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3 years, 109,440 individual stop-motion frames, 19 sound stages filled with 230 unique sets
and 227 puppets!
The Nightmare Before Christmas was a truly herculean task that was so expertly executed that none of us even thought twice about the tremendous amount of work, planning, and talent that went into creating it.
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Planning for The Nightmare Before Christmas started with Tim Burton's original poem and artwork.
Storyboard artists visualized what the story would be, producing hundreds of sketches that detailed exactly what was to happen in each scene.
But because The Nightmare Before Christmas was to be a Stop Motion Animated film, these storyboards had to be especially detailed because (in addition to depicting how the story should flow) they had to show.
the set builders what sets and props they would have to build,
The sculptors what puppets they'd have to make and the movement they would have to achieve, the camera crews how to frame certain shots and what motion control shots they would have to do,
and the lighting crew the type, color, and positioning of their lights.
In fact, The Nightmare Before Christmas's storyboards were so detailed that they virtually drew and animated the whole movie before they even began to shoot it.
The production design team created incredible sets that featured elaborate textures and detailed cross-hatching, attempting to emulate the drawings of pen and ink artists Ronald Searle and Edward Gorey.
They did this by coating the sets in plaster or clay and then scratching lines into the muddy mixture to produce an etched textural feel, almost like a living "Pop-Up" illustration.
Set Building started by building "Mock up" sets at one-quarter scale to help get a look and feel for how the final set would be.
The Mock-Ups also allowed them to plan how to break down the full-size sets into smaller sections to allow the animators to easily reach all the areas without having to stretch over or lean on the set itself.
When breaking down into smaller sections wasn't possible, the Mock-Ups allowed them to see where they could install trapdoors that the animators could open from underneath the set to allow them to access those "harder to reach" areas.
Jack Skellington had to have over 400 different heads to allow him to express every emotion he had to transmit and mouth every word he had to say when talking or singing.
But how would animators know which head they had to use in each frame of a particular scene?
Well, in order to solve this they took photographs of each head and fed them into a computer, from here they could then run these photos in sequence and determine which head or mouth position was required for each frame in the sequence.
This was then printed off as its own unique storyboard so animators never used the wrong head in a shot or forgot to change the eyes for the three frames it took to make Jack Skellington blink.
And this was tremendously important because stop motion isn't the same as traditional cel animation.
With cel animation, if you notice something wrong in a frame you can simply take that frame out, erase it, adjust it, or redraw it.
But if something goes wrong with stop motion, if a camera slips, a light breaks, or a puppet moves or breaks and it goes unnoticed or can't be repositioned exactly, the whole sequence has to be reshot from the start.
To prevent this from happening, The Nightmare Before Christmas animators came up with two unique inventions.
The first was a current-level sensing alarm.
This alarm beeped when the current being used on the set dropped below a predefined level, warning animators that they were pulling less current than normal therefore a stage light had probably failed.
And the second was a frame storage device with a video scene.
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