This autumn, LAIKA Studios returns with its most ambitious stop-motion feature to date: Wildwood, an adaptation of Colin Meloy’s dark fantasy novel. For five years, LAIKA’s craftspeople have meticulously built and animated this world frame by frame.
Over the summer, we toured LAIKA Studios for an exclusive look at the film’s production, capped off by a roundtable interview with stars Peyton Elizabeth Lee (Prue McKeel) and Jacob Tremblay (Curtis Mehlberg). Pull up a chair and join us as we dive into the craft of stop-motion with Peyton and Jacob.
How much did the duo see before recording their performances?
Lee: I hadn’t seen anything before I went into the recording booth. They [LAIKA] talked a lot about wanting to be inspired by our voices and create the characters and feeling of the film based on our performances.
Tremblay: I saw a little bit of concept art, some early sketches of my character.
Lee: They trusted Jacob more than me [laughs].
Do you know how much of your performance informed the characters?
Lee: When we were in the booth, they filmed us the whole time. So, when I watch the film, I can see certain facial expressions or hand gestures that feel very reminiscent of things we do.
Did you read the books before signing onto the project, and did you identify with your characters before stepping into your respective roles?
Tremblay: I wasn’t familiar with the books going into this. My first reading experience was the script.
Lee: I had a similar experience. My first introduction to the story was the script. We were talking with the writer [Chris Butler] yesterday about the book and his process, which was really interesting because his approach is very different from ours.
Were you a fan of LAIKA before joining Wildwood?
Lee: Yeah, I was absolutely a fan. I grew up on these films. It was really cool to be part of the process because, while I loved their films purely as a viewer, I had no idea what went into making them. The years of dedication these people put into these films are so inspiring. While I knew about the company, I had no idea about the intricacies of the process for creating them.
Tremblay: Coraline was a huge part of my childhood. As Peyton said, you don’t realize the hard work and scale of the sets that go into the projects until you see them in person. They have these huge sets they’ve built that are literally only used as establishing shots in the film. The amount of effort that goes into the production is insane, but it all pays off.
Have you had a chance to explore Portland while visiting the studio?
Tremblay: Yeah. These press days have been super light, so every evening I’ve been out in the city, walking around. We got great Thai food last night at a place called Eem.
Lee: I think the film really captures the essence of Portland. So, it’s been fun to walk around, or even look out my hotel window, and see the bridge or the forest outskirts. It’s fun because you get to see how much those places inspired the story and the film’s spirit.
Is there something about your respective characters that you like or are particularly proud of?
Lee: I think Prue’s character is very special to me because I think of her journey in terms of starting as this very self-assured, confident, mature young woman, then her whole worldview falls apart. Throughout the film, she discovers this new version of truth, a new reality, and a new North Star in her life. That felt very relatable to me.
That’s something that a lot of people experience growing up. Like, when you’re little, you think being grown up means you have all the answers, that you know what’s right and wrong, good and bad. Then you realize, ‘Oh my gosh, I have no idea.’ Her journey of discovering that and eventually allowing herself to be open to it allows her to grow as a person. It’s something that takes a lot of bravery, and I was inspired by her journey to incorporate more of that into my life, being open to new things, new possibilities. Like, finding a kind of magic in everything.
You’ve both done voice work in the past. Was your experience any different while working with LAIKA on Wildwood?
Tremblay: Patience, for sure. I recorded my bit way back in 2021. When I watched Luca or Orion in the Dark, for example, it was easy to recognize that as my voice. For Wildwood, I didn’t recognize my voice for a bit, which was great, because I was able to disassociate from the character and indulge in the story. For me, it’s always kinda hard to listen to your own voice.
Lee: The handmade aspect of a LAIKA film is something I’ve never experienced. These films were crafted for audiences by artists. Especially right now, the idea of human art made entirely by people is so exciting and important. Having any contribution to keeping that alive is exciting, and this is a huge honor for me.
Fearlessness is a big theme in the movie. Have you both embraced being fearless in your lives?
Tremblay: I’m very fortunate in that I have really supportive parents. I would not be where I am today if it weren’t for them. They’ve given me so much confidence and made me feel good about myself and about sharing that feeling with others.
Lee: Unfortunately, the world has a lot of hate, division, and separation. It may sound cliché, but the bravest thing you can do is continue to lead with love and remain open to people and a better future. Protecting optimism and finding a way to lead with that in your life is one of the bravest things you can do. I’m consistently working on myself.
What sort of direction did you receive from director Travis Knight when you were in the recording booth?
Lee: Because the recordings were so early, the biggest direction I got from Travis was ‘Let’s try everything.’ From the brightest version to the darkest. The most childish, mature, quietest, loudest. We wanted to explore all the different aspects of the story, with varying levels of the characters. One of the most exciting things about seeing the movie for the first time was not knowing what the tone would be, because we’d tried so many different things. He’s [Travis] so great and collaborative. He has such good energy that it made me want to explore, feel open and free, and try new things.
Tremblay: I totally agree with Peyton. It was always fun because it was like, ‘How many different perspectives can we look at for this one scene?’ He [Travis] does a great job of pointing out all the different angles. We’ve seen an unfinished version of the film, which is really cool, which helps you appreciate all the strings attached. I’m so excited to see the finished version.
What do you think is special about LAIKA’s approach to filmmaking?
Lee: There’s an unexplainable magnetism that humans have to human art, you know? It’s not necessarily something you can define or pinpoint. When you see something made by people, it has a different feeling. It has a different emotional depth. It’s that tangible experience that has kept LAIKA feeling like a prominent, influential force in the world of animation. It’s something no one else can replicate. There’s a magical dust these movies have because each individual gives their heart and soul to this project.
To paraphrase, Travis said this about the movie’s themes: Love can heal, and love can hurt. Does that mean anything to you, and did those words affect your performance?
Tremblay: These characters are faced with hard decisions about what to do for the greater good. It causes a lot of confusion. That’s something I wanted to play into.
Lee: I appreciate that the story doesn’t underestimate its audience. Many stories are targeted at a younger demographic, and we often talk down to young people. I think young people are smart and sophisticated in so many ways that we don’t give them credit for. So, creating art for young people that meets them where they’re at and speaks to them as the intelligent audience they are is how Wildwood navigates the world’s nuances, complexities, and gray areas. The idea that love can be a force of healing and a force for harm. It’s important to tell stories that feel authentic to their experiences growing up.
For more about Wildwood, check out our set tour coverage and interview with the film’s screenwriter, Chris Butler!