The stop-motion animated feature "Wildwood," set for release on October 23, features a prominent character known as the General, a giant golden eagle voiced by Angela Bassett. Created by the Portland-based studio Laika, the General represents a technical and artistic milestone for the studio, combining intricate craftsmanship with cutting-edge engineering.
Brad Schiff, head of animation at Laika, described the General as the largest and most organically animated puppet the studio has produced to date. Measuring approximately two and a half feet tall with a wingspan of five feet, the General’s design demanded innovations in puppet construction and movement. Laika’s approach began with detailed 3-D and 2-D models based on real-life eagles, followed by the assembly of a steel and plastic armature. To achieve realistic muscle movement, lightweight silicone sponge was layered over a flexible base, enabling the puppet to move naturally in complex ways.
The studio designed three separate eagle puppets tailored for different scenes: two intended for flight and one for moments when the bird’s wings are folded. A key innovation was the design of the General’s neck, which employed a 3-D printed spiral mechanism resembling a Slinky. This feature allowed for elongation and precise bending without collapsing, supported by an extendable barbell and a rack-and-pinion system controlled externally through a bicycle brake cable.
Laika also incorporated “breather” mechanisms into the General and other characters to simulate natural inhaling and exhaling motions. These mechanical diaphragms are operated manually by animators to create the effect of the puppet breathing. Additionally, motorized wings were installed to hold positions and provide subtle, remotely controlled movement increments—a level of complexity not previously achieved with such extensive screen time.
The animation process was meticulous and time-consuming, with two main animators—Dobrin Yanev and Anthony Straus—responsible for the General’s flight scenes and interactions with other characters, respectively. Animators had to coordinate the intricate movements of the puppet’s feathers, wings, neck, and facial expressions, as well as any accompanying human characters such as Prue, portrayed by Peyton Elizabeth Lee. Depending on shot complexity, animators produced between one to four seconds of footage per week.
Faces for the puppets were recorded in advance, then animated digitally using Maya software. Facial expressions were 3-D printed for each frame, with specific faces swapped out to match the desired emotions. This process allowed animators to focus on nuanced eye movements and character personality. The printed faces were seamlessly integrated with the feathered puppet bodies using specially constructed rings coated in hand-painted clay.
Feather application was another labor-intensive task. Each General puppet was adorned with between 3,700 and 4,000 individual feathers cut from laser-cut polyester satin, resulting in about 12,000 feathers across all three puppets. Some feathers were wired and posable to simulate wind resistance and allow interaction with the Prue puppet.
To animate flying sequences, Yanev utilized specialized equipment including a hexapod platform and a gimbal system that moved along tracks, enabling dynamic, realistic bird movements and camera angles. The combination of puppet motion and coordinated camera work created the illusion of expansive flight within the confined studio space. Yanev’s work on these flight sequences spanned four years to achieve the desired level of realism and fluidity.
Overall, the General represents Laika’s most sophisticated puppet engineering endeavor, reflecting the studio’s commitment to pushing the boundaries of stop-motion animation through a blend of traditional artistry and modern technology.