And let's see." This poor kid, she lost her parents. It's not what the movie will be about, but it will be this strong flavor. And I talked to Jordan, and he felt like, "Yeah, we can do this. So she was an expert on that and was always telling me more and more about it. They call it the school to prison pipeline. And those kids all end up in the juvie justice system. They might have mental disabilities, but they often were kids that were about to be kicked out of school and not allowed back. My wife, she's retired now, but she had this job, a special needs advocate. "No, you're going to do this!" Well, I wanted there to be a visual connection to Kat. They have to work on his hair farm and they wear striped prison things. Then at the other end, I figure Wendell and Wild are basically prisoners of their own father. And I felt like, "Yeah, that seems like that could be the start of who the villains are." But on top of that, they're also murderers. They don't want to let anyone go because it's a steady paycheck. And they're known for horrible food, no medical, no rehabilitation. But then I had done some research and I found there's this whole system here, and it's illegal in some states, but a lot of states where people build their own prisons and then the government pays them so much per prisoner to house them there. There should be scares and powerful things, but I want it to be for brave children of all ages. But it is a never-ending task to, "Is this tone the right one? Have I gone too far?" And you're always treading this line. And I felt in this film that they would be ready to be a little heavier, more sadness, but we also have the humor from Key and Peele. But I do try to just think of where we are now in history and what the audience has already seen. I never want to do pure horror or slasher. So I feel like I have to compete with, if kids are actually watching things that are meant for older audiences, I think I should also put a little bit of older sense because these kids will want to see that. So many people have computers and streaming and are watching and they can see - their parents aren't always over their shoulder watching and making them stop. So they're exposed - because we have access. They're watching older things for older people. Say, so at eight, 10 to 14 years old, they're not making things for them, but those kids are watching scary things. Well, it might be that people aren't making scary things for those kids. It's more interesting to me to find out, "Well, why just make this up?" Start with something that's real, and then you can play with it or exaggerate with it. She has a special scarf she sleeps to hold it in place. I had to learn - I didn't know this - but for Kat, someone who has her hair in those big puffs, how does she sleep? Well, we had to research. ![]() I like to go for a really deep dive, and the people that I hire do the same. Particularly in terms of textures and skin tone. I'm curious about the practicality of the puppets, and accurately representing people of color. Just artistically, I thought, "Oh, it'd be great to have all these different skin tones." And then story-wise, it fell into place and it felt honest, like this is what's right for this story. Once he said that, it was just like, "I want to change all the casting of the film." Even going back to 'Coraline,' there's this character Bobinsky and he performs on the rooftop and I was so tired of all these white people.
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