If the merger closes, a union of Atomic Monster and Blumhouse would be able to scale up horror output dramatically with a filmmaker who has built a series of successful scary films and a producer who cranks out franchises for theatrical and streaming.
One of the long-term goals for Blum and Wan is to create an enviable company that would be sold down the road. But, more immediately, a merged firm would be able to scale up horror output dramatically with a filmmaker who creates scary original franchises and a producer who cranks out franchises for theatrical and streaming.
“This is a seismic shift for the horror genre,” says one filmmaker who has worked with both Wan and Blum. “This elevates horror and the industry will be taking it more seriously for sure.” Horror has not only gone mainstream but is now one of maybe two genres — aside from comics — that consistently works for theatrical releases, especially this year., released Sept. 30, has made over $210 million worldwide and is the No. 1 original and No. 1 horror title of the year. Not bad for a movie that cost around $17 million. Blum’s was a critical and slow-burning box office hit, making almost $160 million worldwide on a budget of $18 million.
While Blumhouse/Atomic Monster may take on a volume approach, Hamada is being seen as taking a more curated approach, say people who have worked with the filmmakers. “[Walter] only develops what he makes,” says one. But while Universal and Paramount grow strong in the scare business, Warners is looking a white shade of pale. Atomic Monster previously had a deal at Warners, where Wan is in postproduction on movies and spinoffs alone have generated more than $2 billion in box office revenue. His deal ran out in the spring and the studio made no overtures to keep him.before the exec moved to DC movies.
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