The art director for the surprise hit movie “Obsession” has ignited a major controversy online after taking to social media to complain about how much she was paid. Sally Choi said in the post shared late last week that she debated whether to publicize her thoughts “for a long time” but ultimately decided to let the world know how upset she was. “I’ve been holding a lot of weight over the past two years since the production of ‘Obsession,’ so I’m going to say it as it is,” Cho wrote in an Instagram post. She explained that the film was made for “$750K and is projected to make $250M. How much I made: $300/day as Art Director. This came out to $6741.36 after taxes. No mileage.” “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 went on, adding that she and other crew members did more work than what they signed on for because it was an indie production. Choi ended the lengthy post by encouraging other filmmakers to share their rates in the hopes of “turn[ing] a tide in the industry.”   View this post on Instagram   A post shared by °•°sally•°•♡ (@kiwisupreez) While the art director for “Obsession” did have some support in the comments, most reactions centered on how Choi wasn’t the one taking the risk, and because she didn’t have the same financial stakes, she didn’t deserve a higher cut in the profits. They also said her ungrateful reaction would all but guarantee she’d never succeed in the industry. “One year total experience. Only credit pre-Obsession is a single short film. Sign on to a low budget indie. Agree to rate. Movie explodes. You’re suddenly the Art Director [for] the most talked about film of the year,” one X commenter wrote. “If this ever happens to you, let me give one piece of advice. Embrace it. Use the credit to fight off offers, get a BTL agent, turn those difficult three weeks into an incredible career.”  “Do NOT cut every connection you have to the filmmakers, put out tweets about how you wish you’d shut down their production, and complain about the rate you agreed to,” the post continued.  “When I worked in fashion casting every model knew the Condé Nast rate was $150 / day and they were lining up down the hall. Bc it meant they could potentially get a $25k / day campaign and it was good for their book,” another person agreed. “In [the] film industry there is no universe where a second time art director isn’t doing it for their reel off the bat and the $ second. And also no universe where an investor, top of the line credit, distributor etc are sharing profits w someone who put zero $ INTO the film in some way and had no risk exposure, unless contracted prior.” “As someone who freelances, this is just the game. She agreed to the pay and did it. And now that the film has done well, I’m not sure what she expects. Retro active pay beyond what she agreed to? She has her name attached to a highly successful film. She could market herself for future projects where she could make more,” a third commenter observed. “Instead, I think with this attitude, she’s going to make future producers think twice before they hire her despite her work on this successful film.” “This post is a cautionary tale of how victimhood mentality is poison,” another said. “The very nature of low budget independent filmmaking is working long hours, wearing many hats, and helping each other out. You do it because it’s what you love. But this is the entitlement culture we live in: Someone thinking that just because they showed up and did their job for the agreed upon salary, they’re entitled to the sun, the moon, and the stars, simply because the work was demanding.”  After so many people weighed in, Choi responded with a follow-up Instagram post. “I feel no obligation to clear any misunderstandings from my last post … What I posted struck a nerve, not because it was a singular story of being overlooked, but because this happens everyday, in and out of the film industry.” “It is finally time to speak your truth. Do not be afraid; we face the powers that ‘were’ together,” she concluded.