Theo James Reveals Shocking Secrets About ‘The Monkey’ and ‘The Gentlemen’ Season 2!

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Previously, Theo James collaborated with Osgood Perkins on a horror series that failed to take off. However, their partnership unexpectedly yielded results, resulting in the creation of “The Monkey” instead.

In Perkins’ subsequent work to “Longlegs”, James takes on the dual roles of Hal and Bill Shelburn. When he first received Perkins’ adaptation of Stephen King’s short story with the title “The Monkey”, he found himself laughing so hard that he questioned whether the tone was deliberate or not. Given his familiarity with Perkins’ work from their previous collaboration, James knew that humor wasn’t a dominant aspect in Perkins’ films, despite the fact that James himself is known for his good sense of humor off-screen.

James shared with The Hollywood Reporter his feelings about the script for ‘The Monkey’, stating that while he appreciated it and found it amusing, he was slightly bewildered. He hadn’t expected such humor from Perkins’ previous work, he said. So, he phoned Perkins and asked, ‘It’s fantastic, but it’s quite humorous. Am I understanding it correctly?’ To which Perkins replied, ‘Absolutely, if you’re telling a story about a toy monkey, there should be some lightness to it.’

Starting from 1999, Perkins’ novel “The Monkey” introduces Christian Convery’s portrayal of the teenage twins, Hal and Bill, who find a toy monkey left by their missing father in a closet. Shortly after, a series of deaths occur within their close circle, causing them to throw the supposedly cursed toy into a well. Fast-forwarding 25 years, we encounter James’ depiction of the twins, where Hal is now a solitary store clerk who has relinquished custody of his son due to his fear that the monkey-related family curse will also affect him.

In the meantime, Bill and he have grown apart due to the fact that Bill has essentially transformed into a devoted follower of a monkey, which had previously caused chaos in his family’s life. James is now sharing more information about Bill’s situation that wasn’t included in the initial account.

To begin with, Bill’s story in the script contained more details than what was shown in the movie. As you might remember, he was dismissed dishonorably from the Army, and then he delved deeply into his own solitude, portraying a ‘Taxi Driver’ character. However, parts of this exploration were not depicted on screen. For instance, he designed a sort of supervillain costume and there were scenes where he wore feminine clothing such as halter stockings and belly tops, reflecting a gender fluid aspect.”

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“Initially, the script for Bill’s journey had more elements than what was displayed in the film. You may recall that he was discharged dishonorably from the Army, and then he immersed himself deeply into his own feelings of loneliness as a ‘Taxi Driver’. Although this wasn’t fully shown on screen, it is worth noting that he created a supervillain-like costume and there were instances where he wore feminine clothing like halter stockings and belly tops, suggesting a fluidity in gender expression.

Over the past five years, James has significantly transformed himself from being primarily recognized as a co-star in the incomplete Divergent film series. Nowadays, he is renowned as an Emmy-nominated actor for The White Lotus season 2 and the lead in Guy Ritchie’s Emmy-winning TV series, The Gentlemen. James attributes his career progress to not only choosing more character-focused roles but also the support and confidence bestowed upon him by figures like Ritchie, Perkins, and Mike White, the creator of The White Lotus.

At the start of my acting career as a novice, I found myself taking on various roles. Some were beneficial, while others were less advantageous,” James reflects now. “I didn’t find much satisfaction and perhaps wasn’t very skilled in extensive green-screen work, where it was unclear about the character’s development from A to B. In some movies, I even felt a bit overwhelmed.

Regarding “The Gentlemen,” the highly successful Netflix show commences shooting its second season during the springtime. However, James emphasizes that neither he nor Ritchie are taking a break; they’re actively working hard.

Season two of ‘The Gentlemen’ will debut in the spring, promising to be larger and more ominous than its predecessor. Creator Guy Ritchie, like myself, had a strong desire to develop the series further, and that’s our aim. While the first season was enjoyable, repeating the same formula might not be as entertaining, essentially.

In a recent chat with THR, James discusses his idea about the existence of the toy monkey within The Monkey, and then expresses his enthusiasm for season three of The White Lotus.

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Before The Monkey, you had a brush with Oz Perkins for a series that didn’t go?

During the lockdown period, a producer friend and I collaborated on an intriguing intellectual property, inspired by real-life events, that took on a chilling horror theme in the northern parts of England. We admired Oz’s work extensively, having watched numerous productions, including “The Blackcoat’s Daughter.” After sharing a cup of coffee and exchanging warm greetings, we found ourselves drawn together, eventually discussing our shared vision for this project. Although it didn’t fully materialize, the collaboration marked the start of a fruitful partnership in the world of horror filmmaking.

After learning he was adapting a Stephen King short story titled “The Monkey”, I immediately thought it was an obvious choice. Not only is Oz known for his humor and kindness, but he’s also an engaging storyteller. I received the script and found it hilarious, although a bit puzzling since his previous work hadn’t been so comedic. Curious, I reached out to him and asked if I was interpreting it correctly. He assured me that yes, there should be humor in a tale about a toy monkey. And with that, we moved forward.

Have you only read King’s short story once before focusing on the script of Oz, without revisiting it since then?

Indeed, I did peruse Oz’s script and later read his short story once without revisiting it. They are quite distinct from each other. I was already familiar with Stephen King’s work, as he is truly seminal. I have read numerous books by him and watched several adaptations throughout the years. However, what particularly resonated with me in his short story was the tone. Stephen King excels at setting tone. In “The Monkey,” he creates a tone – one that evokes nostalgia, melancholy, and intergenerational trauma – depicting a strained relationship within a family, if I may use a dramatic term. Additionally, there’s an underlying sense of foreboding, but it still maintains a subtle touch of levity.

In our conversation about the project, Oz mentioned the touchstones for the movie, which have stayed consistent throughout its production. These are Steven Spielberg’s “Death Becomes Her” and “Gremlins.” We also drew inspiration from ’80s Tom Hanks in portraying Hal, a beleaguered everyman with a sharp wit. Working with someone who is secure in the tone they present instills confidence in us as actors, allowing us to fully immerse ourselves in the world and take bold risks without being overly cautious about our performance.

Has Stephen King praised the movie highly? I couldn’t resist the play on words, but did it relieve some pressure given his well-known response to Stanley Kubrick’s The Shining?

Absolutely, he’s experienced responses similar to those portrayed in “The Shining,” which is reasonable given his profound work. Since many of his stories are being adapted, it’s impossible for him to participate in each one directly. However, the news brings excitement as Oz and I are avid admirers of his craft. Recently, Oz had the opportunity to meet Stephen King, who appears to be a fan of both his work and the movie adaptation. This encounter brought immense joy and validation to Oz. Nevertheless, I didn’t sense any pressure because I trusted that Oz had a firm grasp on the material and a distinct, Perkins-esque perspective for the adaptation.

Hal is in a difficult situation: if he stays involved in his son’s life, he might be putting him at risk due to the Shelburn family curse. On the other hand, by staying away, he causes significant harm. So, considering this, were you more understanding of him compared to most absent fathers?

Absolutely, there’s something relatable about him that resonates deeply. I find myself connecting with aspects of his character and even identifying pieces of myself within them. As a father of young kids, it’s fascinating how our experiences mold us and impact the way we raise our children. Despite what others might say, being a parent at any age brings a unique level of concern about shaping our children’s lives. Our upbringing plays a significant role in defining who we become as adults, shaping our strength and independence over time.

I found Hal to be quite relatable due to his role as the moral compass within the movie. He’s a character who has given up much, including himself and his love for his child, and lives in solitude. He avoids burdening others with his struggles, both literally and metaphorically. During our initial discussions during pre-production in Vancouver, Oz mentioned the concept of an esoteric burden that we all carry – a historical or emotional weight that persists throughout life. Although the film is humorous, there’s a deeper layer that demands strength. Hal embodies someone grappling with this weight in a principled manner, while Bill personifies fear of death and his past, seeking immortality through an obsessive toy monkey.

Did you draw upon experiences from your own upbringing with older siblings when dealing with Hal, who was frequently picked on by his elder twin, Bill?

(Chuckles.) Your personal background undeniably influences your perspective. I, too, have brothers and sisters. Interestingly, one of my sisters has twin daughters who are 10 years old now. We’re quite close, having observed their growth since they were infants. This shared history provides a unique connection for me. They look exactly alike, but as time passes, they’ve each developed distinct personalities. Yet, there remains an inherent bond between them, one that, perhaps, isn’t as strong among typical siblings. There’s a harmony in their relationship, which is truly captivating.

In portraying two brothers who are polar opposites, yet harbor a hidden affection, I’ve envisioned one character as embodying an Oedipal complex. He was born first and feels that he’s entitled to his mother’s love exclusively. This resentment towards his brother stems from this belief, leading to feelings of insecurity and the perception that he didn’t receive enough or should have more love. This fear is rooted in a sense of immaturity, as if he’s trapped in a state between boyhood and manhood, unable to fully mature due to psychological baggage from his past. A contemporary parallel could be a person struggling to transition into adulthood, held back by their history.

To what extent do you stand behind the idea that the Shelburn family’s belief in the existence of the monkey is merely a collective illusion, rather than a real creature?

I find it intriguing as a theme, but what we’ve actually made is an entertaining film meant for enjoyment with friends or a crowd. Laughter and shock are part of the experience. However, delving too deeply into its philosophical aspects might make it overly existential. The charm of [the monkey] lies in its symbolic representation. Oz puts it eloquently when he talks about creating a totem, an icon that serves as a blank canvas for our judgments and fears. This is why horror movies often feature such frightening inanimate symbols. There’s a sense of stillness and emptiness to them, which allows us to project our own thoughts and fears onto them, only to have those projections reflected back at us. In essence, we give life to the lifeless, creating an intriguing human dilemma.

What was the conversation around Bill’s mullet or whatever we’re calling that cut? 

I’ve always found it intriguing when he sported a mullet. It has a slightly sluggish and grubby vibe, reminiscent of a rodent’s tail. Initially, Bill’s journey in the script included a segment exploring his past. This part showed that he had been dishonorably discharged from the military, leading to a profound exploration of his solitude, much like Travis Bickle in ‘Taxi Driver.’ Unfortunately, this section didn’t make it to the final cut, but the mullet remains symbolic of that period.

He’s quite intriguing, and the costume design was exceptional. However, due to certain circumstances, not everything was shown on screen, but his character sported an unusual supervillain outfit. Additionally, there’s a sense of fluidity in gender expression with this character. There were moments where he donned items such as halter stockings and belly tops. The character also exhibits a peculiar mixture of reverence and lust/adoration towards a monkey, which hints at an intriguing psychosexual dynamic. This aspect has always piqued my interest.

It appears that you’ve produced some of your finest work lately, with “Archive” marking a significant beginning for this impressive run.

Thanks, man.

What do you attribute this larger pattern to?

Evaluating oneself can be tricky at times. When I first began my acting career as a young performer, I found myself stumbling into various situations. Some were beneficial, while others not so much. I didn’t find great satisfaction, and perhaps wasn’t adept at, big productions involving green screens where the character’s journey was vague or unclear. I have a strong need for that clarity. As they say, “The secret is to know your origins and your destination.” In some of those films, it was easy to become disoriented.

As we grow older and encounter ups and downs throughout our careers, which are inherent in any profession, there’s a tendency to become less attached and more willing to take risks. Working with talented individuals like Oz, Mike White, and Gavin [Rothery] on a project like Archive gives one the courage to swing for the fences, even if some attempts fail. By learning to care less and letting go a bit, we can discover more intriguing work in the process, ideally.

Are you planning on tuning in for The White Lotus‘s third season? Some actors tend to avoid watching projects that resemble their past work, and it seems that several Game of Thrones actors have chosen to skip House of the Dragon.

Without a shadow of a doubt, I’ll be catching that! I’m thrilled about it. Mike [White] is undeniably a pioneer in his field as both a director and writer, and I have high expectations that this will surpass, if not equal, the brilliance of season two. I truly savor the thought. I appreciate outstanding work, and it’s wonderful to see such talent flourish, especially considering the challenging nature of our industry where big successes are rare. We should all cheer each other on as we navigate through this competitive landscape. Good work deserves recognition and celebration.

Is The Gentlemen season two off and running yet?

In the springtime, we’ll commence our new venture. I’m jetting off to Korea immediately to collaborate with an intriguing director named Kim Jee-woon on a captivating adaptation of the Korean novel, “The Hole”. This project has me genuinely thrilled! After that, we delve into season two of “The Gentlemen”, which promises to be even more complex and intense than its predecessor. Both myself and our creator, Guy Ritchie, were eager to evolve this series, ensuring it doesn’t become monotonous. As enjoyable as the first season was, repeating the same formula might not be quite as entertaining. (Chuckles.) We aim to delve a little deeper into character development while maintaining its humor and fun aspect, adding depth to make it more intriguing.

That approach is not unlike The Monkey.

One of the reasons I admire “The Monkey” is its dual nature. It’s brash and intense, filled with gruesome deaths and heavy doses of blood, yet it hides deeper, thought-provoking philosophical themes that truly captivated me during my initial reading of the script on the set of “The Gentlemen”‘s first season. What initially drew me in was not just its wild exterior, but the intriguing ideas lurking beneath. Even though it might sound pretentious, Oz is skilled at exploring such themes. He’s a deep thinker with a complex past, and people like him often have the most profound insights to offer.

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The Monkey is now playing in movie theaters.

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2025-02-21 23:56