Speaking on a panel at the Zurich Summit, Parsons candidly shared his views, stating, "I didn’t direct like a horror film. I don’t view it as a horror project." He suggested that the horror tag was largely a marketing convenience, a "path of least resistance" that provided a comfortable framing device for audiences and distributors alike. Parsons even acknowledged that his comments might not sit well with A24, the studio behind the film's adaptation and distribution.

The director expressed a desire for more creative autonomy in his future endeavors, hoping to avoid such restrictive genre labels. "I’m going to try to stay as oblivious to those labels as possible… I think I have more creative control now with future projects so those sorts of structures will probably be a little less forceful in the future," he remarked.

Backrooms, which originated as a web series inspired by internet "creepypasta" content, defied expectations to become a massive financial success. Its performance was highlighted at the summit as a significant contributor to the U.S. box office's $4.7 billion resurgence over the summer.

The panel, which included esteemed industry figures like Academy of Motion Picture Arts and Sciences CEO Bill Kramer, Mattel Studios President Robbie Brenner, and Sony Pictures Classics co-head Michael Barker, recognized Backrooms—alongside another YouTube-born success, Obsession—as pivotal in this revitalization. Kramer specifically pointed to the film as an "amazing example" of how "fandom travelled from YouTube to the theaters," demonstrating a powerful new connection between online communities and theatrical experiences.

Barker further elaborated on Backrooms' impact, describing its success as indicative of a broader "inflection moment" for the film industry. He drew parallels to historical shifts, like the release of Easy Rider, which resonated deeply with young audiences and reshaped cinematic trends. Barker suggested that these new hits tap into something profound within the current generation, reflecting the changing landscape of media consumption and audience engagement.

The conversation at the Zurich Summit underscored that the lines between traditional film distribution, digital content creation, and genre definitions are increasingly blurring. For Parsons, it's a battle for creative integrity against the commercial necessity of categorization, a tension that will undoubtedly shape the future of indie filmmaking and beyond.