Cooper Tomlinson and Curry Barker Say They Kept ‘Anything But Ghosts’ ‘Scrappy’ to Protect Its On-Set Magic

Cooper Tomlinson says the production of the supernatural horror film Anything But Ghosts relied on staying “scrappy” rather than leaning on heavy polish, an approach he linked to protecting what he described as the movie’s “magic.” In comments published July 1, Tomlinson said he and Curry Barker, who co-wrote and directed the film and stars alongside him, worked to keep the set “grounded” even as the project moved from earlier development into principal photography.

Tomlinson, who is credited as a producer and co-star on Anything But Ghosts, described the practical reasoning behind that mindset, saying that adding too much distance or over-planning can interfere with the atmosphere that makes a set work. He specifically warned that “you could ruin the magic” if the production becomes overly rigid or insulated from the day-to-day moment of making the film.

Barker’s role in the film mirrors that collaborative, hands-on posture. Deadline reported that Barker worked both behind and in front of the camera, co-writing and directing the project while also appearing in it with Tomlinson. Together, the pair pursued a production environment they framed as flexible enough to support the film’s tone, with Tomlinson and Barker emphasizing that process choices can shape how actors respond and how scenes land.

The film is backed by Focus Features and Blumhouse Atomic Monster, two companies associated with genre releases and mid-scale film financing. Deadline’s report placed the production in the companies’ orbit and noted that principal photography wrapped shortly before the interview, setting up a period where marketing, post-production finishing, and distribution planning move to the forefront.

The producers’ emphasis on a lean approach was positioned by Deadline in the context of Tomlinson’s recent breakout. The article referenced his prior success with Obsession, describing that breakout as a career step that helped raise expectations for Anything But Ghosts, while also underscoring the decision to keep the follow-up film’s working style relatively hands-on.

Deadline also framed the pairing of Tomlinson and Barker as central to the film’s creative structure. In addition to Tomlinson’s producing and acting work, Barker’s dual role as co-writer-director and co-performer meant creative decisions were not limited to isolated table reads or separate directing-only rehearsals, according to the article’s account of how the team talked about their process.

As Anything But Ghosts moves from production to completion, the next practical steps will be post-production and release preparation, including how the film will be packaged for audiences and exhibitors by its distribution and backing partners. For viewers, the most immediate sign of the “scrappy” philosophy may appear in the finished film itself, particularly in the performances and the texture of scenes that Tomlinson suggested could be disrupted by an overly managed set experience.

For industry observers, the larger takeaway is how genre projects continue to balance budget discipline with creative control. The Tomlinson-Barker comments, as reported July 1, highlight a common tension in film production between scaling up production systems and maintaining the spontaneity that actors and filmmakers associate with an effective working environment.