Filmmaker Eli Roth, known for his visceral contributions to the horror genre, has officially launched "The Horror Section," a new production company designed to bypass traditional studio gatekeeping and deliver uncompromised genre films directly to audiences. This ambitious venture is set to debut with Roth’s own unrated splatter film, "Ice Cream Man," slated for a wide theatrical release on August 7th through Iconic Events Releasing. The move comes after Roth’s experience on the $120 million Lionsgate production of "Borderlands" (2024), where creative differences reportedly led to a less than ideal outcome for the director.
The genesis of The Horror Section stems from Roth’s desire to empower filmmakers, allowing them to maintain creative control from initial development through to final release. This "soup-to-nuts" approach aims to circumvent the often extensive layers of studio oversight and executive mandates that can significantly alter a director’s original vision.
"There is a [theatrical] audience for the fully unhinged unrated movie with full-on gore," Roth stated in an interview with The Hollywood Reporter. He points to the recent success of the "Terrifier" franchise as a pivotal moment, noting its impact on theatrical exhibition: "Once ‘Terrifier 3’ opened to around $20 million, all of a sudden, AMC, Regal, Cinemark and all the chains said, ‘Yeah, we will play an unrated movie.’" This shift in exhibitor willingness has effectively paved the way for films like "Ice Cream Man" to bypass the MPA’s rating system for theatrical distribution, a significant development for the independent horror scene.
From Childhood Nightmare to Theatrical Release: The "Ice Cream Man" Journey
The concept for "Ice Cream Man" originated over two decades ago, a collaboration between Eli Roth and his childhood friend, Noah Belson. The screenplay envisioned a chilling scenario where an ice cream man’s frozen treats transform children into bloodthirsty, homicidal killers. However, the film’s inherently provocative premise, featuring children brutally attacking adults, presented significant hurdles in securing financing. The project was shelved for years, a testament to the challenges faced by audacious horror concepts within the conventional funding landscape.
Roth’s decision to revive "Ice Cream Man" for The Horror Section’s inaugural release was strategic. He views the film as a perfect manifesto for the company’s commitment to unapologetically audacious and offbeat genre cinema. The film’s journey from a nearly unfilmable script to a wide theatrical release highlights the evolving dynamics of the film industry, particularly the growing appetite for extreme horror content.
A Spectacle of Gore: The "Ice Cream Man" Set Piece
Drawing inspiration from Steven Spielberg’s impactful 24-minute D-Day sequence in "Saving Private Ryan," Roth orchestrated a sprawling 30-minute school-set set piece in "Ice Cream Man." This ambitious sequence features approximately 100 child actors engaged in a relentless barrage of mayhem. Remarkably, the young performers and their parents reportedly embraced the extreme nature of the production with enthusiasm.
Roth recounted the on-set atmosphere: "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, ‘My daughter would love a fake head. Can you give my son a leg?’" He described the scene as the children gleefully engaging with the gruesome props, treating severed heads as tetherballs and guts as jump ropes. The positive reception from the parents, with many expressing that it was their child’s "most fun day ever," underscores a unique phenomenon within the horror community, where even the youngest fans are drawn to the macabre.
Navigating the Landscape of Modern Horror: "Obsession," "Backrooms," and the Rise of YouTube Creators
The recent box office successes of "Obsession" and "Backrooms," which collectively grossed nearly $900 million globally, have significant implications for the future of horror filmmaking. Roth, a seasoned observer and participant in the genre, offered his perspective on these phenomena. He drew parallels between "Obsession’s" trajectory—premiering at TIFF, igniting a bidding war, and achieving substantial profitability—and his own early career with "Cabin Fever." Roth believes that the film’s success warrants industry accolades for director Curry Barker and star Inde Navarrette, suggesting they are deserving of "the industry’s highest honors."
Furthermore, Roth revealed his prior interest in "Backrooms" filmmaker Kane Parsons. He had attempted to recruit Parsons after discovering his viral YouTube series in 2022, but North Road, led by Peter Chernin, had reportedly already secured the rights. This proactive outreach by established figures in Hollywood to emerging online talent signifies a recognition of the immense creative potential residing within digital platforms.
However, Roth cautioned against a simplistic approach to talent acquisition from YouTube. He emphasized that the success of creators like Barker and Parsons is not solely attributable to their online followings. Crucially, they were supported by experienced producers and collaborators who provided essential mentorship. Roth advocates for a more structured integration of these emerging talents, suggesting that pairing them with seasoned filmmakers such as Jason Blum, Osgood Perkins, James Wan, or the Duplass brothers is vital for nurturing their careers and ensuring their transition to feature filmmaking is successful.
"We’ve had an incredible run [of YouTubers succeeding on the big screen], but I don’t necessarily think that YouTube is the answer," Roth explained. "It’s a component. If you’re going to get someone off of YouTube, don’t 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." This approach aims to prevent a potential backlash if a wave of unguided YouTube creators fails to translate their online success to the big screen.
The Unrated Advantage: Creative Freedom and Theatrical Power
The ability to release "Ice Cream Man" unrated marks a significant departure from Roth’s previous experiences. He detailed a history of navigating studio notes and MPA guidelines, often leading to compromises on the film’s intended level of intensity. While Roth described his interactions with the MPA as generally positive and adaptive, he acknowledged the inherent disagreements with studios over creative choices, particularly regarding gore and language that might offend or alienate certain audience segments.
"For ‘Ice Cream Man,’ I didn’t want to have to deal with that," Roth asserted. "I wanted to make something that’s pure and raw and from my head." The script, conceived in 2003, was deemed too extreme by many potential financiers, who questioned the feasibility of children performing such violent scenes. Roth, however, remained steadfast, believing in the inherent appeal of gore and the Halloween spirit for young audiences.
The successful theatrical release of "Terrifier 3" served as a catalyst, demonstrating to major cinema chains that unrated, high-gore horror films could be significant box office draws. This realization has opened doors for films like "Ice Cream Man" to secure theatrical distribution without requiring an R rating. Roth actively engaged with cinema chains at CinemaCon, presenting his vision for The Horror Section and its commitment to theatrical horror events.
He articulated his philosophy on theatrical exhibition: "You 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’s like Coachella. You can watch a Coachella performance on your phone, but it’s not the same as being there. You can pirate a movie, but you cannot pirate the experience and adrenaline rush." This emphasis on the unique, visceral experience of communal horror viewing is central to The Horror Section’s strategy.
With a production budget of $5.5 million, augmented by additional funds for marketing and distribution, Roth is confident in his company’s ability to manage the entire filmmaking process. "After 20 years, I know how to [make a movie]. I know how to write it, produce it, release it and publicize it," he stated, underscoring his comprehensive approach.
The Director’s Inner Circle: Notes Without Studio Interference
Without the direct oversight of studio executives, Roth has cultivated a trusted network of filmmaker friends to provide feedback on his projects. This "personal note network" includes esteemed directors such as Quentin Tarantino, Edgar Wright, Sam Levinson, Sean Baker, and Ti West. These trusted collaborators offer honest critiques, ensuring the creative vision remains intact and that potential pitfalls are identified early in the process.
For "Ice Cream Man," Roth specifically enlisted the insights of accomplished editors Bob Murawski, Michel Aller, and Fred Raskin. Although Matt Lyons served as the film’s primary editor, the seasoned perspectives of Murawski and Raskin provided invaluable guidance. Roth highlighted Murawski’s observation that the film evoked "Devil Times Five times 50," a niche but specific reference within horror cinema, demonstrating the deep understanding and nuanced feedback he receives from his peers. This reliance on a close-knit group of trusted peers underscores a collaborative ethos that prioritizes artistic integrity.
The "Ice Cream Man" Set: A Controlled Chaos of Young Performers
The logistical challenge of directing 100 child actors on the set of "Ice Cream Man" was met with meticulous planning and transparency. Roth, drawing on his past experience as a camp counselor, approached the production with a clear understanding of children’s engagement with horror. He was upfront with parents about the film’s extreme nature, likening it to Alfred Hitchcock’s "The Birds" but with a more visceral, gore-filled twist. This transparency ensured that only willing participants and their supportive parents were involved.
The enthusiastic participation of the child actors and their parents was a defining characteristic of the production. Many of the parents, having grown up watching Roth’s films, were already familiar with his work and seemed to relish the opportunity to be part of a boundary-pushing horror project. The set was described as a unique blend of Halloween and Christmas, with children eagerly engaging with the gruesome props and makeup.
Despite the inherent complexities of working with children, Roth fostered a collaborative and energetic environment. He emphasized teamwork and individual moments for each actor, ensuring everyone felt valued. The shooting days were intense, often requiring quick turnovers between takes due to the need for frequent breaks for the child actors and the elaborate application of fake blood. However, the overall atmosphere was one of shared excitement and creative fulfillment.
Anecdotes from the set, such as the unexpected directorial intervention of a bee and a child’s shoe untying halting a critical scene, highlight the unpredictable yet often serendipitous nature of working with young performers. These moments, while challenging, ultimately contributed to the unique energy and authenticity of the film. The children’s genuine enjoyment and even their reluctance to leave the set at the end of filming, with some expressing sadness at having to remove their monster makeup, attest to the profoundly positive experience they had.
The successful execution of "Ice Cream Man" with such a large young cast, and the enthusiastic parental consent, represents a significant achievement in independent horror filmmaking. It demonstrates that with clear communication, a supportive environment, and a shared passion for the genre, even the most extreme concepts can be brought to life. The film’s release on August 7th will be a key indicator of whether this unrated, uncompromised approach resonates with a broader theatrical audience.
