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Osgood Perkins, the innovative director renowned for his unsettling film “Longlegs,” recalls the initial encounter that drew him into Stephen King’s eerie narratives as a child. Left in the care of a babysitter, he stealthily ventured downstairs and stumbled upon the 1979 CBS miniseries “Salem’s Lot,” directed by Tobe Hooper and based on King’s iconic 1975 novel. The chilling image of a young vampire hovering outside a window has remained etched in his memory.
Now, with his latest project, “The Monkey,” an adaptation of King’s 1980 short story included in the “Skeleton Crew” collection, Perkins aims to instill fear in a new cohort of young viewers who may find themselves similarly captivated—and terrified.
Perkins shared that James Wan, known for his work on “The Conjuring” and “Saw,” and his production partner at Atomic Monster, had held the adaptation rights for a significant period but struggled to develop a satisfactory script. Eager to bring fresh ideas, they encouraged Perkins to start from scratch, an opportunity he enthusiastically embraced.
“It felt like Charlie Bucket discovering the golden ticket,” he said. “What an amazing privilege it is to adapt a piece from the greatest author of all time, especially with such an iconic image as that monkey, which invokes a deep-seated reaction from audiences. It was a thrilling challenge, and I feel honored to have taken this on.”
In crafting the screenplay, Perkins sought a critical insight to unlock the story’s full potential. He acknowledged that while King’s original tale is respected, he felt the need to reshape it into a cinematic experience. “The monkey is not an aggressive figure; it doesn’t directly harm people. Its role is much more about representing an unsettling presence,” Perkins explained.
In his version of “The Monkey,” twin brothers, portrayed by Theo James, grapple with the legacy of a cursed monkey toy left by their father, which they believe to have contributed to their mother’s tragic fate, played by Tatiana Maslany. As they grow older, one brother attempts to put an end to the monkey’s dark influence while the other seeks to exploit its powers for malevolent purposes.
Perkins draws parallels between the monkey in his film and a spiritual figure. “It has an eerie quality, coinciding with tragic deaths in unexpected ways. This reflects a personal connection from my own life experiences,” he says, noting the emotional turbulence surrounding the loss of his mother in the 9/11 attacks and how he and his brother processed that grief differently. “It’s fascinating how two people can share the same event yet respond in entirely different ways.”
He emphasizes that humor became a crucial element in navigating the heavy themes of loss and reconciliation. “With time and the right support, there’s a potential for healing and growth. Humor plays a role in that journey, helping to distill painful experiences,” Perkins noted.
While “The Monkey” contains chaotic elements and inventive deaths reminiscent of the “Final Destination” films, Perkins emphasizes its underlying emotional depth and exuberance. He believes that his unique insight and authentic voice are essential in adapting King’s work effectively.
“Once you reach a place of confidence, you’re able to write freely from your truth,” he remarked, citing specific scenes that give his adaptation a genuine resonance. Perkins highlighted the solitary nature of writing and how maintaining self-assurance leads to looser, more vibrant storytelling, allowing the narrative’s natural flow.
Another significant adjustment he made was in the monkey’s design. Due to copyright issues with Disney’s portrayal of a cymbal-playing monkey in “Toy Story 3,” Perkins opted to give his monkey a drum, enhancing the tension whenever it plays—each rhythm foreshadowing impending doom.
The design choice was also driven by a desire for a more formidable presence. Perkins reflected, “It seemed impractical for audiences to engage with a smaller figure. I aimed to manifest something truly imposing. Its mere presence embodies the concealed fears inherited from the brothers’ father.” He acknowledged the personal complexities tied to his own father, actor Anthony Perkins, who dealt with his own struggles before his passing, conveying how these experiences informed his storytelling.
Despite the thematic weight, Perkins insists that “The Monkey” is not a bleak work. Instead, it channels the spirited chaos of classic ’80s films like “Gremlins” and “An American Werewolf in London,” offering an enjoyable viewing experience distinct from his previous work in “Longlegs.”
“This reflects my sense of humor—it feels true to me,” he stated. “I don’t aim to frighten; rather, I want to provide an entertaining experience.”
In one particularly audacious scene, an electrifying moment spills over into chaos, drawing inspiration from cinematic legends. “We sought to evoke the whimsical nature of classic films while delivering unexpected surprises,” Perkins explained. “This adds a layer of lightheartedness to horror, helping audiences relax amidst the improbable situations.”
Perkins recently had the chance to connect with Stephen King, who reacted positively to the film. Perkins eagerly shared King’s enthusiastic review, which he references routinely as a testament to the film’s success.
Looking ahead, Perkins shows no signs of slowing down, with another project titled “Keeper” slated for release in October. He remarked on his creative process, emphasizing the importance of equitable exploration and not reproducing prior themes: “With each new film, we endeavor to offer distinctive narratives and contribute positively to the cinematic landscape against the backdrop of streaming platforms.”
The anticipation builds as “The Monkey” is now showing, offering viewers a mix of thrills and levity.
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www.thewrap.com