Document details

'twas the Might Before Halloween
As all through the House, Danny Elfman & Henry Selick brew up Tim Burton's "Nightmare Before Christmas"
Dan Yakir
Tim Burton's perversely fascinating imagination seems to know no bounds: He has already explored the adventures of an oddball in search of his bike (Pee Wee's Big Adventure); reveled in the mischief of a demonic spirit and the confusion of two reluctant ghosts (Beetlejuice); examined the experiences of Frankenstein in suburbia (Edward Scissorhands); and dedicated two chapters of his work to the superheroics of a comic-book legend (Batman, Batman Returns). And now comes the most daring, audacious project from Burton's idea factory: The animated fantasy-adventure Nightmare Before Christmas. Instead of traditional cel animation, the movie uses three-dimensional stop-motion animation techniques where puppets are filmed as if moving. And while stop-motion is cheaper than cel animation (Nightmare employed 110 people as opposed to Aladdin's 600), it's nonetheless a monumental team effort. The three major talents in charge of this extravaganza are Burton as producer (with Denise Di Novi); Henry Selick, who's making his feature film debut as director; and Danny Elfman, who reprises his role from previous Burton hits as composer and lyricist. Caroline Thompson, another frequent Burton collaborator, wrote the script. […]



Source type Magazine
Volume 197
Language en
Document type Interview
Media type text
Page count 7
Pages pp. 43-48,92


Id 2463
Availability Free
Inserted 2016-05-12