Henry Selick who was also there at the studio at the time was a huge supporter of the project. Actually after Thompson was brought on to write the script, another song was added for Sally since she made that character more important. Thompson had been living with Elfman so was very familiar with the songs and general story and characters before being brought in to script. Joe Ranft also worked on storyboards from that script and added some touches. Somehow I thought of a Halloween Town to match the North Pole and took images and just sort of twisted them together.
Hi Jim, thanks for reading the piece. I did extensive interviews with most of the key players associated with the film, including director Henry Selick, Tim Burton, Dany Elfman, Caroline Thompson, Rick Heinrichs, many animators, artists, etc.
I have no idea if and when that book will be released as it is in the hands of Disney Editions. He masterfully blends interviews with Tim Burton, Danny Elman, and myself—along with many of the talented artists who worked on the film—into a very nuanced and personal picture of how the movie actually came together, was made, and went from a cult favorite to a holiday classic.
Great treat to watch, hear, and feel the effects. Great fun for the whole family. But I have experienced the 4D at the El Capitan Theater in Hollywood, as recently as last year, and it is spectactular! Wait, Disney actually considered forming a division called Touchstone Animation? Imagine if they actually went through with it, and if they made more than just Nightmare; what kind of films would they have made?
We may never know. It was a short lived idea as they ultimately decided against it. I think that those are two films that would have likely fit into a Touchstone Animation brand.
Indeed, if Disney decided to ride the more adult-oriented animation train that has proliferated on the streaming platforms, having another banner for those types of shows would be one option. But, that runs the risk of damaging the existing Disney Animation brand by mere association. It was smart of them to look at a Touchstone Animation banner, and I think that they made the right decision to pass on it. Your email address will not be published. David A. Bossert is an award-winning artist, filmmaker, and author.
He received his B. Bossert is now an independent producer, creative director, and writer. Bossert is considered an authority on Disney animation art and history. In , Bossert was awarded a U. This led to one shot proving to be especially challenging. When Jack discovers the part of the forest with pathways to other holiday worlds, he looks longingly at the Christmas tree door. A close-up of its shiny golden knob reflects this mournful skeleton as well as the trees behind him as he advances to open it.
Getting the reflection just right took a great deal of time, care, and attention. Danny Elfman also voices Barrel, one of the trick-or-treaters working for Oogie Boogie. There were around people working at the same time for the production of this movie. It included animators, puppet and prop-makers, set builders, art directors, camera operators, lighting designers, and editors. There were 20 stages going at once and as many as 15 animators working simultaneously.
When one animator was working with Jack climbing a tower, another was working with Jack walking through the forest, and another was working with Jack singing through the streets. The sculpture department sculpted the characters from the drawings that they got from the art department. They sculpted them in oil-based clay. Oil-based clay is very versatile and can be smoothed out with alcohol.
Moreover, each puppet had an armature inside it which is basically a ball and socket. This enabled the animators to move the puppets into specific postures during the shoot. All the intricate parts of the armatures were hand-machined to fit perfectly for each puppet.
This ensured that each tiny movement looked smooth and fluid when posed 24 different times for each second of film. The movie had more than 60 individual characters, and three or four duplicates were made for each of them.
So, the total number of puppets was closer to Jack was designed as a long-limbed, spider-like man. To animate his various facial expressions and mouth movements, the animators used hand-sculpted replacement hands. So, every time Jack had a different mouth expression, a whole different sculpture of the head was used. For each blink, the animators had to shoot frames. Sally, on the other hand, had a different mask for every expression change. Since she had long hair, it was difficult to change her whole head like Jack.
So, the animators resorted to masks instead. Facilier summons. He added, "Disney really fought for us to give Jack these friendly eyes instead of dark holes but we wouldn't budge. But that doesn't stop anyone from enjoying the movie days a year, regardless of upcoming holidays. You can buy Disney-themed bouquets, including a 'Nightmare Before Christmas' one that comes in a coffin-shaped box.
World globe An icon of the world globe, indicating different international options. Get the Insider App. Click here to learn more. A leading-edge research firm focused on digital transformation. Marilyn La Jeunesse. The film's songs were written before its script was. The movie is based on a poem that originally had just three characters.
Visit Insider's homepage for more stories. Tim Burton was the producer, not the director. The movie was based on a poem. In the original poem, there were only three characters.
The film's songs were written before a script was.
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