Editor Stan Webb

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.

The man who put it all together.

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.