Why is a Top Horror Director Trading Hollywood for Vancouver?
Osgood Perkins, the mastermind behind chilling films like Longlegs and The Monkey, is making waves in the horror genre. But here’s the twist: he’s doing it from Vancouver, Canada, not Hollywood. And this is the part most people miss: it’s not just about the scenery. Perkins has found a creative haven in Vancouver, where he’s built a tight-knit team of collaborators and achieved remarkable success, something he admits is “so hard to achieve in anything, especially in our theatrical movie business.”
Following a rare misstep with Keeper, Perkins is back on track with The Young People, his fourth Vancouver-based production. His partnership with local producer Chris Ferguson (of Backrooms fame) and indie powerhouse Oddfellows has been a game-changer, solidified by a first-look deal with Neon. This means Neon becomes the home for Perkins’ projects, ensuring a steady stream of spine-tingling tales from the director.
But here’s where it gets controversial: Perkins has no plans to return to the U.S. He’s applied for permanent residency in Canada, choosing to raise his young family in Vancouver. This decision isn’t just about personal preference; it’s a strategic move. As Perkins explains, permanent residency offers financial perks and a sense of belonging for his family. His six-year-old son attends school in Vancouver, and Perkins values the feeling of putting down roots. Ferguson echoes this sentiment, drawing parallels to how Toronto embraced Guillermo del Toro, another horror maestro. “Vancouver has welcomed Oz with open arms,” Ferguson says, urging the Canadian government to grant Perkins permanent residency.
Perkins’ success in Canada coincides with a slump in the U.S. indie film market. “Everybody is failing,” he observes, “but we’re breaking through.” His films, like Longlegs, which grossed $128 million globally on a $10 million budget, and The Monkey, which opened to $14 million domestically, prove that his formula works. Even Keeper, despite its modest box office performance, achieved its intended purpose, according to Perkins. “Every movie has its value,” he insists, dismissing rumors of slowing down his filmmaking pace.
What’s truly unique about Perkins’ approach is his emphasis on building a “family” within his production team. “I’d like to hug my editor every day,” he quips, highlighting the importance of personal connections in his creative process. This sense of community, coupled with Vancouver’s vibrant artistic scene, has made the city an ideal base for Perkins.
And this is the part that sparks debate: Perkins’ perspective on America’s global standing. Raised with a sense of American exceptionalism, he admits to experiencing an “eye-opening epiphany” while living abroad. “The world is huge and beautiful and varied,” he reflects, challenging the notion of U.S. supremacy. This shift in perspective, combined with his professional success in Canada, has solidified his decision to stay.
Perkins’ journey to Vancouver began in late 2022 with the script for Longlegs. At the time, his career was at a standstill, but collaborating with Nicolas Cage and tapping into occult horror revitalized his career. Since then, he’s partnered with industry heavyweights like Mike Flanagan, Sean Baker, and Finn Wolfhard, and even joined efforts to rescue Vancouver’s historic Park Theatre.
As Perkins continues to produce projects with Brian Kavanaugh-Jones and expand his creative network, one thing is clear: Vancouver has become his muse. “It’s a very vibrant, liberal, expansive artistic city that cares about its people,” he says. And with the theatrical window narrowing, Perkins is determined to keep the momentum going, slipping through the “tricky gauntlet” of an evolving industry.
Thought-provoking question for you: Is Osgood Perkins’ move to Canada a reflection of broader trends in the film industry, or a unique personal choice? Do you think other filmmakers will follow suit, seeking creative freedom and financial stability outside Hollywood? Share your thoughts in the comments!
