From an early age, Oz Perkins was fully conscious of his father’s profession, likening it to a dentist’s child knowing that their dad aids individuals with oral care. Osgood “Oz” Perkins, presently recognised for his outstanding horror film Longlegs, quietly acceps the fact that he is consistently asked questions regarding his family history. His namesake is his grandfather, a renowned actor in the inaugural Scarface film; his mum, Berry Berenson, a skilled actor and photographer, was tragically killed during the 9/11 attacks; and his esteemed father was Anthony Perkins, a major star in films such as The Trial by Orson Welles, On the Beach by Stanley Kramer, and, most notably, Psycho directed by Alfred Hitchcock.
Perkins candidly shares that their life was in constant public scrutiny due to his dad’s popularity, resulting in them having to use less conspicuous entrances. Comprehending the reality of his father’s celebrity status became a unique understanding that most kids wouldn’t relate to. However, when basking in the glory of a successful film such as Longlegs, it becomes slightly easier to tolerate such intrusiveness.
In his fourth directorial effort, Longlegs, Perkins directs Maika Monroe and Nicolas Cage, who play a steadfast FBI agent and her targeted serial killer, respectively. The film has many intriguing aspects. Cage’s character portrayal as a pallid satanist with cascading grey locks is so distinctive it renders him unrecognisable. The audio design is distinctly minimalistic, and the movie also takes viewers on a journey through the 1990s culture, with references to iconic titles like Twin Peaks and The Silence of the Lambs.
Perkins reflects on the early 90s as a significant transitional phase for him, taking him from his youth to a sort of semi maturity. The death of his father in 1992, the release of the Silence of the Lambs, and his eighteenth birthday all occurred in this period, creating a confluence of impactful events that shaped his experiences. He particularly recognises Silence of the Lambs as one of those rare cinematic experiences that deeply affected him.
At the tender age of eight, Oz portrayed a younger version of Psycho’s infamous killer, Norman Bates, in Hitchcock’s long-awaited first sequel. One other striking influence present in Longlegs is T Rex, the quintessential glam rock band led by Marc Bolan. Their presence is felt notably in the beginning and ending scenes of the film, and a photo of the band features in a major part of the film.
Perkins was born at a time when T Rex was nearing the end of its prominence. The idea to include the band came to him when he was engrossed in an Apple documentary about the music scene of 1971. The documentary dedicated a notable portion to T Rex, and it struck a chord with Perkins, he felt compelled to incorporate this into his creative process.
Perkins held this belief that the film considers the aesthetic of glam rock as it begins to decay. He spoke with Cage about this concept. He is of the opinion that placing Cage adjacent to T Rex is not an impossible task; he likens it to how David Lynch paired him with Elvis in Wild at Heart.
Cage’s career is at an interesting phase. In an attempt to reconcile considerable debts, he has been working tirelessly, securing six credits in 2023 alone. This instinctive need to work has resulted in inevitable mediocrity in parts, yet he still gravitates towards unique, quality films like Pig, Dream Scenario, and Mandy. His stellar performance in the Irish co-production The Surfer was acknowledged in May at Cannes. Cage’s dedication to his craft is undeniable.
Perkins concurs, he is wholly dedicated. His sharpness and responsiveness are commendable. Perkins knows exactly what is being discussed, he doesn’t need anything repeating. Should I suggest he watches a film at 10 in the morning, he’s prepared to discuss it by half-past 12. His knowledge spans the entire spectrum of film, music, lyrics, poetry, and painting. Perkins is incredibly well-rounded, giving his all in every endeavour.
Given his striking resemblance to his attractive father who enjoyed considerable fame and success, it almost seems prophetic that Perkins would eventually find his place in the world of entertainment. The presence of directors and actors was a constant in his household, linking his provisions to the success of films. Perkins had his first acting experience at the tender age of eight, playing a young Norman Bates, the villain in Hitchcock’s Psycho, in the first well-received sequel. Was it his childhood aspiration to get into acting? Or was the opportunity just too good to pass up?
Perkins recalls, “I believe my only desires at the time were for Star Wars figures and sweets. Likely, someone suggested it as a good idea, and my father saw no reason against it. I didn’t really have a close connection with my father in this aspect. It didn’t align with the typical ‘bring your child to work’ day. The idea of teaming up with my dad for this didn’t resonate with me. I recall him being rather distant. Being on the set by myself, at the top of the staircase, was a bit unnerving.”
He described Perkins senior as a “distant person”. There might have been grounds for him appearing so. For a considerable part of his acting career, the conservative system in Hollywood went to great lengths to hide or alter his homosexuality. Professing an intimate relationship with actors Tab Hunter and Grover Dale, Perkins married his son’s mother in 1973. Artists such as Don Bachardy, who was close to Christopher Isherwood, found this behaviour rather peculiar. Bachardy queried, “Surely he didn’t think marrying Berry Berenson would make him a heterosexual?”
Oz and his family’s awareness of the complex issues surrounding their situation is something he ponders. Had these revelations left him dumbfounded?
“The alarming thing was, there was no shock,” he relates. His shock stemmed from the lack of knowledge that existed previously. He is unsure about the appropriate person to initiate such discussions. Even presently, he has doubts about how these conversations are approached by individuals with a public profile. He doesn’t know how children navigate such talks. Although he doesn’t place the blame on anyone, he believes there was a deliberate attempt to veil the situation — a type of filter. He indicates that knowledge of the situation seemed widespread, particularly among their friends. The likes of influential agent Sue Mengers and accomplished director Mike Nichols certainly weren’t taken aback by it.
So would circumstances have changed if fast forwarded by two decades?
He states, “It’s a peculiar concept, as it remains risky to be openly gay in this age, even more so for a film star unless you’re prepared to be labelled a ‘gay film star.'”
Anthony Perkins, a noted actor, passed away from Aids in September 1992. Almost to the day, nine years later in September 2001, Oz’s mother tragically died when the first plane hit the World Trade Centre. It’s challenging to reconcile with the loss of a parent, and it’s even more distressing when the tragedy is part of a publicly consumed news event that shifts the emotions of an entire nation.
He states, “The process of coming to terms with it is impossible. It’s layered with unbelief. It’s such a convoluted mess to unravel. It being for public spectacle only added to the isolation. It did nothing to curb the resentment we harboured. There’s a sticker on some car reminding everyone to ‘never forget 9/11’. I think, ‘Yes, alright, I’ll continue to remember. Your sticker’s forced sentiment is quite touching, you prat.’ When there’s incessant noise in your vicinity, it makes it more difficult to find closure.”
Oz Perkins managed to survive. Throughout the first ten years of the century, he worked as an actor. In 2015, he stepped into the director’s shoes for the first time with the celebrated horror flick, “The Blackcoat’s Daughter”. His film “Gretel & Hansel” created a lot of buzz in 2020. Currently, “Longlegs” seems to be positioning itself as one of the top hits of the year. It’s interesting to ponder if Perkins predicted its success.
“There’s never having enough time,” he comments, with a grin, “There’s never having enough money. You simply do not have enough time. You strive to do your best for a big crowd. I was fortunate to be able to rely on fantastic individuals.”
“Longlegs” will be coming to theatres from the 12th of July.