Any type of animation, it could be really super crude or very sophisticated, it doesn’t mean anything if we don’t make this point in this shot, this one here and this one here. There’s the saying, ‘One shot, one thought.’ It’s pretty much a true way to go. Henry Selick Read Quote
I think it’s important that kids see another kid – Coraline – who doesn’t have guns, she doesn’t have super-powers, she’s not a super-genius. To see a pretty normal kid – I mean, she’s probably a little more curious, a little more stubborn, but she’s a real kid – go up against something that’s truly dark and evil and powerful. And she does win. Henry Selick Read Quote
We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money. Henry Selick Read Quote
My mother is a huge fan of my work. I told her about ‘Coraline’ long before the film was made, and she got the book and read it. She reminded me that when I was about five years old, I used to sit in the kitchen for hours and talk about my ‘other’ family in Africa, my other mother and father. I had totally forgotten that. Henry Selick Read Quote
I was at Disney for about four years, so I made good friends there. It was a time of not a lot of creativity. It was the end of the first great era, with a few of the original animators. They called them the Nine Old Men. I learned a lot from them, but it wasn’t going to be a future home for me. Henry Selick Read Quote
I think stop-motion has always been semi-obsolete. And stop-motion animators – people like myself – love it so much that we’re always going to be looking for new ways to make our films. Henry Selick Read Quote
There’s very few people who want to just make beautiful films that make money, when they can make films that make huge money. Henry Selick Read Quote
