The cast of the iconic independent horror film “The Blair Witch Project”—Heather Donahue, Michael C. Williams, and Joshua Leonard—are voicing their frustration with Lionsgate over insufficient compensation despite the film’s massive success.
The actors detailed their grievances in an interview with Variety, recounting their initial involvement, the movie’s unexpected success, and the subsequent years of financial struggle as others profited.
Their discontent resurfaced following Lionsgate’s announcement of a franchise reboot with Blumhouse Productions, which caught them off guard and revived feelings of unfair treatment.
Blair Witch Project (Daniel Myrick, Eduardo Sánchez)
Donahue, initially excited for the film’s 25th anniversary and scheduled fan conventions, expressed dismay at the reboot news, which reminded her of their ongoing battle for fair compensation.
The actors’ struggle dates back 25 years. Despite “The Blair Witch Project” grossing $248 million globally, Williams worked at a furniture store, Leonard catered for his agent, and Donahue drove a barely functional car.
Artisan Entertainment, the original distributor, hindered their careers to maintain the film’s “true story” façade, preventing them from booking interviews or acting jobs.
When signing with Haxan Films, the actors, in their early 20s, did not foresee the movie’s potential. Their contracts promised one percent of profits if the film grossed over $1 million, a milestone quickly surpassed.
However, when Artisan sent each actor a fruit basket after the film grossed $100 million, it became evident they would not see substantial profits. Donahue recalls realizing their exclusion from the film’s financial success.
Blair Witch Project (Daniel Myrick, Eduardo Sánchez)
In the mid-2000s, the actors sued Artisan, receiving a $300,000 settlement. Despite this, their likenesses and names continued to be used in Blair Witch-related projects and sequels.
When Lionsgate sought to use Donahue’s likeness in the 2016 film “Blair Witch,” she invoked her settlement to prevent it. Williams, in a dire financial situation, permitted his likeness to be used.
The actors have now demanded “meaningful consultation” for all future Blair Witch projects involving their likenesses and retroactive and future residuals akin to SAG-AFTRA standards, though they lacked union representation during the original film. A SAG-AFTRA representative has since engaged with Lionsgate, urging fair compensation.
Leonard emphasizes the importance of self-worth, stating, “I don’t need Lionsgate to like me. I don’t care that they know that I think their behavior has been reprehensible. I don’t want my daughter to ever feel like anything is more valuable than her self-worth.”
Whether Lionsgate will heed their demands and provide the compensation they seek remains uncertain.
