In an exclusive interview, Sarah Levy shares her insights on the differences between Osgood Perkins‘ latest horror-comedy film, The Monkey, and his previous success, Longlegs. Last year, Longlegs gained significant attention with its disturbing marketing campaign and a riveting performance from Nicolas Cage, eventually becoming one of the biggest horror successes of 2024. Perkins is now back with The Monkey, an adaptation of a Stephen King short story, marking a shift in tone and style. Levy portrays Aunt Ida in The Monkey, which revolves around a toy monkey with nefarious tendencies, distinguishing itself as a gross-out horror comedy that retains a playful yet creepy essence.
The first glimpses of The Monkey showcased Levy’s character in a series of increasingly chaotic situations, perfectly blending humor with horror. In her conversation with ScreenRant, Sarah Levy emphasizes the unique collaboration with Osgood Perkins as both a director and scene partner. She reflects on her experiences and the stark contrast between this film and Longlegs, revealing the lighter atmosphere during filming while still maintaining an edge of suspense.
Levy praises Perkins, saying, “It was my first time working with him, but the experience was incredible. Instantly, you feel a familiarity with him, and everyone adored him. It made everything easy, fun, and creative.” She highlights the creative freedom she felt while working on The Monkey, an experience that was enriched by Perkins’ relaxed demeanor on set. He also appears in the film as Uncle Chip, her character’s husband, further enhancing the collaborative environment.
As fans of Stephen King might wonder about his involvement in this adaptation, Levy adds, “He works so efficiently that even though we moved quickly, everyone felt confident knowing they were in good hands.” She expresses her desire to work with Perkins again, having developed a genuine admiration for his creative vision.
After the filming of The Monkey, Levy watched Longlegs, providing her perspective on the two contrasting projects. “They are so different,” she says, noting that Longlegs has a dark, Silence of the Lambs quality. Although she had yet to see The Monkey at the time of the interview, she was eager for audiences to experience the film, expecting it to stand apart from Perkins’ earlier work.
One standout moment in The Monkey is Levy’s memorable death scene, designed to leave a lasting impression on viewers. Reflecting on her initial reaction to the script, she shares, “I couldn’t believe what I was reading. It felt almost comical that I thought, this can’t truly be a real death.” The scene was so elaborate and eccentric that she was thrilled at the prospect of bringing it to life. “It just kept going, and I thought, man, if I get the opportunity to actually do this, this would be wild,” she recalls. Levy’s enthusiasm for performing the scene was palpable, stating, “Shooting it was just as exciting as it was reading it. Even more so,” and she acknowledges how unique such a role is, emphasizing that “I most likely will never get the opportunity to do something like that ever again.”
In discussing her co-star, Christian Convery, who plays twin boys in The Monkey, Levy notes the impressive maturity he displayed before the camera. “He was just so poised. So professional. It was very impressive,” she comments, recognizing the skill it takes to portray two distinct characters simultaneously. Although their scenes together were limited, Levy appreciated the chance she had to witness his work.
Ultimately, The Monkey’s release in theaters marks another significant moment in Sarah Levy’s developing career alongside the celebrated filmmaker Osgood Perkins. Her reflections not only highlight the creative journey she undertook but also lend an insightful perspective into the contrasting narratives presented through The Monkey and Longlegs. With the film now out, viewers are encouraged to dive into this fresh horror-comedy experience that promises to entertain while exploring darker themes of terror stemming from innocence.
