Why an ‘Obsession’ crew member says a $175m hit earned her less than $7,000

An unexpected box office phenomenon has sparked a wider conversation about pay and working conditions in the film industry after Obsession art director Sally Choi revealed she earned less than $7,000 for her work on the horror hit.

The low budget thriller, directed by Curry Barker, has become one of 2026’s biggest success stories. Produced for approximately $750,000, the film has earned around $175m worldwide and some industry observers believe its final total could climb even higher.

Choi shared her frustrations in a lengthy social media post, explaining that she was paid $300 per day while serving as the film’s art director. According to her calculations, the total she received after taxes amounted to $6,741.36, with no mileage reimbursement included.

While acknowledging that she knowingly agreed to the rate before production began, Choi argued that her experience reflects a broader issue affecting many below the line workers throughout the entertainment business. She described taking on responsibilities that extended beyond her official role, including work across several departments during the demanding production.

In her statement, Choi said many crew members on independent productions often become “a line in the budget sheet to keep as low as possible”. She also claimed that some workers associated with the project were compensated only for fuel and mileage expenses and that certain payments were delayed.

The art director further revealed that she regretted not pushing harder for changes during production. She wrote that she “kicks” herself for not attempting to flip the production and encouraged others with similar experiences to speak publicly about industry practices. Her hope, she said, is that greater discussion could eventually help bring reform.

The comments quickly spread across social media and industry circles, generating strong reactions from both supporters and critics. Many users expressed sympathy for Choi and argued that crew members deserve to share more directly in the financial rewards when a film becomes a runaway success. Others suggested that studios and producers should consider bonus structures for low paid workers when projects dramatically exceed expectations.

However, not everyone agreed. Some industry professionals pointed out that Obsession was an ultra low budget independent film with significant financial risks attached. Critics of Choi’s argument noted that she accepted the agreed rate and that many independent productions simply could not be financed if they carried extensive profit sharing obligations from the outset.

The debate highlights a longstanding tension within Hollywood. Independent films frequently rely on cast and crew accepting lower wages in exchange for experience, credits and the possibility of future opportunities. Yet when a project becomes an extraordinary commercial success, questions often emerge about whether those who helped create it received a fair share of the rewards.