Laika has spent 20 years building up to Wildwood

<figure> <img alt="A still image from the film Wildwood." data-caption="" data-portal-copyright="Image: Laika" data-has-syndication-rights="1" src="https://platform.theverge.com/wp-content/uploads/sites/2/2026/10/09450646-b085-11f1-90b9-46f10a3e57b0_3600.1360.cmp_.def_.out_.002._L.0059.UNAPPROVED.jpg?quality=90&#038;strip=all&#038;crop=0,0,100,100" /> <figcaption> </figcaption> </figure> <p class="has-drop-cap wp-block-paragraph">Across several decades in Hollywood, Caleb Deschanel has seen a lot. He served as cinematographer on films like <em>The Passion of the Christ</em> and <em>The Patriot</em>, worked on sequences in <em>The Godfather</em> and <em>Titanic</em>, and directed a few episodes of <em>Twin Peaks</em>. Even still, nothing could quite prepare him for his first stop-motion project: working as the cinematographer on <em>Wildwood</em>, <a href="https://www.theverge.com/entertainment/1016647/wildwood-travis-knight-interview-ai-laika-stop-motion">the latest release from <em>Coraline</em> studio Laika</a>. While he knew that stop-motion was a long and involved process, he was still surprised by just how much work went into these movies. "When I started I thought it was one thing, and then I quickly found out that it was another thing …</p> <p><a href="https://www.theverge.com/entertainment/1017740/wildwood-stop-motion-interview-laika">Read the full story at The Verge.</a></p>