There’s a part near the end of the credits where the curtain seems to pull back a bit. Real human hands suddenly show up on screen, sewing mini garments and fiddling with armatures. A manic ghost of a giant human fades away, over a scene where Prue and her brother are walking up to their home. The words “this movie was made with human hands” proudly flashes on screen.
I had to laugh; a few seconds earlier, they’d rolled through the names of some employees at Weta VFX. My animation days are long behind me, but I still know you’d be insane to pull off an animated battle scene in-camera. I’d already seen the blue- and green-screens in other behind-the-scenes footage. Laika Studios cheated a bit to handle the facial expressions; each was designed in a traditional 3D rendering package, properly synced up to the dialog, then 3D printed and swapped about according to a spreadsheet. Murders of crows? Must have been 3D animated elements carefully tweaked to look like stop-motion animation, or (less likely) 2D billboards of actual stop-motion elements tossed in a blender.
That bit about “human hands” wasn’t meant to be taken literally. It was really a declaration that the film was made with human thought. During the final moments of the conclusion, the film lampshades that the plot contradicts its primary moral message. The world of adults is complex and uncertain, it explicitly states. But it also features bandits that are bandits, wolves that are wolves, and useless bureaucrats with all the depth of a puppet. The falling action is as cheap and plastic as what happened in the original Star Wars. The protagonist doesn’t have a character arc, her goals are simple and clear. And yet this damn movie somehow makes fairly obvious plot beats feel unexpected. These messy human contradictions extend beyond the picture frame, as well; Laika Studios itself was born out of a hostile-ish take-over, and financed primarily with inherited Nike money.
But everything moves with a bit of that “floaty jank” that hand-drawn or stop-motion animation always seems to carry, a twitchiness that’s nigh impossible to re-create with computer animation. When it takes months to film seconds, everything can be meticulously honed until it feels perfect. Wildwood’s no exception there. One thing I was puzzled about, walking into the theatre: why does teenage Prue have obvious bags under her eyes? They’re not present in the source material, nor the 2D(-ish? Tough to tell, nowadays) animated credits, and it isn’t part of Laika’s house style.
While hastily jotting down the notes that would become this post, I realized why. Goddamn! A quick check of the original book’s Wikipedia page convinced me it was deliberate. And yet at no point do they make it explicit. You can only suss the reason out via observation and some careful thought. Laika trusted their audience to think for themselves, and I respect that.
“When the technology is doing the work of the artist, that’s a different proposition,” [the son of a Nike co-founder] explains. “And that’s something that I am steadfastly against, because there is no humanity in what comes out of the other side of that. When you’ve ingested the material that an artist has actually created, and then regurgitate it in a different way, there’s no soul, there’s no spirit, there’s no humanity behind it. That’s theft. I really do believe that when you’re telling a human story, when you’re telling a story about loss and grief and something that means something to someone, that has to come from a person. A computer has never fallen in love. A computer has never lost someone. They’ve never made a terrible choice and lost a brother. They’ve never had their heart broken. Only a person has done that. And so only a person can speak to what that experience is and what that feels like.”
You can see why Wildwood is often held up as being anti-AI. That’s both silly, and yet not entirely wrong. Reality may be complex and uncertain, but sometimes the obvious way is also the correct one.
Wildwood probably cost $100 million to make, at minimum, and unless something magical happens it won’t turn a profit. That’s a shame. I can recommend it, it’s that sort of movie which will invite you to sit down for a spot of tea and a thoughtful discussion, and before you know it you’ll wonder how time passed so quickly.


