Henry Selick, director of 1993 cult traditional The Nightmare Before Christmas, has revealed he’s hidden a Jack Skellington in each one in every of his movies.
“For those who look very, very rigorously, you would possibly discover that there’s some picture of Jack in each different movie I’ve made. However I can’t legally say that’s true, but it surely could be true,” Selick stated in an interview with GamesRadar+.
The Nightmare Earlier than Christmas was Selick’s directorial debut. He went on to make James and the Big Peach (1996), Monkeybone (2001), Coraline (2009), and Wendell & Wild (2022). Lots of his movies share comparable tales of alternate worlds and realities. It is sensible that there could be some cross-references or Easter eggs in them.
He hinted that Coraline followers who rigorously watch the breakfast scene would possibly see the eggs that the Different Mom cracks resemble the well-known King of Halloween. In James and the Big Peach, the captain of Skeleton Pirates appears like Jack—and is even known as “a Skellington.” In Wendell & Wild, he pops up ultimately credit.
Jack Skellington has made supposed cameos in different movies, together with 2010’s Alice in Wonderland—directed by Nightmare Earlier than Christmas producer Tim Burton—within the Mad Hatter’s tie, and 2003’s Discovering Nemo, hidden within the bubbles in Gil’s fish tank. Sally and Jack seem in Disney Pixar’s Ralph Breaks the Internet. Selick has additionally put different Easter eggs into his films, together with the Different Father sporting “Monkeybone” slippers in Coraline. The director himself seems in a cameo on the greenback invoice in Coraline.
Coraline marks its fifteenth anniversary is that this yr, and is at present having fun with a restricted re-release (Coraline additionally scored nice success with a re-release last summer). As for any probability of sequels for his memorable movies, which Disney is thought for doing, Selick told GamesRadar+ it’s been mentioned, however he isn’t .
“It’s been mentioned ceaselessly at numerous instances previously. I used to be advised ‘Oh, we need to do a sequel, but it surely must be CGI’ and I stated ‘No, completely not,’” Selick defined. “However you don’t need to smash one thing by killing the golden goose. Doing a sequel or a prequel can destroy that. I imply, by the point of Jaws six, the shark films, they’d actually beat that shark to demise.”
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