All Of It: Episode Summary - "Osgood Perkins Adapts Stephen King's 'The Monkey'"

Podcast Information:

• Title: All Of It
• Host: Alison Stewart
• Description: ALL OF IT is a show about culture and its consumers, aiming to engage thinkers, doers, makers, and creators in discussions about the what and why of their work. The show fosters a community that celebrates diverse perspectives, reflecting the cultural mosaic of New York City.

Introduction to "The Monkey"

In this episode of All Of It, host Alison Stewart interviews writer and director Osgood Perkins about his new horror-comedy film, "The Monkey." Premiering in theaters on February 20, 2025, the film is an adaptation of a Stephen King short story that delves into dark humor intertwined with themes of death and family dynamics.

Alison Stewart introduces the film by outlining its premise:

"[...] two twin brothers, Bill and Hal, who don't exactly get along. [...] they find this very creepy monkey. They discover that when the monkey's key is turned, someone around them dies." ([00:16])

Adapting a Stephen King Short Story

Perkins discusses the allure of Stephen King's work for filmmakers:

"He's such a titan of culture [...] responsible for the kind of entertainment value of horror stories. [...] he did this beautiful blend of the uncanny, the supernatural, the terrifying, and then the really sort of sensitive kind of family stories." ([01:48])

He highlights King's unique ability to mix horror with humor and emotional depth, making his stories ripe for adaptation.

Challenges in Adaptation: Turning a short story into a full-length feature presented its set of challenges. Perkins emphasizes the importance of finding the story's "internal hook" that drives the narrative forward:

"Once you find that, it's kind of like downhill skiing at a certain point." ([02:34])

He notes that Stephen King provided the creative freedom needed, offering tacit approval without imposing restrictive feedback:

"He kind of liked my approach, and I was free to go." ([03:16])

Character and Symbolism of the Monkey

Designing the Creepy Monkey: Perkins delves into the aesthetic choices behind the monkey, aiming to resonate with the collective consciousness of what makes such toys unsettling:

"I wanted to make sure that it resonated with kind of the collective unconscious version of this thing [...] everyone sees the monkey [...] and says, there's something about that that's off." ([04:00])

He describes the monkey as a sentient entity straddling the line between reality and the supernatural:

"It sort of has these yellow smoker's teeth [...] at one point, it's filled with this black goo [...] it's obviously a toy, but it's kind of a sentient." ([04:00])

Symbolism Without Backstory: Perkins intentionally leaves the monkey's origins mysterious, suggesting it simply "is," representing an omnipresent force of life and death:

"He just is." ([06:30])

This approach allows the monkey to symbolize the inevitability and randomness of death without anchoring it to a specific origin story.

Casting and Character Dynamics

Choosing the Right Actors: Casting twin brothers Bill and Hal was pivotal. Perkins praises Christian Convoy for his versatility and experience:

"Christian Convoy is someone who worked a lot... he's just a terrific actor." ([08:19])

Character Relationships: The relationship between Bill and Hal is central to the narrative. Perkins explains their contentious dynamic:

"Bill is Hal's bully at school. [...] Bill is kind of cruel and dumb and so, so self-centered." ([09:13])

Despite their antagonistic interactions, there is an underlying complexity that hints at deeper familial bonds:

"There's an arch quality [...] It's like they never realized they share the same mom." ([09:24])

Personal Insights and Themes

Perkins' Personal Connection: The film mirrors Perkins' personal experiences with loss:

"Both experienced the same tragedies, but they have very different responses as adults." ([10:26])

He shares how differing responses to trauma shaped his understanding of the characters:

"Bill wants to control life and death. Hal is trying to protect his loved ones." ([10:41])

Incorporating Personal Loss: Drawing from his own losses, including the death of his parents, Perkins integrates themes of grief and coping mechanisms into the film's narrative:

"I've had time [...] the loss is at least sort of 25 years old [...] time heals." ([11:56])

Death Scenes and Dark Comedy

Balancing Humor and Horror: Perkins explains the rationale behind the film's gruesome yet humorous death scenes:

"The deaths couldn't be hurtful. They had to be cartoonishly impossible." ([15:31])

He likens the violence to the exaggerated antics of Itchy and Scratchy from The Simpsons, ensuring the deaths remain absurd rather than offensive:

"It's all about the absurdity of the fact that we die. Right." ([15:31])

Creative Constraints: To maintain comedic horror, Perkins set boundaries so that audiences wouldn't find the deaths relatable or upsetting:

"None of these can happen. [...] It was meant to be sort of more, if anything, Itchy and Scratchy or Chuck Jones." ([15:31])

He shares an example of a particularly elaborate death that was ultimately deemed too intense for the film's modest budget:

"A guy runs into his priest on the street... turns him into salt and pepper shaker versions of himself. [...] that one was a bridge too far." ([16:24])

Practical and Digital Effects

Special Effects Techniques: Perkins discusses the blend of practical and digital effects used to achieve the film's visual style:

"Wherever we could do practical effects, we did practical effects. And then we used VFX digital effects to marry." ([17:15])

He introduces the concept of the "guts cannon," a practical effect device filled with hot dogs, blood, and gore to simulate realistic dismemberment:

"It's exactly what it sounds like. [...] we have it on the truck." ([17:48])

This practical approach enhances the film's dark comedic tone while maintaining a 70s aesthetic:

"It's a style exercise. And so I think those movies look better." ([18:34])

Lessons from "Long Legs"

Collaboration and Growth: Reflecting on his previous success with Long Legs, Perkins emphasizes the importance of collaboration and understanding each crew member's role:

"When you've got good partners, you develop quickly." ([19:00])

He credits the Vancouver crew's dedication and versatility for his growth as a filmmaker, allowing him to tackle more ambitious projects like "The Monkey."

Persevering in the Horror Genre

Passion for Horror: Perkins attributes his enduring interest in horror to both personal influences and the genre's ability to explore profound existential questions:

"Horror movies offer this nice little neat package of we have no idea, we really don't know." ([20:24])

He appreciates how horror can address universal fears and uncertainties, making it a continually relevant and compelling genre.

Audience Takeaways

Hope Amidst Chaos: Ultimately, Perkins hopes that "The Monkey" leaves audiences with an appreciation for life despite its dark and humorous portrayal of death:

"I want people to walk out of the movie theater [...] I'm still alive. [...] I get to breathe in the air." ([21:57])

This sentiment underscores the film's blend of horror and comedy, encouraging viewers to find joy and gratitude amidst life's unpredictability.

Conclusion

In this insightful episode, Osgood Perkins provides a comprehensive look into the making of "The Monkey," blending personal tragedy with dark humor to explore themes of death and family. Through meticulous character development, creative special effects, and a deep understanding of Stephen King's storytelling prowess, Perkins crafts a film that is both entertaining and thought-provoking. Listeners gain an appreciation for the delicate balance required to adapt beloved literature into dynamic cinematic experiences, all while fostering a meaningful connection with the audience.

Quotes:

• Osgood Perkins: "He's such a titan of culture [...] responsible for the kind of entertainment value of horror stories." ([01:48])
• Perkins on the monkey's design: "It sort of has these yellow smoker's teeth [...] it's obviously a toy, but it's kind of a sentient." ([04:00])
• On the twin brothers' relationship: "There's an arch quality [...] They never realized they share the same mom." ([09:24])
• Discussing death scenes: "The deaths couldn't be hurtful. They had to be cartoonishly impossible." ([15:31])
• Audience takeaway aspiration: "I want people to walk out of the movie theater [...] I'm still alive." ([21:57])

This summary encapsulates the key discussions, insights, and conclusions from the podcast episode, providing a comprehensive overview for those who haven't listened.