The Monkey

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Over the past summer, Oz Perkins’ movie “Longlegs” earned approximately $127 million against a budget under $10 million, and by then he had already completed filming two more projects for Neon. The movie “The Monkey“, set to hit theaters on February 21st, is one of these three films in Perkins’ recent horror series that also includes “Longlegs” and “Keeper” from October 2025. Originally, producers James Wan and Peter Safran had asked Perkins to adapt Stephen King’s story about a menacing toy monkey for the big screen. However, the grim tone of the original script didn’t align with Perkins’ creative vision for such a film.

As a result, Perkins chose to explore the horror-comedy subgenre, which is often challenging to market within the studio system. This challenge was confirmed when a significant studio rejected his tragicomedy concept. (It’s likely that The Monkey initially belonged to WB/New Line, considering Wan’s prior first-look deal and Safran’s long-term presence there.) Luckily, Wan and Safran were so passionate about Perkins’ vision that they enabled the project to bypass the studio system and head straight for the big screen independently.

For anyone who’s in a leadership role, seeing the terms ‘horror’ and ‘comedy’ together is not a pleasant sight. They wouldn’t want to encounter that, Perkins explains to The Hollywood Reporter. However, I was assured about our project, and there was a time when they weren’t convinced, so I had to seize the opportunity and move forward.

Apart from adjusting the tone, Perkins recognized that he had to adapt the core elements of King’s story to suit his personal perspective. Thus, the toy monkey took on a more profound symbolism, representing life and death, as one can never predict when or how fate might claim you. This theme resonated deeply with Perkins, given that he experienced the untimely and tragic deaths of both his parents, Anthony Perkins and Berry Berenson.

Around where I am, there have been some bizarre, unforeseen deaths that appear implausible and startling, even undeserved. This has been my story – I’ve experienced a few such instances, some truly monumental ones, including the loss of both my parents,” Perkins explains.

In the spring of 2023, Perkins initially planned to produce a movie titled “The Monkey” following the completion of another project called “Longlegs”. However, unexpected WGA and SAG-AFTRA strikes disrupted this plan. Instead, he found himself in a creative flow with his Vancouver crew and production team, so he chose to work around the labor conflicts by creating another independent horror film using Canadian crew and talent. This film eventually came to be known as “Keeper”.

Tatiana Maslany plays a wife who must deal with a mysterious threat at a secluded cabin after her husband suddenly leaves, a role she took on due to her enjoyment of Perkins’ minimalist filmmaking style. Immediately afterward, Maslany agreed to portray the mother of the dual protagonists Hal and Bill Shelburn in ‘The Monkey.’ Christian Convery and Theo James assume both roles in their respective 1999 and 2024 storylines.

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Tatiana Maslany stars as a wife who finds herself alone at a remote cabin following her husband’s unexpected departure, facing an ominous presence. Her positive experience working with Perkins on the lean-and-mean filming approach convinced her to accept the role of the mother of ‘The Monkey’s’ main characters, Hal and Bill Shelburn. Christian Convery and Theo James play both roles in their respective 1999 and 2024 timelines.)

We completed the project swiftly and spontaneously. We did it with great trust and confidence. It was an intimate, small, peculiar film featuring mainly two characters,” Perkins explains. “So we finished shooting that movie on a Friday, and by the following Monday, we were in the offices of The Monkey.

During a recent chat with THR, Perkins openly shared the reasons why he experienced little stress when adapting King’s work. He further elaborated on how Guillermo del Toro’s backing has been instrumental in his professional journey since 2020’s Gretel & Hansel.

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Since Longlegs skyrocketed to fame while you were already on duty at The Monkey, I’m curious about the impact it’s had on your life. Has there been an increase in the hustle and bustle in your email inbox lately?

Sure thing!

People often ask if they can grab coffee with me, to which I respond, “I’m not sure.” Things are constantly shifting, and someone else has the answer now; it’s no longer something I know. As for my plans, they’ve given me an incredible boost of self-assurance, which is invaluable in business. In any creative pursuit, having confidence allows you to take risks. So, my choices have been validated by a wide audience, which still surprises me, but that’s how it goes. I just feel incredibly fortunate, man. Sometimes opportunities come my way, and other times they don’t.

In this version, the language remains conversational and easy to read while maintaining the original message and tone. The text is restructured slightly for clarity, with a focus on using more common phrases and sentence structures.

James Wan and Peter Safran proposed The Monkey project to you during the Longlegs phase, but despite attempting to progress it at another studio, you eventually opted for independent production. Was there a misunderstanding on their part about the tragic-comic nature of this project?

The chance to work on “The Monkey” came at a crucial point in my life when I found it particularly meaningful, and it seemed to fit perfectly. However, the peculiar aspect of this line of work is its instability. People are constantly anxious about potential failure, success, and taking risks – and understandably so, given the vastness of the industry, the high stakes involved, the tremendous effort put into projects, and the substantial resources spent. It’s only natural to want to minimize risk. For those who have been in a decision-making role in this business, the combination of “horror” and “comedy” can be a truly alarming sight. They tend to avoid such pairings. This genre is indeed a delicate balance. Nonetheless, I felt assured about our work, but there was a time when others didn’t share my conviction, so I had to seize the opportunity and move forward.

Regardless of it being a Stephen King short story, you needed to give “The Monkey” a unique touch that reflects my style. For those unfamiliar with your work, could you explain the creative adaptation process?

Whenever I’m tasked with creating something, be it from Peter and James or inspired by my own creativity, there’s an internal switch that activates, making it a subject I feel compelled to delve into. The first step is always to understand how the topic resonates with me personally. How can this concept apply to my life? If not, it becomes like a screenwriter crafting something they believe could be intriguing or popular, which, in my opinion, is an incorrect approach to writing. Instead, I strive to infuse personal experiences and make the subject matter relatable and worth investigating for me.

Reflecting on this, I realized that the character in question embodies an iconic presence, unlike M3GAN or Chucky who actively engage with their victims. It merely exists, and yet, it’s surrounded by these bizarre, unforeseen deaths that seem implausible, shocking, and undeserved. As I reached this point, a wave of recognition washed over me, as if saying, “This is my story.” I’ve experienced a few such moments, some truly monumental ones. This was the narrative of both my parents. At that instant, I found myself becoming an authority on the subject. When you stare at that blinking cursor and aren’t an expert, it can be a treacherous voyage indeed. But when you feel like you understand the essence of the story, everything you create rings true and authentic.

In essence, the dialogues of “The Monkey”, along with its philosophical discussions on death, resonate deeply with me as they reflect my own thoughts and experiences. This connection became more evident when I recognized that the violent scenes reminiscent of Itchy and Scratchy by Chuck Jones could serve as a rhythmic backdrop for this profound exploration. Thus, you can feel the beat.

In this movie, there’s a challenging predicament facing Hal (Theo James). If he is involved in his son’s life, the Shelburn family curse places him at significant risk. However, by staying away, he unintentionally causes immense harm to his son as well. What are your thoughts on this conundrum of an absent father?

As a father of three, I can relate to the persistent fear many parents share – unintentionally instilling negative traits or behaviors into our children through careless words or moments of emotional turmoil. It’s a fear that we might inadvertently pass on criticism, which can leave a lasting impact on their minds. This has been my experience; I struggle with self-criticism, and I wish nothing more than for my kids to grow up without that inner voice.

The struggle lies in the tension between wanting to shelter our children from the world’s harsh realities while recognizing that we, as parents, are not immune to life’s scars. We strive to act as a protective barrier, yet we know that some of our own flaws might unintentionally transfer onto them. It’s a delicate balance between providing love and guidance while acknowledging our imperfections.

Have you ever wondered if filmmakers, when discussing their King adaptations with you, confessed a sense of relief upon receiving his approval? I assume this is because they recall Stephen King’s response to Stanley Kubrick’s ‘The Shining’ lingering in the back of their minds. Before he finally saw and praised ‘The Monkey’, did you experience any apprehension or concern?

I didn’t feel anxious about it since I genuinely believed what I had was solid, although this isn’t always the truth. Writing can be a battle, but sometimes it flows effortlessly. This particular situation seemed like an ideal combination of possibilities, talents, and sensibilities, making me confident that I had the right approach. I assumed he would appreciate my honesty and depth, rather than any self-serving or shallow intentions. Therefore, I never felt concerned or pressured because everything just seemed to come together smoothly.

As a huge fan, I’m curious if when creating intricate death scenes, you often start by visualizing the final, fatal blow and then trace back to the initial setup?

Each person has their unique role in life. Some are tasked with drilling teeth, others with launching missiles, while some create stories out of thin air – and that’s what I do. To keep my work focused and innovative, I set limitations for myself. The primary rule was that none of the incidents depicted could occur in reality. Electric shocks or drowning in a pool wouldn’t result in such outcomes. You can’t cut a spinal cord with a grill knife, and there’s no genuine threat to life in this production. It has a playful spirit similar to Wile E. Coyote, who constantly faces peril but doesn’t actually die. As long as I maintained this cartoonish tone, I knew the style and feel of my work. After that, I just went with whatever ideas came to me, and there’s no secret formula or quick fix. You simply sit down every day, hoping inspiration strikes.

Did James Wan’s reputation as a skilled director result in him providing more detailed instructions compared to a typical producer, or did he give you creative freedom that is uncommon among producers?

James completely abandoned me for a while, but just recently we managed to discuss our completed project. He’s been incredibly respectful of my work, genuinely admiring the approach we took and the power in its execution. It’s an amazing sensation to find myself among the greats, with them approving of what I’ve done. It feels fantastic. From the get-go, all the producers have given me unwavering support, which was particularly uplifting. These are highly accomplished individuals who have created widely-appreciated films. To their credit, they have consistently delighted large audiences. So, it was heartening and delightful when they endorsed this unique twist in our genre.

In other words: James wasn’t around for a while, but we recently talked about our finished project. He’s been very considerate of my work, really appreciating the way we approached it and how well it was executed. It’s a wonderful feeling to be working alongside the best in the business, knowing they support what I’m doing. From the start, all the producers have been incredibly supportive, which was especially encouraging because these are talented individuals who have produced popular films. It was really uplifting when they approved of this unusual element in our genre.

Have you heard countless tales about the generosity of Guillermo del Toro, especially regarding his willingness to offer suggestions on initial drafts and other aspects? Was he able to give priceless advice in this particular instance?

Guillermo serves as my occasional confidant, someone I reach out to when things become unclear or when I find myself slipping into complacency. This is particularly true when I begin to think, “Things are going great, everyone loves it. Everything’s on track and I’m thriving. Oh no, I should really call Guillermo before this ego balloon bursts.” It’s when you start believing your own success that things can start to go awry. So Guillermo’s words, “If everything goes wrong and you fail, it’s all okay. But it’s when you succeed that I start to worry,” provide a humbling perspective that is essential in this line of work. In essence, he helps keep me grounded and honest.

I wanted to discuss the scene involving Longlegs, as Alicia Witt mentioned the hypodermic needle found in the infamous “bits box.” In this scene, her character Ruth used it on Maika Monroe’s character Lee, presumably to put her to sleep. The intention was to give Lee the chance to complete the devil’s business. Did you decide to omit this moment to strengthen the association between the dolls and their recipients?

You frequently encounter discussions about this topic; people are constantly referring to it. There’s the writing phase, the filming, and the editing. Each transition from one to another effectively discards the previous step. We captured a vast amount of footage during the scene where Ruth aims her shotgun at Lee’s doll. We filmed numerous dialogues and explanations, only to find that we could convey it more succinctly and elegantly, transforming it into a flashback.

In this scene, Ruth recalls the mythology she created surrounding Lee’s childhood, Longlegs’ visit, and the pact with the devil that Lee made. As a result, much of what was filmed didn’t make the final cut, but the narrative became more streamlined and clear. It became apparent that the ball inside the doll’s head was controlling Lee, and once it was destroyed, she was liberated.

Since you’ve already got another film featuring Tatiana Maslany, are you taking advantage of the situation while it lasts? That could be the reason for your relentless pace.

I journeyed to Vancouver to produce “Longlegs,” a film I hadn’t made in quite some time. As I embarked on this project, I found myself deeply attracted to the Canadian team working with me and my producer Chris Ferguson from Vancouver. The experience of making “Longlegs” created a mini-Hollywood atmosphere, and we all felt proud of our work. With “The Monkey” ready for production, having been released by the studio and finances secured, everyone was eager to continue the momentum. However, the Writers Guild strike lasted for an extended period, causing us concern that it might never end. In that moment, I reached out to Chris, suggesting, “We need to keep moving forward, buddy. Our dream was to seamlessly transition from one film to another, so we must find a solution.

To sum up, we managed to assemble a Canadian writer (not from Writers Guild) named Nick Lepard, along with Canadian actors who were willing to forgo their SAG status and work locally. Using this team, we created a film titled “Keeper” out of thin air and worked tirelessly on it. We completed the project quickly, improvising as we went along. There was a strong sense of trust and camaraderie among us. The movie is small-scale, intimate, and somewhat eccentric, featuring just two main characters. After wrapping up the filming on a Friday, we found ourselves in the offices of “The Monkey” by the following Monday. It all happened quite naturally, as if we were on a roll. If you’re capable, willing, and not overly fatigued, why not keep pushing forward?

Are you worn out from working like there’s no tomorrow? 

At this point, I’m pretty exhausted, but I have three good movies, so that’s fine.

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The Monkey opens in theaters on Feb. 21. 

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2025-02-20 22:55