![]() ![]() Wendell and Wild represent her personal demons of guilt and anger. What about the dynamic of the demons? They serve as this greater analogy for not only the duality of comedy and horror, but how Kat's coming of age required their existence in some way so that she could fight her fears. This very notion opens up the aperture on the world which has informed Kat’s story with incredible empathy with all these characters, even the gritty, mischievous, evil ones have a specific depth to them. When you find yourself in the throes of this film, you'll notice that each character is a multi-level character and is different than you may think they are. It's a colorful cast that is fresh and surprising with Henry’s style. Every project needs strong collaboration. ![]() Wendell & Wild involved a new sort of ability to kind of combat your own ideas and honor what other people are bringing into your world and space as well. It might sound cliché, but you'd be surprised, I'm never not surprised how much more you can get done together than you can get done as one. What is a universality of filmmaking that you discovered working across these genres and mediums of storytelling? You’ve made blockbuster horrors, sci-fi, short-form comedy, and now stop-motion. My son hasn't seen it yet, but it's not because he isn't old enough. ![]() I feel like parents and their kids will be able to relate to this. The messaging in Wendell & Wild is so layered. Our brotherhood is seen through this, which is really wonderful on this marathon-length sort of treasure, and seeing it connect with kids is really the cherry on top. Selick brought Keegan and I back together after was wrapped so the characters of Wendell and Wild became really this connecting force. What did you love about portraying the comical demon brother, Wild, alongside Keegan as the wise-cracking Wendell? Getting to be able to sort of exist in the aesthetic of stop-motion with Henry in this way felt very affirming for me and for Monkeypaw. Seuss, a few kinds of weird, dark fable tellers. His cinematic sensibilities just scratch this itch for me. He really, like many of us, he's this adult child. You know, Henry has this Roald Dahl-esque sense of mischief and wackiness. I love the Twilight Zone episode “Talky Tina.” It's one of the original creepy doll things, Bearzabub is sort of this wonderful little reference to that little terror. I love the little demon bear (Bearzabub). When Kat surfaces, she’s an orphan.įrom Key & Peele ’s Georgina and Esther being featured in the film to Buffalo Belzer, who strongly resembles Oogie Boogie from The Nightmare Before Christmas, what was your favorite Easter egg or reference in this movie? Kat’s mother manages to force her daughter out of the van when the car is submerged. ![]() Her parents buckle Kat up, and her father cues up a funky jam and gets to driving-eventually, (accidentally) off a rainy bridge and into a river. Wendell & Wild begins above ground, where a green-Afro’d toddler named Kat Elliot (voiced by Lyric Ross) and her parents are at their brewery before heading home on a stormy night. He had this vision of and me doing these characters that were essentially based on his sons: these mischievous demons,” Peele tells Vanity Fair. “ reached out to me before Get Out-all because of Key & Peele. The project was years in the making as Peele’s profile as a filmmaker grew with the success of films like Get Out and Us, and was born of the filmmakers’ mutual admiration for each other’s work. Peele’s contribution to the spooky allegory is a deep understanding of Black childhood and trauma. The devilishly whimsical movie subverts the ordinary and calls to mind Selick’s fan-favorite The Nightmare Before Christmas. Growing up can be a nightmare, and facing personal demons is the only way through it, the new Netflix stop-motion animated feature Wendell & Wild, from Jordan Peele and Henry Selick, posits. ![]()
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