Wes Anderson discussing the appeal of stop-motion animation with Michael Specter from The Making of Fantastic Mr. Fox: A Film by Wes Anderson Based on the Book by Roald Dahl:
The thing I’ve always loved with stop-motion, more than anything else, is puppets that have fur, and actually not only that. I also like the fighting skeletons in, maybe it’s Jason and the Argonauts, or maybe it’s one of the Sinbad movies where they have the fighting skeletons. But I have always like — I love the way King Kong, the old King Kong, looked, with his fur – the animators call it “boiling.” And for some reason, the whole magical aspect of stop-motion was one of those things where you can see the trick — I mean, you know the Cocteau movies? The visual effects in Beauty and the Beast, for instance, are things where you can really see that a person is behind this wall sticking their arm through it, holding a torch, and the film is running backwards, and so that is how this light is coming on, or the mirror is actually water. You know, those kinds of effects, where you can see what it is, have always been the most fascinating and mesmerizing and moving to me. And with stop-motion, the whole film is that sort of thing in a way, to my mind. So I guess, to the degree that that makes any sense, that’s more or less where it comes from for me. That magical effect where you can see how it is accomplished — where at one and the same time you are enchanted by the trick to the effect and by the story itself. I have no idea why this concept means so much to me.