It's a typically rainy Portland, Oregon day in April 2022 when we arrive at the nondescript studio. Tucked away in an industrial park on the edge of the city, it looks like a bland warehouse space. It certainly does not look like a building where a crew of artists and animators, led by one of the true geniuses of the medium, have spent the past few years toiling away on a stop-motion movie about demons voiced by two of the funniest people on the planet, and the young girl they rope into their scheme to make it rich in the world of the living. It certainly doesn't look like the headquarters for filmmaker Henry Selick, the director of "The Nightmare Before Christmas" and "Coraline," who, armed with a Netflix budget, has endured not only the inherent difficulties of making a stop-motion animated movie but a deadly pandemic and freak weather that put the entire production at risk. But once we enter the building, masked and tested for Covid, we start to see the