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'.

We Know Jack Show

Camera Assistant Carl Miller

Director Henry Selick and animator Anthony Scott interviewed in front of a live audience at the Disney Family Museum in San Francisco.

Director Henry Selick

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.

Director of Photography Pete Kozachik

Editor Stan Webb

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.

Character Fabricator Supervisor Bonita De Carlo

Ghosts, smoke, fire, stars, snowflakes, and obsolete techniques.

Effects Animator Gordon Baker

Sewing, painting, dressing, and bringing every single puppet to life.

Character Fabricator Elise Robertson

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.

Animator Stephen Buckley

Twenty four stages all running at the same time. Who kept all that in order? Kirk for one.

Stage Hand Kirk Scott

Allison somehow kept the entire Art Department on track - an enormous job. She tells us all about it.

Artistic Coordinator Allison Abbate

Film e TV

Cinema: interviste

Behind the scenes stories from the making of Nightmare Before Christmas. Each episode is an in depth interview with a different crew member. Animators, artists, techies, production staff, and more all stop by to tell what it was like making this incredible film.