Osgood Perkins makes exquisite horror films. He’s got it in his blood

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As a film critic with a deep appreciation for the dark and twisted corners of cinema, I’ve had the pleasure of witnessing Oz Perkins’ meteoric rise as a horror auteur. His unique brand of humor, which he inherited from his late father, infuses his films with an unsettling wit that keeps audiences on their toes.

As a devoted cinema enthusiast, I’ve come across the name Osgood “Oz” Perkins before. With renowned parents in the industry – fashion model Berry Berenson and acting legend Anthony Perkins – he’s no stranger to the limelight. However, darkness has also been a part of his life: His father lived concealed due to his sexuality, and his mother tragically lost her life on one of the planes hijacked during the 9/11 terrorist attacks. The weight of such a family history is not an easy burden to bear.

As a film enthusiast, I’ve always found horror movies to hold a special place in my heart. And with Oz Perkins being no exception, his latest creation, “Longlegs,” is a chilling addition to his filmography. In this fourth installment, FBI agent Lee Harker, portrayed by Maika Monroe, embarks on a haunting journey through the Oregon wilderness in pursuit of an elusive serial killer, brilliantly played by none other than Nicolas Cage.

As a film enthusiast, I can tell you that one pivotal moment in my cinematic journey was discovering Stanley Kubrick’s masterpiece, “The Shining.” I still recall the initial viewing experience. During our family summers in Cape Cod, Massachusetts, we watched it at a house with expansive glass walls that offered an unobstructed view of the surrounding woods. The movie played on the living room television as dusk fell outside. That night, I attempted to sleep with those haunting images in the background. Needless to say, it wasn’t an easy slumber.

In writing screenplays, Perkins frequently draws inspiration from his personal life. He explained, “I chose right from the start that my characters would represent me in some capacity.” The depiction of Perkins’ glass-enclosed house, where he viewed “The Shining,” bears similarities to Monroe’s Harker’s residence in “Longlegs.” Additionally, Monroe’s limited vision into the woods is a crucial element in one scene.

A scene from the movie “Longlegs.”
(Neon)

In my recent movie-watching journey, I came across a chilling and suspenseful ghost story titled “I Am the Pretty Thing That Lives in the House,” which was released in 2016 as the second feature of director Osgood Perkins. This film held a special dedication to Perkins’ father, and as a token of this affection, he included a snippet of his Oscar-nominated acting performance from William Wyler’s “Friendly Persuasion.” So, if you’re in the mood for an eerie, slow-burning ghost tale with a heartfelt tribute, give “I Am the Pretty Thing That Lives in the House” a try.

He shares that there’s a curiosity in us all about identifying our biological parents, an interest which may surface late in life. Sadly, sometimes this desire arises after the person in question has passed away, making it nearly impossible to uncover their true identity.

Title “Longlegs,” helmed by Perkins, explores how our parents craft narratives. These tales may be deeply rooted in family history or a legacy of actions that impact future generations. They could be age-old stories passed down for generations, or unresolved issues that must be confronted and explained. A hidden truth or obstacle that is kept within the family.

The hidden truth surrounding his father’s past significantly shaped Perkins’ artistic approach. As he grew up in an atmosphere filled with secretive information, both the suppressed truth and the presented versions left indelible impressions of mystery, intrigue, and curiosity. Consequently, these layers have influenced the images he creates.

Paraphrasing: Perkins cherishes the recollections of his father. He’s watched all of his films individually, without having seen them together. As Perkins puts it, “A dentist’s office isn’t exactly a place for movie nights.” Instead, they connected through their mutual appreciation for the dark and absurd. “My dad had a reputation for being dryly humorous and saw things in an abstract and surreal way,” Perkins shares. “And I’m glad that I can convey that same sense of humor, particularly in the films I create, which at times I truly believe are quite amusing.”

Maika Monroe in the movie “Longlegs.”
(Neon)

Horror stories are most effective when they surprise us. “Longlegs” begins by making you feel comfortable with its relatable setting and characters from the 1990s. However, it soon takes an unexpected turn into something harsher. The protagonist is an intuitive woman who has yet to prove herself, and while this story shares similarities with Jonathan Demme’s “The Silence of the Lambs,” Perkins uses these comparisons skillfully to add depth to his narrative.

As a passionate film aficionado, I wanted to introduce my unique production, “Longlegs,” by drawing contrast with a cinematic masterpiece like “Silence of the Lambs.” I aimed to follow in Demme’s footsteps but twist the narrative into something entirely fresh and unsettling. The stark darkness of “Silence of the Lambs” served as an ominous precursor, hinting at the disturbing depths of my film.

The thriller sets an ominous atmosphere right from the beginning, and Perkins intentionally includes scares early on. According to him, “It’s important to keep the audience engaged from the very start.”

I’ve discovered an invaluable lesson from the renowned filmmaker Mike Nichols. When I was eighteen, after my father passed away in 1992, he took me under his wing. He showed me that as a director, I possess the capacity, authority, and chance to instill a perspective into every project. If I desired to infuse my films with substance, depth, and richness, this was non-negotiable according to him.

Instead of limiting himself to the horror genre, Perkins aimed to create the movie’s distinctive visual approach by inspiring cinematographer Andres Arochi with the work of director Gus Van Sant. According to Perkins, introducing an unexpected element can shift artists’ focus, making “My Own Private Idaho” a more influential reference than “Rosemary’s Baby.”

Despite Perkins’ films being frightening, actors enjoy collaborating with him. According to Blair Underwood in an email, Oz’s filmmaking approach exudes a calm and unassuming self-confidence infused with a hint of witty humor. This amusing touch serves to establish a productive and inspiring atmosphere for creating bold and innovative projects.

Monroe remarked, “He allows his work to live on through others instead of clinging too possessively, risking suffocation.”

As a longtime fan of John Cage’s avant-garde art, I’ve been captivated by his transformative performances throughout the years. However, nothing quite prepared me for his chilling portrayal of Longlegs in that haunting production. The allure of that elusive sense of freedom he sought was palpable, leading him to deliver some truly inspired work.

As I watched Cage give an exceptional performance in the movie, I couldn’t help but be impressed by his total immersion into the role. From our initial encounter, it was evident that he was a meticulous and dedicated actor – not to mention a thoughtful and introspective individual.

At odd hours, Perkins and Cage exchanged ideas through voice notes, with Cage sending them to Perkins past midnight. According to the filmmaker, their creative process was a harmonious collaboration: “Both of us were deeply involved at all times. Nic doesn’t work alone; he thrives on collaborating as much as anyone I know.”

During the production of “Longlegs,” Cage preferred to avoid socializing with the cast and crew following each day’s filming, instead concentrating solely on his character. This wasn’t a Method acting choice, as Perkins clarified, but rather to effectively portray the intense scene where Longlegs and Harker initially encounter each other. It was also their first meeting for Monroe, who was unaware of Cage’s appearance, voice, or acting style.

“According to Perkins, it seemed as if we were setting the stage perfectly for an intense emotional response during the scene due to Cage’s dedication. As a result, we managed to film an authentic moment of surprise and unscripted reaction that is bound to leave viewers startled.”

In my experience as a movie reviewer, I’ve had the chance to preview Perkins’ upcoming film, “The Monkey,” which is an adaptation of a 1980 Stephen King short story. However, if you’re expecting another heart-pounding horror ride from him, you might be in for a surprise. According to Perkins himself, this movie offers more than just scares.

Perkins emphasizes that “The Monkey” bears no resemblance whatsoever to “Longlegs.” He characterizes it as a humorous production filled with over-the-top cartoon gore. As points of comparison, he mentions the films “An American Werewolf in London,” “Gremlins,” and “Death Becomes Her.”

In “The Monkey,” Perkins goes back to acting after a long break since his role in “Nope” by Jordan Peele. His earliest acting experience was as a young Norman Bates in “Psycho II” from 1983. Normally, he finds the uncertainty of acting quite unsettling, which is why he has focused mainly on work behind the scenes.

For Perkins, it seems that pushing himself just as much as the audience adds to the enjoyment for him. “Isn’t that the essence of the game?” he questions. “Provide them with something they haven’t anticipated.”

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2024-07-18 18:16