Henry Selick, the acclaimed stop-motion director known for his work on “The Nightmare Before Christmas” and “Coraline,” is once again turning his attention to Neil Gaiman’s 2013 novel, “The Ocean at the End of the Lane.” Selick has confirmed that he is actively working with Gaiman to adapt the novel into a feature film, which he envisions as a spiritual successor to “Coraline.”
Selick holds Gaiman’s novel in high regard, describing it as the author’s finest work. He sees the film adaptation as a companion piece to “Coraline,” noting that while “Coraline” involved a child entering a fantastical world with a monstrous mother, “The Ocean at the End of the Lane” flips the script. In this story, a monstrous mother invades our world, causing chaos in a child’s life.
Selick has already developed a 35-page treatment and created numerous pieces of concept art for the project. He is currently seeking a studio to bring his vision to life. He has hinted at interest from ShadowMachine, the studio behind Guillermo del Toro’s “Pinocchio,” but also praised Laika, the studio behind “Coraline,” for its exceptional talent and resources.
In addition to his work on “The Ocean at the End of the Lane,” Selick is also looking to revive his long-abandoned project, “The Shadow King.” He plans to release his original vision as a graphic novel to generate interest and potentially hand the project over to another director.
During a recent panel at the Annecy Animation Festival, Selick shared five minutes of nearly completed footage from “The Shadow King,” a project he had been working on at Pixar in 2011. The footage showcased Selick’s signature dark humor and technical prowess, leaving the audience both impressed and wistful for what might have been.
Selick’s career has been marked by a fascination with stop-motion animation, a passion that began in his childhood. He was captivated by the work of Ray Harryhausen, whose stop-motion creatures seemed both real and otherworldly. This early inspiration led Selick to study animation at the University of Syracuse and later at CalArts, where he was influenced by Eastern European puppetry and experimental films.
Despite his avant-garde beginnings, Selick eventually found his way to Disney, where he became friends with fellow animator Tim Burton. He later started his own stop-motion studio, creating interstitials and ads for MTV. This work allowed him to experiment with various animation techniques, honing his skills and developing a unique visual style.
Reflecting on his career, Selick noted the irony of releasing “The Nightmare Before Christmas” the same year that “Jurassic Park” revolutionized visual effects and “James and the Giant Peach” shortly after “Toy Story” set a new standard for computer-generated animation. Despite the industry’s shift towards CGI, Selick remains committed to stop-motion, believing that its timeless quality and connection to the earliest forms of movie magic give it a lasting appeal.
Selick’s dedication to stop-motion is evident in his desire to adapt “The Ocean at the End of the Lane” into a stop-motion film. He believes that the story’s dark fantasy elements and complex themes would be well-suited to the medium. However, he acknowledges that the film would need to be rated PG-13 to capture the attention of its intended audience, as younger viewers often find G or PG ratings less appealing.
Selick’s collaboration with Gaiman has been a fruitful one, with the author becoming increasingly involved in the adaptation process. Gaiman’s success with other adaptations, such as “Good Omens,” has only strengthened Selick’s belief that their partnership can produce something truly special.
The future of “The Ocean at the End of the Lane” adaptation hinges on the success of Selick’s latest project, “Wendell & Wild.” Positive reviews and audience reception will play a crucial role in determining whether Selick gets another shot at bringing Gaiman’s novel to the screen.
As fans of both Selick and Gaiman eagerly await further developments, the prospect of a stop-motion adaptation of “The Ocean at the End of the Lane” remains an exciting possibility. With Selick’s unique vision and Gaiman’s compelling storytelling, the film has the potential to become a modern classic in the world of animation.
