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It’s not an awful feeling it’s thrilling. The hairs go up on the back of your neck and you get a chill. Knowing you’re safe is the tricky balance you want to achieve. I think it’s the idea that you get out the other side of a big scare, then knowing you’re okay. If you leave the cave, there are bears and wolves that are going to get you, and great stories would be told describing the horrible things that might happen, but you’re safe with us. Henry Selick: I can imagine that we’ve always told scary stories to kids to keep them safe, to warn them: this terrible thing will happen to you. Why do you think children like to be scared?

When I spoke with Lyric Ross about her part in the film, she said something that stuck with me: she “loved being scared” by Coraline when she was growing up. Minor spoilers for Wendell & Wild lie ahead. I jumped on a call with Selick for a deeper dive into the story’s needs, the prison industrial complex, and Prince. According to Remy, “it truly feels like a merging of Selick and Peele’s respective sensibilities.”

The film is packed with imagination, balancing weighty themes of childhood grief and the prison-industrial complex with astonishing stop-motion craft. Kat, Wendell and Wild may be on their own collision courses but they ultimately share a common goal: to escape from under the thumbs of self-serving adults and their exploitative systems that masquerade as rehabilitation.