Video: Tim Burton on "Nightmare" 20th Anniversary

Check out this spooktacular new video from Tim Burton on the 20th anniversary of The Nightmare Before Christmas, just in time for Halloween!:



Starring Tim Burton, Aiko Horiuchi (The Grudge) and Glen Mexted (Camden Claus/Captain Rubberpants). Music by Danny Elfman. Directed by Derek Frey.

Interview: "Frankenweenie" Animation Director Mark Waring

We Are Movie Geeks recently interviewed Frankenweenie animation director Mark Waring. Waring discussed how the stop-motion animation process on Frankenweenie was unique, what the crew was like, Tim Burton's influences, and more:

We Are Movie Geeks: Congratulations on FRANKENWEENIE. I took my daughters to see it and we loved it.

Mark Waring: Oh good, thanks.

WAMG: Did you grow up a fan of stop-motion animation?

MW: I was always interested on those things. Whenever there was something with stop-motion on TV I would always watch it, but it was never something that I thought I would end up doing. I was always interested in art and design and films as well but it wasn’t until I was in college that I was introduced to animation through a course. It was then I realized that this was what I wanted to do. It was design, art, sculpting, film, all combined and it was something I could do for a living. Then I started studying the history of animation and thought this was really wanted I wanted to do.

WAMG: I saw where you had recently participated in a panel discussion on Ray Harryhausen.

MW: Yeah, I’ve done a couple of those. Tony Dawson, who’s written four or five books on Harryhausen, runs the Ray Harryhausen Foundation, invited me to do that. Ray has never thrown anything away. He’s kept everything he’s created throughout his whole life right down to models he made when he was twelve. There’s a whole history and archive there and Tony is helping him look after that. He’s got me involved in various talks and panel discussions. Harryhausen has been such an influence and has helped me so much in my art. He was a pioneer and his techniques are still relevant. We still reference his monster characters. The animators all get together and look at his films and study what he did and how he worked.

WAMG: What are the key differences between what Harryhausen was doing decades ago and what you are doing with a project like FRANKENWEENIE?

MW: Technically it’s exactly the same. It’s basically down to, as an animator, you’re standing in front of a puppet that got an armature inside and you’ve got to bring it to life. Turn it into something that’s moving in a believable, if not necessarily realistic, way. You have to give it emotion, which I think is what Ray Harryhausen did best. He made them angry, or frightened, or whatever they were and we’ve got to do the same thing. We’ve obviously got more technology around us now.

WAMG: And more people. Harryhausen pretty much did everything on his own.

MW: Absolutely. He did all of that on his own. He made the puppets. His dad helped make the armatures. His mom helped make the costumes, but he shot it and did virtually everything on his own. With the technology we have now, we can check our work, which he couldn’t do. We can walk away, have a cup of tea, look at it, and come back and fix anything. He had none of that, he worked blind. He had no references whatsoever. Sometimes what we do is have our animators work blind like Harryhausen did, just for practice, to kind of get into the swing of it. It’s tricky. Harryhausen developed these metal pointers that he could measure exactly how far he moved, or would need to move, say one of the Hydra’s seven heads. We still use that tool today, in spite of all the technology at our disposal.

WAMG: Did you grow up a fan of monster movies?

MW: Sort of, yeah. If anything like that came on the TV, I would watch it. I don’t know if it’s a cultural thing but over here, in the UK, those sort of things weren’t really shown on TV like they were in America, but it was definitely something I was interested in.

WAMG: I noticed in FRANKENWEENIE Victor’s parents are at one point watching HORROR OF DRACULA with Christopher Lee on their TV. Who’s idea was that?

MW: Oh, I’m sure that was Tim Burton’s choice. After all, FRANKENWEENIE is Tim Burton’s childhood. Victor and Sparky are Tim and his dog. That’s what he based everything on, the whole idea of a boy and his dog and what that meant to him, he just packs FRANKENWEENIE with his world and I suppose HORROR OF DRACULA is just a film Tim remembers fondly from his childhood and that’s why he chose to include it.

WAMG: Did Tim Burton give you much creative leeway with FRANKENWEENIE, or was it strictly storyboarded?

MW: He was involved a lot, especially in the early development stages. All of the character designs come straight out of his sketchbooks. We’d worked together in the past and all of the inspiration comes through him. I think the storyboarding style as well. The early stages of the process set the tone and the film shows that. There’s very little in the film that doesn’t have his fingerprints all over it. That said, he’s very open to suggestions. He likes to surround himself with people who know him so a lot of the crew from THE CORPSE BRIDE also worked on FRANKENWEENIE.

WAMG: How many animators worked on FRANKENWEENIE?

MW: I guess around thirty. There are different levels of animators. We have four or five lead animators, then fifteen or so who are crafting every day doing their work. After that there’s a team of assistants who animate as well. Some are good at intimate character work, some are broader at animating the broader action scenes. So we mix and match and steer people towards their strengths.

WAMG: I remember when Tim Burton made MARS ATTACKS fifteen years ago and wanted to use stop motion, but decided he could make CGI look more like what he had in mind. Why do you think he went back to old school stop motion for CORPSE BRIDE and FRANKENWEENIE?

MW: I think partly stop motion is a physical thing, it’s a tactile thing. You can see the work that’s gone into it. I would have loved for MARS ATTACKS to have been stop motion. When I first heard about the film I thought it would be the perfect homage to ’50s sci-fi and B movies and flying saucers and all those things. It would have been perfect if they’d gone down that route. They had originally wanted to do it as stop motion. They had brought some puppet people in and had made armatures and I think it was quite last minute that they actually pulled the plug and went with CGI. They may have been worried about the time it was going to take with deadlines or whatever and I think if they would have gone that way, it would have been fantastic. There’s a magic to the art of stop motion that CGI just doesn’t have. It doesn’t mean that CGI is wrong or that one style is better than the other, I just think with stop motion you better see the craft on display.

WAMG: Had you seen the FRANKENWEENIE from the ’80s before you got involved with this project?

MW: Oh yes, we used that film as a reference for so many of the shots, but obviously the story has been fleshed out much more. I think it had its own mood and momentum but the feel of that short is what we were going for.

WAMG: There’s a short on the Blu-ray release of FRANKENWEENIE titled ‘Sparky vs the Flying Saucer’. What can you tell me about that?

MW: Well, I directed it and it was great to have the opportunity to do that. In the film itself, Victor is showing making a little film, a home movie with Sparky acting as a giant monster and the idea behind ‘Sparky vs the Flying Saucers’ is that this is another film that Victor has made with Sparky, and perhaps he has made a whole series of these films that he can show to his parents. This one is a Mars Attacks type of thing really with space aliens and Sparky in a space suit and all.

WAMG: Was this Tim Burton’s story?

MW: It was from Tim’s idea but the actual script itself was by Derek [Frey] who is Tim’s assistant and he and I discussed the idea and we fleshed it out with the storyboarders and made this little film. We made it towards the end of the shoot and thought about maybe tagging it on to the end of the film but it’s now on the DVD.

WAMG: Do you see possibly making some more Sparky shorts?

MW: I’d love to. I love the concept that there could be more of these films featuring Sparky hidden away in Victor’s attic. Who knows? I think we created a lovely world. Maybe we could make more shorts, perhaps a cowboy film or any classic film genres.

WAMG: What’s next for Mark Waring?

MW: I would love to work on more features. I’d love to work with Tim again. I love the stop motion format. In the meantime though I’m working on commercials in London and keeping busy.

WAMG: Good luck with your future projects and thanks for talking to We Are Movie Geeks.

MW: Thank you.

New "Frankenweenie" Short Film on Home Video, Jan. 8

Frankenweenie will be coming to home video formats on Tuesday, January 8th, 2013.

Stitch Kingdom reports that a brand-new short will be on the home format Blu-Ray release, Captain Sparky vs. The Flying Saucers. The new animated short will run for two minutes and twenty seconds, and was written by Frankenweenie co-producer and Tim Burton collaborator Derek Frey.

Other bonus features include:

-Miniatures in Motion: Bringing Frankenweenie to Life – Viewers get an in-depth tour of the London set that includes never-before-seen footage showcasing the hundreds of artists who worked on the film.
-Frankenweenie touring exhibit – Allows audiences to explore the artistry of the film’s puppets, sets and props in a showcase that’s traveling the world.
-Original live action Frankenweenie short
-Plain White T’s ‘Pet Sematary’ music video
-Easter eggs
-3 deleted scenes

You can pre-order the four-disc combo pack, featuring the film on Blu-Ray, Blu-Ray 3D, DVD, and a digital copy.

You can also pre-order the two-disc release, which includes the film on Blu-Ray and DVD.

Tim Burton Kills Vampire in Music Video

In case you haven't seen it yet, here is Tim Burton as Van Helsing killing a vampire in the short film/music video, "Vampires Kiss" & "Blood Inside," directed by Derek Frey.

Music by Witching Hour.

Starrring: Yusura Bush Watcher, Valery Nuttall, Leah Gallo, Sabrina Lecordier, Benoit Moranne, Chris Nuttall, Malcolm Davis, Tim Burton, Dave Dore, Glen Mexted, Aiko Horiuchi, Kirsty Squibb, Jack Taylor, Davina Davine, Ross Nelson, Holly Kempf, Gary Keller, Olly Driscoll.

Edited by Derek Frey
Cinematography by Derek Frey
Special Makeup FX & Prosthetics by Malwina Suwinska
Visual Effects by Holly Gosnell

Video: The Production Art of "Dark Shadows"

Warner Bros. has released this featurette examining the production art of Dark Shadows. Tim Burton, Johnny Depp, production designer Rick Heinrichs, associate producer Derek Frey, Eva Green, and makeup department head Joel Harlow look at how the visions of the various artists on the crew came together to create the film's aesthetic, from rough (and previously unseen) sketches by Burton to elaborate concept artwork.