Jun 11, 2026
Having someone be completely in love with you probably sounds like a dream, but the latest horror flick to conquer the box office might make you think otherwise.
Focus Features’ “Obsession” made its theatrical debut in the U.S. on May 15, and since then it has made $224.7 million worldwide on a $750,000 budget, beating Focus’s previous highest global earner, “Downton Abbey,” in 2019, which made $194.6 million.
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The film, directed by 26-year-old Curry Barker, has made 140 times its budget, according to Forbes.
The story follows Bear (Michael Johnston) after he makes a wish on what seemed like a gag gift, and it comes true. The wish? That his friend Nikki (Inde Navarrette) would love him more than anyone else in the world. Of course, total chaos ensues as Nikki is overtaken by her violent obsession with Bear — and audiences are loving it.
Despite the film’s financial success and fanfare, it’s not necessarily a triumph for every crew member. The film’s art director — Sally Choi — took to Instagram to share how much, or rather how little, she made on the film.
‘I kick myself every single day’ crew member posts
In her Instagram post, Choi detailed how much she made from working on the film in hopes to shed light on issues in the film industry.
She wrote: “How much I made: $300/day as Art Director. This came out to $6741.36 after taxes … I did know the rate beforehand and agreed to it, but atp I was living paycheck to paycheck. This is the reality of most filmmakers especially those who work below the line. We become a line in the budget sheet to keep as low as possible.”
She notes that there were also volunteers on the crew who got paid in gas and mileage, which wasn’t even paid on time.
Moneywise has reached out to the movie studio and production company for comment.
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“I kick myself every single day for not flipping this production. I was encouraged not to and I naively listened,” she wrote, using an industry term for unionizing workers on a film set.
In a follow-up post, she added that she is actively speaking with the Local 800, a labor union for creative professionals, and encourages people to reach out to their local union “whether you are a member or not, to discuss a future where we can continue to make the art we love so much for years and years to come.”
“As is the case for most low budget productions, everyone has to wear many, many hats. Though my official title is art director, I was also a PA, set dresser, graphic designer, background actor, driver, swing, and buyer” she said, noting that this issue is bigger than “Obsession” and even bigger than the film industry as whole.
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What could have been done differently
There are some things Choi — or other people in positions like hers — could have done to try to increase her overall payout for the film. That being said, it’s not easy, or a guarantee.
Sometimes directors, writers and producers ask for deferred or contingent compensation based on the film’s success. Deferred compensation can be a box-office bonus or a nomination/awards bonus. Essentially, these are different amounts paid at different levels if the box-office success is high enough, or if you are nominated for or win an award related to your role in making the film. Contingent compensation is usually a percentage calculated based on net profits.
For a surprise hit like “Obsession,” deferred compensation could have netted crew members a pretty penny. But those who are new to the highly competitive industry, or working on lower budget films, aren’t likely to have much negotiating power on their own in a non-unionized work environment. When a sleeper hit becomes a blockbuster, that difference becomes stark.
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Em Norton is a Content Specialist at moneywise.com. They have been with the company since 2022.
