Osgood Perkins, the acclaimed horror filmmaker, has found a new home in Canada, and he's not looking back. But why would a successful director leave Hollywood behind? It's a controversial move, but one that's paying off creatively and financially.
Perkins, riding high after the success of 'Longlegs' and 'The Monkey,' both filmed in Vancouver, is now a Canadian resident with no plans to return to the U.S. He's even shooting his fourth movie locally, 'The Young People,' after a brief box office stumble with 'Keeper.'
The allure of Vancouver: Perkins has found a supportive community in Vancouver, partnering with local producer Chris Ferguson of Oddfellows. This collaboration has led to a first-look deal with Neon, ensuring a home for Perkins' projects. The city has embraced him, much like Toronto welcomed Guillermo del Toro, and Perkins values the sense of belonging.
A family affair: Perkins speaks fondly of his production team, calling them a "family." He enjoys working closely with his editors, creating a tight-knit environment. This sense of community, along with the success of his films, has made Vancouver an attractive long-term base.
The Canadian advantage: As the U.S. theatrical release market struggles, Canada offers opportunities. Perkins emphasizes the privilege of finding success while others falter. This, coupled with his changing perspective on America's global standing, solidifies his decision to stay.
A thriving partnership: Settling in Vancouver led Perkins to collaborate with industry giants like Mike Flanagan and Oscar winners Sean Baker and Samantha Quan. He's also part of a group investing in the historic Park Theatre. Vancouver's artistic vibrancy and liberal nature have captured his heart.
A journey of success: Perkins' journey began with 'Longlegs,' a turning point after a slow period in his career. The film's success, earning $128 million globally, solidified his decision to stay. 'The Monkey' further cemented his place, opening to $14 million domestically.
A minor bump: 'Keeper,' his third Neon collaboration, underperformed with $4.8 million globally. However, Perkins remains unfazed, emphasizing the unique purpose and value of each film. Ferguson adds that the crew was well-compensated, and they continue to produce for Neon.
Dismissing criticism: Perkins brushes off online chatter about slowing down after 'Keeper's' box office results. He focuses on the industry's challenges, emphasizing the importance of staying productive during this transitional phase.
A new chapter: As Perkins continues his Canadian adventure, the Whistler Film Festival wraps up, leaving audiences eager to see what this horror maestro creates next. And the question remains: Will more filmmakers follow in Perkins' footsteps, seeking creative freedom and community beyond Hollywood's borders?
