<\/strong><\/p>\n

\n\tWell, beholden is probably the wrong word. The MPA adjusts with the tastes of the times, so I\u2019ve had an amazing experience, and a really good open dialogue, with them. It was never a fight with the studios, but there were always disagreements that were impossible to prove. Someone would say, \u201cTake this out. It\u2019s going to offend audiences.\u201d And I\u2019d say, \u201cNo, when you go to see this movie, you want to be shocked and offended.\u201d Sometimes, it\u2019d be gore, and sometimes it\u2019d be language.\u00a0<\/p>\n

\n\tFor Ice Cream Man<\/em>, I didn\u2019t want to have to deal with that. I wanted to make something that\u2019s pure and raw and from my head. I wrote this movie with Noah Belson in 2003, and for years, people would read it and go, \u201cYou can\u2019t do this. You can\u2019t ask children to even perform these scenes. This is too insane.\u201d And I\u2019d say, \u201cNo, kids love gore. They love Halloween. I want to make this the craziest movie I\u2019ve ever done.\u201d\u00a0<\/p>\n

\n\tThen I saw what Terrifier 3<\/em> did. There is an audience for the fully unhinged unrated movie with full-on gore, and the theater chains learned that people will come to see it in a theater. So once Terrifier 3<\/em> opened to around $20 million, all of a sudden, AMC, Regal, Cinemark and all the chains said, \u201cYeah, we will play an unrated movie.\u201d\u00a0<\/p>\n

\n\tIconic Releasing and I went to CinemaCon, and I sat down with every theater chain. I said, \u201cI\u2019m starting this company called The Horror Section. If I make unrated movies, will you put them in your theaters?\u201d And they said, \u201cAbsolutely. Anything you want to do, we can help tell the horror fans.\u201d\u00a0<\/p>\n

\n\tI also said, \u201cYou can get comedy on your phone. You can get drama on TV. But you can only get the true adrenaline rush of seeing a horror movie in the theaters. It\u2019s like Coachella. You can watch a Coachella performance on your phone, but it\u2019s not the same as being there. You can pirate a movie, but you cannot pirate the experience and adrenaline rush. All respect to streamers, but I\u2019m not making horror movies for streamers. I am making horror movies that are theatrical events with the longest window possible.\u201d And the theater chains said, \u201cWe will fully support you.\u201d\u00a0<\/p>\n

\n\tThen I put together the company, and I raised the money [a production budget of $5.5 million, plus a few million for P&A]. After 20 years, I know how to [make a movie]. I know how to write it, produce it, release it and publicize it. Now, between The Horror Section and Iconic, we have an incredible team, and we\u2019ll see what happens when we put Ice Cream Man <\/em>out on Aug. 7.<\/p>\n

\nNow that you don\u2019t have studio execs looking over your shoulder, who do you ask for notes on a draft or a cut?\u00a0<\/strong><\/p>\n

Read more What Is It Like to Portray Nazi Heinrich Himmler? Martin M\u00fcller Shares His Experience on \u2018I Is Another\u2019<\/a><\/p>\n

\n\tI\u2019ve always gone to my writer-director friends. I\u2019ve always been very thankful that I can go to Quentin Tarantino or Edgar Wright or Sam Levinson or Sean Baker or Ti West. If I had a cut of a movie that was ready before I showed it to the studio or released it, I\u2019d go to different people that I really trust and know that they aren\u2019t going to lie to me. They\u2019re going to go, \u201cOkay, this works, this doesn\u2019t work.\u201d Sometimes you want to save them till later in the process, but sometimes it\u2019s earlier in the process. So there\u2019s a group of filmmakers friends that I really trust to not lie to me and not let me fall on my face.\u00a0<\/p>\n

\n\tThis time, I went to Bob Murawski, one of the best editors; Michel Aller, who cut Thanksgiving<\/em>; and [Tarantino\u2019s editor] Fred Raskin. They didn\u2019t cut the movie; Matt Lyons did. But I trust Fred, Bob and Michel. They\u2019re all friends. So I showed them the movie, and all three of them had such strong notes for me and my editor.\u00a0<\/p>\n

\n\tI knew Bob would get it. He said, \u201cThis is Devil Times Five <\/em>times 50.\u201d Devil Times Five <\/em>[aka People Toys<\/em>] is such an obscure pull. And then Quentin was like, \u201cYeah, Bob Murawski said it\u2019s Devil Times 50<\/em>.\u201d It\u2019s a very specific language.\u00a0<\/p>\n

\n\tFred Raskin, who I\u2019ve known since film school, is a friend. He watched it on a weekend and gave me really great notes. So I\u2019ve always had a team of really, really smart filmmakers that I trust that will give me honest feedback.<\/p>\n

\nHow did you shoot Ice Cream Man<\/em> with 100 kids? And how did you get 100 kids\u2019 parents to sign off on all the bloody mayhem?<\/strong><\/p>\n

\n\tYou cannot believe how many horror fans are out there. I was a camp counselor for three summers, so I love kids and love working with kids. When we were shooting the playground attack, I was super upfront because I knew people were going to Google my name. I was like, \u201cWe\u2019re making a horror movie. I want this to be The Birds<\/em>, but with kids going crazy and full-on gore.\u201d So we were pretty clear about it, and anyone who didn\u2019t want to be involved is generally not going to sign up.\u00a0<\/p>\n

\n\tOnce you put the kids in monster makeup, they get it. They love it. These kids have seen every episode of The Walking Dead<\/em>. They may not have seen the Terrifier<\/em> movies, but they have Art Crispies backpacks. Their parents were also younger than me, so they\u2019ve watched my movies. The parents had to have visual eye contact with their children at all times, and they were coming up to me at the monitor. Mothers were like, \u201cMy daughter would love a fake head. Can you give my son a leg? My son wants an arm. My daughter needs more blood.\u201d So they\u2019re all huge horror fans.\u00a0<\/p>\n

\n\tI made it a team exercise. I said, \u201cI brought you here for a reason because I want everyone to have their moment. We\u2019re all scene partners. We\u2019re all going to make this great, but only if we all listen and work together. The more you listen to me, the more I\u2019ll be able to put the camera on all of you.\u201d It\u2019s the same way I approached the riot scene in Thanksgiving<\/em>.\u00a0<\/p>\n

\n\tWe had to break the kids every 45 minutes. By the time you bring them out and set them up and have the 20 stunt people get them in fake blood, you have one or two minutes to get the shot. It was the craziest day of shooting in my life. But once we laid out the blood and guts, the kids just started playing tetherball with a head or jump-roping with guts. They were all laughing, and the parents came up to me after to say, \u201cThis is the most fun day my kid has ever had. You were so sweet.\u201d I\u2019m very even tempered. I have good energy. I don\u2019t yell.\u00a0<\/p>\n

\n\tBut they\u2019re kids, and sometimes, you have to just roll with it. We were about to shoot a scene, and I was like, \u201cAction.\u201d Stunt people were hanging and ready to be pulled down, but no one was moving. There was a kid in the middle with his hand up, and I went, \u201cYes?\u201d And he said, \u201cMy shoe\u2019s untied.\u201d And I said, \u201cOkay, we\u2019ll wait.\u201d Then he put his hand up again, and I said, \u201cYes?\u201d And he said, \u201cBut where\u2019s my mommy?\u201d And I realized he does not know how to tie his shoes because he\u2019s too young. And I was like, \u201cCan someone help him tie his shoes?\u201d\u00a0<\/p>\n

\n\tThey generally also had no fear whatsoever, but when we lined up 100 kids to get the ice cream, we had one minute to get the shot. I started rolling the camera, and a bee came along. And one kid was like, \u201cA bee!\u201d Then they all ran, and that was it. So the bee was now directing my movie. But at the same time, they gave us moments that we could have never predicted. The energy they brought to the set was so wonderful.\u00a0<\/p>\n

\n\tThere were kids that were crying at the end of the shoot because they didn\u2019t want to get out of the makeup. They were sad that it was over. It was this beautifully wild experience. They did arts and crafts with the brains. Overall, they know the difference [between reality and make-believe]. They know what pretend is. So it was a mix of Halloween and Christmas.<\/p>\n

\nYou know what it\u2019s like to have a low-budget indie horror movie premiere at TIFF to great fanfare before having a highly profitable theatrical run. So what lessons do you hope the town learns from the Obsession<\/em> craze?\u00a0<\/strong><\/p>\n

\nObsession<\/em> should win best [original] screenplay, and Inde Navarrette should win best actress. Everyone else should be nominated because it\u2019s that good. It\u2019s just an incredible film. Everyone is realizing that there are YouTube creators who can bring their audience to the theater, which is amazing. If I was a teenager, I would\u2019ve started on YouTube. But it\u2019s not like Curry Barker was the biggest YouTuber. He brought in an audience, but the movie itself is what carried the word of mouth. Everyone was saying, \u201cHave you seen Obsession<\/em>?\u201d<\/p>\n

\n\tFour years ago, I reached out to Kane Parsons about how much I loved Backrooms<\/em>, but I think Peter Chernin [North Road] already had it then. I remember going to a barbecue years ago, and all these nine-year-olds were talking about was Backrooms<\/em>. So I went down a rabbit hole watching it all, and it was really scary. I thought, This kid [Parsons] is a genius<\/em>. So Kane Parsons and Curry Barker have been at it for years, and they\u2019re so talented.\u00a0<\/p>\n

\n\tWe\u2019ve had an incredible run [of YouTubers succeeding on the big screen], but I don\u2019t necessarily think that YouTube is the<\/em> answer. It\u2019s a component. If you\u2019re going to get someone off of YouTube, don\u2019t just throw them into the system. Pair these younger filmmakers with an experienced filmmaker like Jason Blum, Osgood Perkins, James Wan or the Duplass brothers so they can help bring out the best in their work. That will set them up for success like all the smart producers who surrounded Curry Barker and Kane Parsons.\u00a0\u00a0<\/p>\n

\n\tWe want to raise that next generation for success. You don\u2019t want a bunch of YouTubers to be given a shot and fall on their face to where people go, \u201cNo, that doesn\u2019t work.\u201d It\u2019s about pairing them with veteran filmmakers so they can help grow their careers by making the best movies possible.<\/p>\n

Read more \u2018Spider-Man: Brand New Day\u2019 Scores Biggest First Week in Box Office History<\/a><\/p>\n

\n\t***
Ice Cream Man opens in movie theaters nationwide on Aug 7.\u00a0<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

More than twenty years after co-writing a script everyone said was too subversive to be made, Eli Roth has made The Ice Cream Man.<\/p>\n","protected":false},"author":1,"featured_media":5041,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[679,995,3290,20,3291],"class_list":["post-5042","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-backrooms","tag-eli-roth","tag-ice-cream-man","tag-obsession","tag-the-horror-section"],"yoast_head":"\nEli Roth Talks the Unrated Gamble of \u2018Ice Cream Man\u2019 and What He Hopes the Town Learns From \u2018Obsession\u2019 - 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=5042\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eli Roth Talks the Unrated Gamble of \u2018Ice Cream Man\u2019 and What He Hopes the Town Learns From \u2018Obsession\u2019 - 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