But there's a difference between leaving them hanging out there, with their fears, and then bringing them safely home. All we're doing is tapping into something that goes back to Grimm's Fairy Tales and ghost stories around a campfire. The evil queen wants Snow White's heart cut out and put into a box. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. There's this flavor at Dreamworks, and Pixar does their own thing, and generally they're safe. There's the animation ghetto of feature films in this country. It's very hard to push it beyond these boundaries. In the United States, animation can only be one thing. Was there a challenge in trying to keep some of the darker parts of it? Even the most different things in the book, most of them come from something, even if it's not used in the same way. Beyond that, there's lots of tiny adjustments. It's multiple trips, and I decided to make it seem like a dream. I needed to have her go back and forth several times to build up. In the book she goes to this other world, and it's very much a real place. The rhythms of a film are always different than a novel. I wasn't comfortable rewriting dialogue and trying to hold on to that. Another kid seemed the most simple way to go.
I realized that Coraline needed someone in her real world to talk to. Nobody liked the first draft, including Neil, even though it was incredibly faithful. Hope you have as much to be grateful for.and Happy Thanksgiving.It's difficult at times to explain why things changed, how they changed, but my problem with the first draft was it was too faithful, and it did not actually feel like a movie. I'm thankful for my very patient and supportive family (hope they recognize me when it is all over!).Īnd most of all, I'm thankful that the blue-haired girl that has been demanding almost all of my attention these last few years is finally ready to go out into the world when Focus Features releases Coraline nationwide on February 6th. I'm thankful for a superb voice cast: Dakota Fanning, Teri Hatcher, John Hodgman, Ian McShane, Jennifer Suanders, Dawn French, Keith David and Robert Bailey Jr.
I'm thankful that nearly 300 of the most gifted artists working in animation today dedicated a couple of years of their lives to our "handmade" movie, the first stop-motion animated film to be shot in stereoscopic 3D.
I'm thankful that Phil Knight, co-founder and Chairman of Nike, and his son Travis, a world-class animator in both stop-motion and CG, responded to my passion for Coraline and committed to make it the debut feature from their new world-class animation studios in Portland called Laika. I'm thankful that former Fox Chairman Bill Mechanic responded as strongly to Neil's novel as I had and optioned Coraline for us to develop. I'm thankful that Neil loved The Nightmare Before Christmas so much that he sent me his not-yet-published new novel to see if I thought it would make an interesting movie. I'm thankful that Neil Gaiman was inspired to write a story for his two young daughters about a clever, brave, and curious girl who loved to explore things, a story that evolved into his Hugo Award-winning novel, Coraline. Thanksgiving approaches and my list of things to be thankful for keeps getting bigger. He also sent us good tidings and cheer with a special Thanksgiving note that he wanted us to share with you. In honor of the upcoming holiday weekend, Selick delivered a delicious pecan pie to our doorstep.
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