Skip to main content

Henry Selick Will Direct Live-Action "A Tale Dark & Grimm"

The ever-wonderful and awesome director of Coraline, The Nightmare Before Christmas, and Monkeybone, Henry Selick is set to direct the Adam Gidwitz novel A Tale Dark & Grimm.  The script is being written by John W. Mann and Jon Gunn, who have also written the script for DreamWorks Animations' upcoming film B.O.O.: Bureau of Otherworlly Operations.  

This, for me at least is not something I saw coming, I mean Henry Selick himself said that he hated Monkeybone and wasn't hasty to jump back into live-action direction.  But, as always, I'm game for anything Henry is up to, and I do love me some Grimm-like stories.  But this does lead me to one question, what the heck happened to The Shadow King?  But the answer to that I'm sure will come shortly.
A Tale Dark & Grimm
A Tale Dark & Grimm

Popular posts from this blog

Interview with Ru Kuwahata and Max Porter, Directors of Oscar® Nominated Stop Motion Short Film, "Negative Space"

Across the Baltimore-based director-duo Ru Kuwahata and Max Porter’s Oscar® nominated short film Negative Space’s 5 minute runtime, rooted in the profoundly emotional soil of the film’s essence, an extraordinary spectrum of deep themes are explored – death, grief, what one’s childhood means once one has “grown up” – yet perhaps none are as front-and-center than that which binds all of the film’s themes together: that of the relationship between father and son.

Negative Space, a film inspired by a 150-word poem of the same by Ron Koertge, is, at its heart, the story of Sam, a young man, as he internally processes his relationship with his father throughout his life as well as the grief and emotion that come with the loss of his father as he travels to his recently-passed father’s funeral.


Undoubtedly the primary visual motif as well as the crux of the film – both visually as well as thematically – is the practice and veritable art of packing a suitcase. The film begins, appropriately, …

Interview with Samuel Lewis - Animator, Character Designer, and Sculptor on Stop Motion Short Film, "Lost & Found"

“If I had to pick a starting point for my career as a stop motion animator I would have to say it was my obsession as a six year old with a book called ‘Playing with Plasticine’ by Barbara Reid,” Samuel Lewis – a London-based stop motion and 2D animator and director, whose most recent labor of love can be seen in his contribution to the Australian stop motion short film, Lost & Found – tells Stop Motion Geek. Upon reflection, Lewis explains that his love for the medium of stop motion began very early in life, and has merely managed to burn ever brighter in his fervor to master the craft.

“I would spend countless hours fixated on sculpting tiny snails, fruit bowls and dinosaurs to the point where I would stay inside on family holidays sculpting a surfer in a beach scene rather than going to the actual beach that was only a short walk away,” Lewis recalls wistfully. “Eventually this, coupled with a healthy interest in Sesame Street, Trapdoor, Pingu and Wallace & Gromit lead to …

Interview with Hans Weise, Director of National Geographic's "A Fearsome Fleet: Secrets of the Vikings"

More often than not, manmade beauty, art in general, and stories themselves make very little practical sense. For art, like beauty, is subjective. More often than not, if we are truly honest with ourselves, our art, our stories will not stand the test of time. Thus, art, stories, and beauty do not provide one to leave very much of a legacy – at least an infallible one – through using it as a means. Often, manmade beauty, stories, and those daring choices we make in putting pen to paper, brush to canvas, camera to subject, more often than not can only be justified for the sake of beauty, the sake of telling a story, the sake of art, whatever “the sake” of something actually means.

It seems paradoxical, though perhaps it is not: Perhaps, innately, we as humans need stories, need art, need beauty. Not for any utility they propose, but simply so that they can be, quite simply, exactly what they are – flexible mediums of expression that, in their lack of practical utility, like a clear gl…

Interview with Bram Meindersma, Composer and Sound Designer of Oscar® Nominated Stop Motion Short Film, "Negative Space"

Unlike practically every other medium, film has the unique aesthetic of being composed of the elements of sound and image, and, curiously, whenever watching a film, the two blend together into something of an impeccably hybridized concoction.

With as much influence as sound has over the audience’s final experience of any given film, composer and sound designer Bram Meindersma’s work on the Oscar-nominated stop motion short film Negative Space – directed by Ru Kuwahata and Max Porter – proves an endlessly fascinating and extraordinary case study, as it uses sound – both its soundtrack as well as every other element of sound design – only sparingly and in subtle ways, one that could almost be called conservative. Yet it is perhaps just that component of its sound design that, at least in part, makes the film such a powerful one.

Perhaps the reason why Meindersma’s delicate work on Negative Space is so powerful is its thematic resonance with the film’s subject matter. The film poignantl…

Interview with Zélie Durand, Director and Animator of Stop Motion Short Film, "Sahara Palace," Incredible True Story of Loss, Dreams Unfulfilled, and Middle Eastern Cinema

“The only things my grandfather left behind were dozens of 35mm film reels in my grandmother’s basement, which ironically took up a lot of space compared to the fact that nobody seemed to talk about him, and that he was noticeably absent of every family album,” Zélie Durand, a French director and illustrator, tells Stop Motion Geek about the very personal tragedy that inspired her most recent film, Sahara Palace – a transcendent, nine-minute long stop motion short film that realizes and further explores the greater themes of an unproduced film script entitled “Sahara Palace,” as well as the life and legacy of the script’s screenwriter: filmmaker Hedy Ben Khalifat, Durand’s grandfather, a man she never met.

“I was not allowed to touch the reels,” Durand continues. “When I started to ask questions three years ago, my uncle gave me a suitcase he inherited from Hedy, telling me he had no idea what was inside. Right after that, I spent a week alone reading the three versions of Sahara Pal…

Interview with Bradley Slabe, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 1/2 of Interview with "Lost & Found" Directors)

The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete.

It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we can control – a terrifying reality, yet one that’s nonetheless fundamentally true.


Yet, in art as in life, it is in this very plac…

Interview with Edwina Liard, Producer of Oscar® Nominated Stop Motion Short Film, "Negative Space"

For Edwina Liard, producer of the Oscar®-nominated stop motion short film Negative Space, a career in the film industry was by no means a childhood dream. In fact, as she tells Stop Motion Geek, the first kindling of her desire to explore the industry came about well after graduation from business school. “It came about as I was studying cultural management, after graduating from a business school in France,” says Liard. “A friend of mine was an intern in a production company and told me how diverse and interesting it was, and I thought ‘ok, let’s try that!’ That’s how I got caught!”

Soon after this revelation, Liard began to dedicate herself to becoming involved in the filmmaking industry, at first starting to work as a production assistant in France for two years, before then working for two more years in Spain at a medium length film festival. After her work in Spain, Liard returned to France in November of 2011, at which point her now-business-partner, Nidia Santiago, asked Liard…

Interview with Andrew Goldsmith, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 2/2 of Interview with "Lost & Found" Directors)

The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete.

It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we can control – a terrifying reality, yet one that’s nonetheless fundamentally true.


Yet, in art as in life, it is in this very plac…

Interview with Lucy J. Hayes, Producer of Stop Motion Love Story, "Lost & Found"

Ever since her childhood, Lucy J. Hayes – the producer of Lost & Found, an extraordinarily beautiful short film that make for a profound mediation on the impermanence and imperfection of life and beauty – she’s wanted to play some part in the creative industry, in some way, shape, or form. For Hayes, that dream went unquestioned. However, the challenge turned out to be figuring out quite where she belonged in the creative industry.

“I dabbled in acting and directing, however, I was terrible!” Hayes tells Stop Motion Geek. It wasn’t until she began to put on plays with her friends in her adolescence and early adulthood that the answer to her search dawned upon her: All that Hayes found came innately to her – everything from her ardor for creative work to her love for working with creatives to bring an idea, the kernel of a story, to fruition – she found in the title of “producer.”


Although being a term often thrown around colloquially, the actual responsibilities helmed by produce…

Interview with Sylvain Derosne, Lead Animator on Oscar® Nominated Stop Motion Short Film, "Negative Space"

If there’s one steadfast truth about the medium of animation as a whole and about the inspired act of animating, it is that the probability for novelty is infinite, the possibilities boundless.

In animation – unlike in the medium of live action film – the laws of physics don’t apply – or at least they don’t have to. The potential for strange new worlds to be conceived of and explored has no ceiling, nor does the expressiveness with which characters walk, talk, and emote. So whenever an animated film – particularly a stop motion film – of artistic excellence is released like Ru Kuwahata and Max Porter’s Oscar-nominated short film Negative Space – which is a film that explores a father-and-son relationship and the burden of grief through a lens that is, more often than not, grounded in a reality not unlike ours – it should imbue us, the audience, with the ardor to observe, and the attentiveness to ask the question that is immediately provoked in the back of our minds: Why?

In regards …