Neil Gaiman working on new film adaptation as 'almost sequel' to Coraline
The original dark fantasy film was a hit upon release – and is returning to cinemas soon.
Director Henry Selick has revealed he is reuniting with Neil Gaiman for a film adaptation of The Ocean at the End of the Lane, which he describes as "almost a sequel" to their 2008 hit Coraline.
The fantasy novel, which was turned into a stage show at London's Noël Coward Theatre, follows a middle-aged man who returns to his hometown for a funeral, and begins to recall an eerie sequence of events that occurred during his childhood.
According to Variety, Selick and Gaiman are currently working to get their screen adaptation funded, with a 35-page script and reams of concept art hoped to entice interest from the likes of ShadowMachine (Pinocchio) and Laika (ParaNorman).
While not narratively linked, Selick sees a thematic connection between The Ocean at the End of the Lane and Coraline.
He explained: "Instead of a child going to this other world with a monstrous mother, it’s a monstrous mother who comes into our world to wreak havoc on a kid’s life."
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The news comes shortly after a 3D cinema re-release of Coraline was announced to celebrate the acclaimed dark fantasy film's 15th anniversary, with fans getting a second chance to see it on the big screen this August.
Laika's David Burke commented: "This newly remastered version, in the works for three years, brings Neil Gaiman's enchanting story to life in stunning, stereoscopic 3D detail, and is a love letter to Laika fans everywhere."
Despite competition from the CGI animation, director Selick remains optimistic about the future of the comparatively archaic stop-motion, which dates all the way back to 1898.
He added: "[CG] did kill us, but then, we were resurrected many times. [Stop-motion] is based on the first trick photography and the original movie magic.
"[The format] can’t grow old, because it’s already old, but that doesn’t mean it’s musty and should be locked away in the attic. That just means it’s connected to something deeper and more historic.
"Our films have always had a smaller market. But they last longer, and will have a much longer life… The best stop-motion films aren’t just of this moment. They’re for all time."
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