Director Henry Selick and animator Anthony Scott interviewed in front of a live audience at the Disney Family Museum in San Francisco.
He was responsible for the overall look of the film through the lens of a half dozen different camera crews on 20 different sets. Not to mention he basically invented motion control.
Bonita was in charge of getting every single puppet completed and ready for animation - a mind boggling amount of work. She tells us all about it.
Ghosts, smoke, fire, stars, snowflakes, and obsolete techniques.
Sewing, painting, dressing, and bringing every single puppet to life.
Henry Selick, Art Clokey, Peter Jackson, Marilyn Manson, motorcycles, breast feeding, Excederin, Gumby, cotton ball clouds, and of the course the beauty of stop motion animation.
Carl takes us on a Skellington journey through the lens of a possibly irradiated camera. Collaboration, multiple camera crews, multiple set ups, in-camera effects, and the 'faces in the fire'.
Twenty four stages all running at the same time. Who kept all that in order? Kirk for one.
Allison somehow kept the entire Art Department on track - an enormous job. She tells us all about it.
Camera problems, motion control problems, animator problems, set problems, and margaritas.
Mold Maker? What's that, and why do we need one on a movie? Mike fills us in.
With enough cardboard and hot glue anything is possible. Bill takes us deep into the heart of the Art Department.
Abstraction vs Suggestion. Our most ineffable interview. Buckle up. Mark takes us deep.
Each character in Nightmare Before Christmas has a posable skeleton. Somebody had to make them. Chris tells us about it.
2D animation, more Tim Burton stories, and the alternate ending!!
Set up after set up...Problem after problem. Jim fills us in.
Cigarettes, musicals, collaboration, making it up as you go, and the endless joy of building with your own two hands.
Gisela shares stories about the Producer, the Director, Danny Elfman, Tim Burton, and the den of wolves otherwise known as the Story Department.