Osgood Perkins, the acclaimed horror director, has found a new home in Vancouver, Canada, and he's not looking back. But why would a successful Hollywood filmmaker leave the U.S. behind? It's a controversial move, but one that's paying off creatively and financially.
After the success of his films 'Longlegs' and 'The Monkey,' both shot in Vancouver, Perkins is on a roll. He's now shooting his fourth movie, 'The Young People,' locally, marking a remarkable comeback after a box office stumble with 'Keeper.'
Perkins has found his dream team in Vancouver, partnering with producer Chris Ferguson and indie banner Oddfellows. This collaboration has led to a first-look deal with Neon, ensuring a home for Perkins' unique brand of horror. And the benefits of staying in Canada are clear: permanent residency status.
"Permanent residency gives us financial perks and a sense of belonging," Perkins reveals. He and his family, including his young son, are settling into Vancouver's welcoming environment, much like fellow horror icon Guillermo del Toro in Toronto. But here's where it gets interesting: Perkins values the sense of community and the ability to work closely with his trusted team.
"I want to work with people I know and trust, not strangers hired by studios," he says. This approach has paid off, as Perkins' films continue to thrive in Canada while the U.S. indie film market struggles. Is this a sign of a changing industry?
Perkins believes his success in Canada is no accident. He highlights the vibrant, liberal, and artistically supportive nature of Vancouver, a stark contrast to the diminishing theatrical release market in the U.S. And as America's global position shifts, Perkins sees Canada as a breath of fresh air.
"The world is vast and beautiful, and staying in Vancouver allows me to explore that," he argues. With a growing list of collaborators, including industry heavyweights and private investors, Perkins is making Vancouver his creative hub. His journey began with 'Longlegs,' a film that put him back on the map after a slow period in his career.
'Longlegs' and 'The Monkey' have been critical and commercial hits, solidifying Perkins' decision to stay in Vancouver. But his rapid success also led to the quick production of 'Keeper,' which, despite lower box office numbers, has its own merits. Perkins and Ferguson emphasize that every film has its purpose and value.
As Perkins continues to defy expectations and industry trends, one can't help but wonder: Is this the future of horror filmmaking? Will more filmmakers follow in Perkins' footsteps, seeking creative freedom and community over traditional Hollywood structures? The controversy lies in challenging the status quo, and Perkins is leading the charge. What do you think? Is this a bold new direction for the industry, or a temporary detour?
