“The single biggest structural conceit is Jake as the point of entry,” he says. “Doesn’t every kid at one point think that the things in the shadows are real? Doesn’t every little boy imagine that there is a world that you can’t quite see?” Goldsman adds. “New York is literally like that. There’s the feeling of a labyrinth behind the face of the city, and I think that’s really consistent with a child’s imagination and the sense of a magical world hiding just beneath the surface.”
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