“Iwas introduced to Neil Gaiman eight years ago and was given the pages; it was not yet a published novel.
1 read it immediately, and as | read it 1 could already see itasa film. The chemistry of Neil's creative mind seemed to be in tune with what 1 was looking to do as well as my own chemistry. But it was a very long journey from that first meeting to finally mounting the film.”
—Henry Selick, director (February 2009)
The Unofficial Art of
eraline
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THIS PAGE Artist: Chris Appelhans
TOP Artist: Tadahiro Uesugi BOTTOM Artist: Chris Appelhans
TOP Artist: Chris Appelhans MIDDLE RIGHT Artist: Michel Breton ABOVE Artist: Chris Appelhans BOTTOM RIGHT Artist: Chris Appelhans OPPOSITE Artist: Tadahiro Uesugi
wwe
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‘1 joined this project where there were no visual images available, so 1 started drawing the characters
based on my reading of the book. After the basic images were set up, | kept drawing characters and backgrounds, and designing sets based upon them, which were to be the basic common idea for the staff to build the movie.”
—Tadahiro Uesugi, concept artist
10
THIS SPREAD Artist: Michel Breton
“Partway through, Michel Breton came on and showed us how to do set drawings with just line over tone so they could be easily changed.” —Jon Klassen,
concept artist
RIGHT Artist: Jon Klassen
LEFT TOP Artist: Jon Klassen
LEFT CENTER Artist: Tadahiro Uesugi LEFT BOTTOM Artist: Michel Breton OPPOSITE Artist: Michel Breton
“Coraline was a very exciting project because | was able to directly exercise my ability to the full extent. 1 had a hard time going back to my senses after 1 completed Coraline, as if 1 [had] the diver's disease ... | was able to let out almost all of my frustrations on this project.”
—Tadahiro Uesugi
15
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“We were trying out these
ideas of drawing all the rooms
isometric ... Jon [Klassen] and ] were business friends, so we got to draw these cockeyed rooms.” ~Andy Schuhler, artist
+++
RIGHT Artist: Tadahiro Uesugi TOP Artist: Chris Appelhans BOTTOM Artist: Jon Klassen
19
“This was based on one of the Tadahiro paintings of the first time that Coraline sees her dad typing at the computer, except this time he's playing ata baby grand.”
TOP Artist: Andy Schuhler BOTTOM Artist: Tadahiro Uesugi
20
21
ABOVE Artist: Tadahiro Uesugi TOP & CENTER RIGHT Artist: Tadahiro Uesugi BOTTOM RIGHT Artist: Jon Klassen
TOP LEFT Artist: Michel Breton TOP RIGHT Artist: Dan Krall ABOVE Artist: Katy Wu RIGHT Artist: Michel Breton
22
23
“The basement ... when we first started, Tadahiro had done these drawings te [1 was] picturing these ladies in this nicely redone apartment with wallpaper, an old British house or something. And that's what Tadahiro had drawn, too, and it looked beautiful. We're like, ‘Great, basement finished.’ Henry says, ‘No, no. Let's try something else.’ 1 didn't really know what he wanted, so we kept doing paintings like this. And he's like, ‘Remember a basement? A regular basement? ... Put two ladies in there.’”
—Jon Klassen
TOP Artist: Jon Klassen BOTTOM LEFT Artist: Chris Appelhans BOTTOM RIGHT Artist: Jon Klassen
4
“Some color script
things from Coraline when we were all trying to be
Lou Romano after seeing that Incredibles book.”
—Jon Klassen
25
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a EEE 8 EEEEE BREESE OB
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TOP LEFT Artist: Courtney Booker ABOVE Artist: Jon Klassen
26
27
THIS PAGE Artist: Chris Appelhans
LEFT Artist: Tadahiro Uesugi / = ABOVE Artist: Chris Appelhans
Ms ad
28
“Dan Krall ... everything that he did on the film really inspired what we did from the beginning.
We would get drawings in. [He was] commuting ... one week per month. And we would always look forward to it.”
THIS PAGE Artist: Tadahiro Uesugi OPPOSITE Artist: Dan Krall
30
31
“A very early idea for a hallway in the ‘other house’ when it was a bit more over-the-top (and less practical), where the wall panels are like
an aquarium with jelly fishes and squids drifting by.” —Dan Krall, concept artist
All aboard the Gravy Train
Lava Lamp Jello (moves like a real lamp)
“The contribution I'm the most
proud of by far is the Gravy Train.” —Dan Krall
THIS SPREAD Artist: Dan Krall
32
33
KITCHEN THINGS ra
We
TOP LEFT & RIGHT Artist: Jon Klassen TOP CENTER Artist: Chris Appelhans BOTTOM Artist: Courtney Booker
13
THIS PAGE Artist: Jon Klassen
35
“Iwas told which images in the book 1 was going to translate into the movie; except for that, everything was basically up to me. Henry's only instruction was: ‘Design with your own ideas; but we would like to see something we've
never seen before!’ ”
—Tadahiro Uesugi
THIS PAGE Artist: Tadahiro Uesugi
TOP RIGHT Artist: Katy Wu ABOVE & BOTTOM RIGHT Artist: Michel Breton
36
37
TOP RIGHT Artist: Stef Choi
TOP LEFT Artist: Tadahiro Uesugi BELOW Artist: Stef Choi OPPOSITE Artist: Stef Choi
THIS SPREAD Artist: Jon Klassen
\
“| pitched Coraline sleeping on the floor
‘cause | remember doing that when we first moved before we got the beds built, but | think it seemed too sad, so she got the bed.”
—Jon Klassen
39
40
4l
TOP LEFT Artist: Jon Klassen ABOVE & LEFT Artist: Chris Appelhans
ABOVE & RIGHT Artist: Chris Appelhans TOP RIGHT Artist: Jon Klassen
7)
oe) <a
“The theater was supposed to be this huge, grand, kind of Greco-Roman, Neptune-themed theater. So, ] spent probably three months designing the theater with
all these crazy, ornate, thematic columns and paneling and sculptures here and there ... And then 1 think the whole thing got changed to an Art Deco theater, and they didn't use any of it. It was fun drawing the pages.”
} WI’ 4 7 RD a ee) Ae hat
THIS SPREAD Artist: Dan Krall
ABOVE Artist: Jon Klassen TOP RIGHT Artist: Chris Appelhans BOTTOM RIGHT Artist: Tadahiro Uesugi
A5
“The style of this stuff is a little different than work | do on my own, mostly because it's done as a step in the process rather than just to make a picture. These drawings have to be applicable to a set that is going to be used for alot of different things, so you can't
cheat as much.”
THIS PAGE Artist: Jon Klassen
46
“The final concept for the real version of Bobinsky’s attic flat ... With the help of my friend Morgan Hay, who was assistant art director on the movie, | built a half-scale mock-up of the space using foam core so that Henry could look at it and we could make spacial adjustments on the fly. After Henry approved the layout of the attic, | took a picture of the mock-up and painted this concept on top of it to establish the lighting and feel.”
“The Other World version of Bobinsky's attic. It's viewed from the same angle as the real version so that it's easy see how the real world props translate to the Other World. A priority in creating the Other World sets was to try and take the real world props that inhabit the sets and make fantastical versions of them to populate the Other World. 1 think this set best
illustrates that idea.”
THIS PAGE Artist: Michel Breton
“With the design of these props, 1 tried to give Bobinsky some history that is never explicitly stated in the film by making them seem like relics from a distant
past he may have had working in the circus.”
ABOVE Artist: Michel Breton BELOW & RIGHT Artist: Chris Turnham
49
THIS PAGE Artist: Chris Turnham
50
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THIS PAGE Artist: Chris Appelhans
51
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om! ABOVE & TOP RIGHT Artist: Tadahiro Uesugi FAR RIGHT Artist: Tadahiro Uesugi BOTTOM CENTER Artist: Katy Wu
52
ABOVE Artist: Chris Turnham
Andy Schuhler
55
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“The Fantastic Garden was designed
first so the geography of the real garden is almost identical, which is why this one still resembles Coraline's face. But you never see it from this angle, so it's impossible to notice in the film.”
—Chris Turnham
THIS PAGE Artist: Chris Turnham OPPOSITE Artist: Bill Boes and unknown artists
56
“The general idea was to figure out what plants would fill out the rest of the garden behind the featured plants. Some of them are based
on early Tadahiro designs, others are based on plant rigs the rigging department had already come up with. They
generally had to be the colors that would make
up Coraline's face for the reveal at the
end of the sequence.”
—Chris Turnham
Yd
Se =
THIS PAGE Artist: Ovi a rn Ne
OPPOSITE Artist: Chris Turnham
59
THIS PAGE Artist: Chris Turnham
“Black-and-white studies | did for the garden sequence. Most of the plants are based on early Tadahiro designs, but | also had to take into account what was physically possible with the rigs that would be used to make the plants move. With stop-motion, this is always something that has to be considered in the design phase.”
—Chris Turnham
“They used a lot of blacklight paint and LEDs with fiber optics to create the different lighting illusions in the flowers, so it was hard to predict exactly how the colors would turn out, but 1 think the final result looks pretty close.”
—Chris Turnham
THIS PAGE Artist: Chris Turnham
60
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“Here's the final concept for the Other World version of the living room, where the furniture is bug-shaped and the Other Mother begins to reveal her true form. Like in the other sets, all the bugs havea corresponding real world version. When | did the concept | was really unsure
how the final product would look, since every part of the design had something crazy going on with it, like the glow of the furniture and
walls to the way the bugs moved. But 1 shouldn't have had any doubts because the builders and riggers and lighters on the
crew are amazing and they nailed it perfectly.”
—Chris Turnham
Characters
THIS PAGE Artist: Stef Choi OPPOSITE Artist: Dan Krall
“Tt actually wasn't a crazy process for Coraline. Dan Krall did several versions at the beginning and Shane Prigmore took those and worked back and forth with Henry before reaching the final. The final is actually pretty close to a test Shane did to get hired onto the film.”
—~Shannon Tindle
67 OPPOSITE Artist: Dan Krall
MR. BOBINSK (interrupting) Mixed up? They even get you know. They call you of Caroline, not Carolir work them too hard ...
He picks up his mail from the bott starts back up to his attic apartm
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ONT 'D St 1 wase "Jed é z
WYBIE Short for Wybourne. Not —-* course. I would have pic maybe Einstein. What'd y with?
CORALINE I wasn’t saddled with ar Coraline.
WYBIE Caroline what?
CORALINE ‘ om. x
Not Caroline, Coraline.
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69
TOP Artist: Tadahiro Uesugi BELOW Artist: Shane Prigmore BOTTOM RIGHT Artist: Dan Krall
THIS PAGE Artist: Tacahiro Uesugi
70
TOP Artist: Stephen Bodin BOTTOM Artist: Chris Appelhans OPPOSITE Artist: Tadahiro Uesugi
7
“| was influenced by graphic designs from the 1950s to 1960s for my design ... One Hundred and One Dalmatians is one of my favorite
animations, being a movie which represents the style of that era.”
~Tadahiro Uesugi 72
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\ AN WA
“Back in 2006, Henry Selick invited a group of us to join the team that would create Laika Studio's first feature film, Coraline. We immediately knew this was special. The film and the studio took risks! The team Henry compiled was not to be believed, and 1 was honored to be a part of it. Shannon Tindle, Dan Krall and myself would be responsible for the final character designs in the film.” —Shane Prigmore, character designer
“{Henry] knew | was an animator in the past. He was like, ‘l want you to design all
the expressions and mouth shapes. I want you to test these things. I want this to be the coolest face animation that's ever been done in stop motion. ’... [] did] hundreds and hundreds of these drawings to make sure the design stuck. So that there was a design to the movement and the performances. Which 1 think paid off in the end ... The animators took this stuff and went crazy.”
74,
saan’
a pee te
75
THIS PAGE Artist: Stef Choi
76
77
THIS PAGE Artist: Stef Choi
nowt / long seeve Pleated pants /Shoet sleeve sheet / Bon yest Button 4 -shief
LEFT Artist: Stef Choi RIGHT Artist: Shane Prigmore
79
THIS PAGE Artist: Shane Prigmore
81
THIS PAGE Artist: Tadahiro Uesugi OPPOSITE Artist: Stef Choi
THIS PAGE Artist: Aaron Sorenson
“Henry wanted him to be really off-balance and weird in the real world ... The difference of all these characters: from real world to Other World, everything changes. The real world is dull and boring and off-balance, and the Other World is sexy and sharp and precise.”
—Shane Prigmore
83
THIS PAGE Artist: Aaron Sorenson
84
THIS PAGE Artist: Shane Prigmore
85
THIS PAGE Artist: Shane Prigmore
86
THIS PAGE Artist: Shannon Tindle “We got assigned to do characters in Ashland ...
[Henry] was like, ‘l want it to look like Ronald Searle. Just go nuts.' So, Shane and 1dida
bunch of these things and put them up. He goes, 'Man. ] should've just told you guys to have fun from the beginning!’ —Shannon Tindle
7 on gown housecoat worn . ——— over gown Tea Time | Tey Mistaeomne busts £2 | \ a TOP LEFT Artist: Tadahiro Uesugi | BOTTOM & TOP RIGHT Artist: Dan Krall
knee high knee high slippers support hose support hose
; av PIII *
LEFT Artist: Shane Prigmore ABOVE Artist: Shannon Tindle
fii WAIT othe
“Henry Selick asked me to make these posters depicting Spink and Forcible in their early career... blame Henry.”
—Andy Schuhler
SPREAD Artist: Andy Schuhler
94
“(This] lineup was created when Henry decided Bobinsky should be much taller. (I thought he was crazy; he was right.)”
—Shannon Tindle
95
LEFT Artist: Dan Krall RIGHT Artist: Stef Choi
BOTTOM Artist: Shannon Tindle «
“{Henry] said, ‘He's Russian. He was in the circus before.’ l was thinking, ‘Okay, he'sa giant.’ | looked i) medal reference on eBay because | love doing research. And the first Russian medal ] found was for survivors of Chernobyl. So, the medal that he's wearing,
I'm like, ‘That makes sense! He got mutated into a giant!”
—Shannon Tindle
96
rtist: Shane Prigmore
Tindle
ABOVE Artist: Shane Prigmore RIGHT Artist: Dan Krall
98
' a
99
ABOVE Artist: Mike Mitchell TOP RIGHT Artist: Shane Prigmore RIGHT Artist: Stef Choi
ABOVE Artist: Dan Krall
TOP & BOTTOM RIGHT Artist: Stef Choi
100
YounG Mis
5 Spice @ FoORCIBL E
THIS PAGE Artist: Tadahiro Uesugi
101
an
ABOVE Artist: Shannon Tindle BOTTOM LEFT Artist: Dan Krall BOTTOM RIGHT Artist: Tadahiro Uesugi
102
ABOVE Artist: Shannon Tindle RIGHT Artist: Katy Wu
103
ny
RIGHT Artist: Shane Prigmore LEFT Artists: Shannon Tindle & Kent Melton
104
LEFT Artist: Dan Krall RIGHT Artist: Tadahiro Uesugi
105
LEFT Artist: Tadahiro Uesugi
RIGHT Artist: Shane Prigmore
106
LEFT Artist: Tadahiro Uesugi RIGHT Artist: Shane Prigmore OPPOSITE Artist: Stef Choi
107
BELOW Artist: Shane Prigmore RIGHT Artist: Aaron Sorenson
AE oe oh Gino
“Other Father is more sleek, cooler hairstyle, gets down on Coraline's level, more in-balance, better teeth — but button eyes.”
—Shane Prigmore 109
THIS PAGE Artist: Aaron Sorenson
mM
“Andy Schuhler boarded this sequence, and Henry asked me to figure out what would happen when [Other Father] starts falling apart in the Other World. ] started just getting creepy. And he goes, ‘Make it creepier!’ I'm like, ‘Okay. Really? Okay.’ ” —Shane Prigmore
LEFT Artist: Tadahiro Uesugi RIGHT Artist: Dan Krall
112
TOP Artist: Shane Prigmore OPPOSITE TOP Artist: Shane Prigmore BOTTOM Artist: Chris Appelhans OPPOSITE BOTTOM Artist: Dan Krall
maybe a little more literal than you want to go, but Ihad an idea where her hair could turn into a web. AL
THIS PAGE Artist: Dan Krall
“It's one of those things you have to really work at, to find atone for the ‘film, even if you know what the genre is. Coraline was kind of this unprecedented ‘horror film for kids.’ We couldn't go full-on horror, gory horror, but we wanted it to really be scary. And that's kind of a tricky tone.”
“| don't think there were more
drawings done for any other character than Other Mother in this film.”
TOP LEFT Artist: Dan Krall
TOP RIGHT Artist: Katy Wu BOTTOM Artist: Shannon Tindle 116
THIS SPREAD Artist: Shannon Tindle
117
118
‘We realized, and it took a couple passes, that we needed to make the parents kind of... not intentionally mean to Coraline, but frustrated by their situation ... Both Henry Selick and ] had Just moved to Portland, Oregon, to start to work at Laika ... It's really one of the most stressful things, supposedly a big move is number two Pitas ‘heart attack.’ We said, ‘O kay, they're working on this deadline, they just moved, they don't have time to unpack, their stuff 's still in boxes and their daughter is bored’ ... She is just not getting the attention, in a believable way. Her parents are busy, they're stressed out from moving, they're inanew place. Because, if you didn't have that, then Other World ... she'd think it was cool, but she'd know, ‘I can just go back where my parents are nice to me.’ There's no contrast.”
—Mike Cachuela
THIS PAGE Artist: Mike Cachuela
120
Storyboards
“This moment was an absolute delicious chunk of the film to work on!
And the animators, as always, brought so, so, so much more to the
performances based off my scribbly doodles.”
123
THIS SPREAD Artist: Graham Annable
700_sm_24-1FH psa
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725
LEFT Artist: Spyros Tsiounis RIGHT Artist: Julian Narifio
126
THIS PAGE Artist: Spyros Tsiounis
127
THIS PAGE Artist: Vera Brosgal
OVERLEAF Artist: Andy Schuhler
128
THIS PAGE Artist: Deborah Cook
Puppet Gy
Fabrication
Coraline
Second design sketch
Coraline
First design sketch
“| did quite a few sculptures for the film. 1 don't remember how many... 1 was involved with the project for about three years, on and off.”
131
THIS SPREAD Artist: Damon Bard . — Coraline Maquette
“The original clay sculptures are destroyed in the mold process, but the casts of the maquettes
are either stored, on display at the studio or put on tour. The same goes with the finished puppets.
Sometimes puppets, parts or sets are given to a few lucky people at the end of a film, too.”
—Damon Bard
THIS PAGE Artist: Damon Bard
Coraline maquette
Coraline
Final design
THIS PAGE Artist: Tony Merrithew
“This was kind of a difficult pose to sculpt. The angle of the arms, legs and back all had to be accurate and the body had to have the
correct sense of weight.”
—Tony Merrithew, sculptor
134
THIS SPREAD Artist: Damon Bard
Happy Other Father
“Stop-motion puppets require a huge amount of work, time and planning to come to fruition. The sculpting process ts the same, but the foundation of the character/ puppet building process ts the maquette. That is the beginning. You have to know how the puppet will work once it is finished, even before it has been made. After that, a puppet sculpt is done based on the maquette and is engineered so it can function properly as a puppet and pave the way for the rest of puppet fabrication processes. It's like working in the present and in the future at the same time.”
—Damon Bard
BELOW Pictured: Damon Bard
138
139
“This isa very
early version of Wybie done in the traditional Claymation type Van Aken clay. | did a lot of early exploratory head sculptures searching for what the director wanted to see out of this character.”
—Tony Merrithew
“| don't know if this character actually
made it into the film, maybe
in the background somewhere.
It was afun sculpt to do and it came together very quickly.” —Tony Merrithew
THIS PAGE Artist: Tony Merrithew
“Yes, it appears tobea simple sculpt, but it had to be done
using the shape language that the director
wanted.”
—Tony Merrithew
THIS PAGE Artist: Tony Merrithew
142
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“The biggest challenge ina film of this magnitude, with
so many phys ical objects being made that have to work together, with literally tens of thousands of engineered parts, is that it all has to be planned out to go as smoothly as it can go. That as a whole is a tremendous challenge for every department, and everyone has to work together.”
—Damon Bard
144
Other World Frog and hummingbird
THIS PAGE Artist: Damon Bard
Other Mother version one
First design sketch
THIS SPREAD Artist: Damon Bard
Other Mother second stage
THIS SPREAD Artist: Damon Bard
Protoype stop-motion armature and Other Mother 3 concepts
147
Other Mother 3 concept designs
148
“The most surprising aspect of working in such a small scale is how much detail can actually be achieved once
you've set out to have no limits in that respect. The most challenging aspect is finding ‘fabrics in the scale we need and working to deadlines
without losing sight of our attention to
detail for the costume.”
149
i
4 jaa Nis 5 ohh
BML
hy
TOP RIGHT Pictured: Margaret Meyer BOTTOM ROW Artist: Deborah Cook
150
“Coraline's gloves and the base shape for her blue star sweater were knitted flat by a miniature knitter on tiny needles, then the sweater was lined with latex to ensure the duplicates maintained the same shape, then hand-sewn onto each puppet, as were the gloves. The stars were hand-cut from several selected layers of ‘fabric bonded together to create the right level of iridescence and added afterward. The sweater had its own ‘map’ for the stars, again to maintain consistency
among the duplicates.”
—Deborah Cook, costume designer
151
“It takes me anywhere between six weeks to six months to design and knit one of my conceptual type of [miniature] sweaters ... Some of the needles are almost the
dimension of a human hair.”
152
“The main body of the raincoat has a foam latex base, so it's actually its own puppet. And then the bottom edge is wired, the cuffs are wired, the hood is wired, but the arms and the upper part are loose over her body, so you still geta feeling that she's this tiny little girl inside this raincoat.”
—Georgina Hayns,
character fabrication
supervisor
TOP Pictured: Deborah Cook
t's hand-dyed fabric. It's then sent to a screen printer. He will screen print each of the colors
in turn, and then the pajama pattern itself'is screen printed on as well. So, as we cut them out and sew
them all together, all the dots fall in exactly the same place on each pair of pajamas.” 155
RIGHT Pictured: Deborah Cook
“No purchased garments were used at all, not even doll clothes, as they're actually far too big and wouldn't fit our characters or have as much attention to detail paid in their making or in their choice or scale of. ‘fabric. Barbie's jeans,
for example, are more than twice the size of Coraline's.”
156
“We found this great girl [Suzanne Moulton] who had done some commercial work with hair, and she became our hair expert. And she developed this technique of laying the hair with glue and wires, and making all of these wigs totally animatable.”
—Georgina Hayns
TOP Pictured: Suzanne Moulton
“The differences between working with peop leand working with animated characters is the scale of ‘fabric needed; the movements are pretty much within the same range.
The fabric in animation is very subtle and finer and has to pass as ‘veal’ within its own smaller world. Peop le-scale fabrics look very chunky and thick and impede and mask the tiny movements and gestures the puppet characters make as well as looking very unreal and colossal
on their tiny bodies.” —~Deborah Cook
159
Art sources
The blogs, portfolio pages and/or Twitter accounts of Jon Klassen, Dan Krall,
Andy Schuhler, Shane Prigmore, Katy Wu, Stef Choi, Michel Breton, Chris Appelhans, Shannon Tindle, Stephen Bodin, Chris Turnham, Courtney Booker, Damon Bard, Mike Cachuela, Steve Moore, Graham Annable, Tony Merrithew, Spyros Tsiounis
and Julian Narifo. Blooming Concepts. Heritage Auctions.
The Making of Coraline and other Blu-ray special features.
Laika's Twitter page and old official site.
161
Quote sources
https://web.archive.org/web/20151017050344/http://tonymerrithew.blogspot.com/2009_03.OLarchive.html http://christurnham.blogspot.com/search/label/Coraline hitps://twitter.com/grickle/status/1313526737075154948 hitps://www.facebook.com/ExtendedStudiesCalArts/videos/industry-legend-mike-cachuela-tells-some-stories- from-his-experience-and-discuss/1914489908769059/ https://fidmmuseum.org/2010/04/interview-with-coraline-costume-designer-deborah-cook.html hitps://dankrall.blogspot.com/2009_02 O1.archive.html hitps://wwwawn.com/animationworld/tadahiro-uesugi-talks-coraline-design https://twitter.com/AndySchuhler/status/1518989164707926016 hitps://twitter.com/burstofbeaden/status/1051943231661924352 hitps://twitter.com/burstofbeaden/status/1051942821773492224 hitp://shaneprigmore.blogspot.com/2009/01/coraline-is-almost-here.html
https:// ‘twitter.com/ShannonTindle 1/status/1092958502589325312
hitps:// ‘twitter.com/ShannonTindle I/status/1092829537488953350 http://livlily.blogspot.com/2011/05/coraline-2009-storyboards.html https://vimeo.com/285588358
https://vimeo.com/8811182
The Making of Coraline
hitps://wwwfocusfeatures.com/article/henry selick in conversation
https://web.archive. org/ web/20121026043522/http://burstofbeaden.com/coraline.html hitps://twitter.com/burstofbeaden/status/829754439 762223104
162