Why is a Hollywood Horror Maestro Calling Canada Home?
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. And this is the part most people miss: it’s not just about the stunning landscapes or the tax incentives. Perkins has found something far more valuable—a creative family and a thriving indie film scene that’s giving Hollywood a run for its money.
After a rare misstep with Keeper, Perkins is back on track with The Young People, his fourth film shot in Vancouver. In a candid interview with The Hollywood Reporter, Perkins shared why Canada has become his creative haven. “We found success. I found my people and collaborators, and we’ve achieved something so hard to come by in this industry,” he said, reflecting on his partnership with Vancouver producer Chris Ferguson of Oddfellows. Their first-look deal with Neon has cemented their position as a powerhouse duo in horror filmmaking.
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, citing financial perks, a sense of belonging for his family, and a more welcoming artistic environment. “Permanent residency gives us roots. My son goes to school here, and it feels like we belong,” Perkins explained. Ferguson echoed this sentiment, drawing parallels to how Toronto embraced Guillermo del Toro. “Vancouver has accepted Oz the way Toronto celebrates Guillermo. Now, we just need the government to officially welcome him,” Ferguson added.
Perkins’ decision to stay in Canada isn’t just personal—it’s strategic. As the U.S. indie film market struggles, Canada has become a beacon of opportunity. Longlegs, with its $128 million global haul on a $10 million budget, proved that Perkins’ move was more than just a gamble. The Monkey further solidified his success, opening to $14 million domestically—Neon’s second-highest debut ever. Even Keeper, despite its modest $4.8 million global earnings, served its purpose, according to Perkins. “Every movie has its value. Keeper was never meant to be a blockbuster, but it gave our crew a paycheck, and that’s a win,” he said.
And this is the part most people miss: Perkins’ success isn’t just about box office numbers. It’s about building a creative family. “I’d rather work with people I know and trust than strangers hired by a studio,” he explained. This sense of community is evident in his collaborations with industry heavyweights like Mike Flanagan, Sean Baker, and Finn Wolfhard, as well as his efforts to revive Vancouver’s historic Park Theatre.
But Perkins’ move to Canada also raises questions about the state of the U.S. film industry. “The theatrical window is closing, and the industry is being compacted into corporate entities. Canada offers a way to keep the train moving,” he noted. His journey north began in late 2022, when he arrived with a script for Longlegs and a desire to reignite his career. “I was in danger of being sloughed off during the industry contraction. Canada gave me a second chance,” he admitted.
Here’s the bold question: Is Canada becoming the new Hollywood for indie filmmakers? Perkins’ success suggests it might be. But what does this mean for the U.S. film industry? Is it a wake-up call, or just a passing trend? Let’s discuss in the comments—do you think Canada’s film scene is the future, or is Hollywood still the undisputed king?
As Perkins continues to produce projects with partners like Brian Kavanaugh-Jones and rescue cultural landmarks, one thing is clear: Vancouver isn’t just a temporary stop—it’s home. And for horror fans, that’s something to celebrate. The Whistler Film Festival may have wrapped, but Perkins’ story is just beginning.
