‘Obsession’ Director Addresses $6,741 Crew Pay Controversy in Indie Hollywood
The horror genre has seldom seen a breakout like ‘Obsession’. This supernatural psychological horror film, crafted by first-time feature filmmaker Curry Barker, revolves around Bear, a music store employee whose wish for his co-worker Nikki to love him leads to dark and horrifying outcomes. The film debuted in the Midnight Madness section at the Toronto International Film Festival before being acquired by Focus Features for $14 million, with a theatrical release set for 2026.
Barker, a 26-year-old filmmaker and YouTuber from Mobile, Alabama, first garnered attention with his $800 found-footage horror film ‘Milk & Serial’, which went viral after being released for free on YouTube, ultimately leading to a representation deal with United Talent Agency.
‘Obsession’ took that grassroots momentum and transformed it into a surprising success, evolving from a micro-budget passion project into one of the year’s most discussed theatrical releases.
However, the film’s remarkable financial success introduces a complex narrative. With a production budget of $750,000, ‘Obsession’ has grossed over $224 million globally, marking it as one of the most profitable independent horror films in recent history. This stark contrast between production costs and box office earnings has drawn attention, including from those who constructed the sets.
Art director Sally Choi took to Instagram to share that she was compensated $300 per day for her contributions, totaling $6,741.36 after taxes, without any mileage reimbursement. While she acknowledged knowing the pay rate before accepting the job, she highlighted a broader systemic issue affecting below-the-line workers, especially as she was living paycheck to paycheck.
In addition to her official role, Choi revealed she also worked as a PA, set dresser, graphic designer, background actor, driver, swing, and buyer during the production.
She further claimed that some crew members volunteered, receiving only promises for gas and mileage expenses, which were not always reimbursed promptly, leading some to incur personal costs while contributing to a film projected to earn a quarter of a billion dollars. Her post quickly gained traction on social media, sparking a heated debate about whether the financial success of a low-budget film should result in retroactive compensation for those who made it possible.
Director Curry Barker responded to the situation directly. In an interview with The Hollywood Reporter, Barker praised the art department’s work as “extraordinary” and emphasized that everyone involved in the film “deserves to be recognized.” He explained that only those who took financial risks directly benefit from its success, expressing hope that every crew member would find new career opportunities stemming from the film’s achievements, as he has.
Online reactions have been mixed, with many commending Choi for shedding light on exploitative industry practices, while others criticized her for what some perceived as ingratitude, given that she accepted her fee beforehand.
This conversation has also drawn parallels to other recent controversies involving below-the-line workers, including issues raised during the production of ‘Anora’, highlighting that this is not an isolated incident in a post-strike Hollywood where crew members are increasingly expected to do more for less.
The ‘Obsession’ situation has brought to light a sentiment long held in the industry but rarely articulated: the financial structures that enable micro-budget filmmaking can become profoundly inequitable once a film exceeds expectations. Whether the dialogue initiated by Choi will lead to significant change or simply fade away like many discussions before it remains to be seen, and we invite you to share your thoughts on whether surprise indie hits owe their below-the-line crews a share of the profits.