The Nightmare Before Christmas, which debuted in 1993, remains a cherished holiday classic, yet a common misconception persists: that Tim Burton is the film’s director. Featuring the iconic Pumpkin King, Jack Skellington, the tale follows his adventurous attempt to usurp Christmas after growing weary of Halloween. This animated musical also weaves a poignant love story between Jack and the rag doll Sally.
Even with a concise runtime of just 76 minutes, this beloved film delves deep, imparting strong themes of heart, humor, and existential reflection. Many adults, particularly those grappling with career fatigue, can resonate with Jack’s midlife crisis. This movie’s succinct storytelling is a testament to its enduring appeal; it continues to be a surprise that Tim Burton’s name is often mistakenly cited as the film’s director. Although Burton’s influence in script and character design is undeniable, the credit for directing goes to Henry Selick.
Henry Selick: The True Director of The Nightmare Before Christmas
A Pioneering Force in Stop-Motion Animation
In actuality, it was the masterful stop-motion director, Henry Selick, who helmed The Nightmare Before Christmas. Selick’s extensive background in making short films and music videos uniquely qualified him for this groundbreaking project, which was his inaugural feature-length film. This ambitious endeavor took a dedicated crew of over 100 individuals a staggering three years to complete, with each second of onscreen action requiring an average of 12 painstakingly crafted frames.
|
Henry Selick’s Stop-Motion Works |
Release Year |
|---|---|
|
The Nightmare Before Christmas |
1993 |
|
James & The Giant Peach |
1996 |
|
Monkeybone (live-action & stop-motion) |
2001 |
|
Coraline |
2009 |
|
Wendell & Wild |
2022 |
Sensing a creative synergy, Burton, who met Selick during their animation studies at CalArts, sought his friend’s expertise when the time arrived to create The Nightmare Before Christmas. Burton, juggling multiple projects, entrusted Selick with bringing his vision to life, appreciating Selick’s passion for stop-motion animation.
However, Selick has candidly expressed his frustration that Burton often receives the lion’s share of credit. In a marketing strategy just weeks before launch, the decision was made to prominently feature Burton’s name before the film’s title. While this branding made sense given Burton’s popularity, Selick has reflected that he might have reconsidered allowing this had he foreseen the ramifications.
“Tim was in L.A. making two features while I directed that film, and I mean, Tim is a genius — or he certainly was in his most creative years. I always thought his story was perfect, and he designed the main characters. But it was really me and my team of people who brought that to life.” (via AV Club)
Tim Burton’s Contributions: Story and Character Development
Burton’s Original Idea and Character Creation
Despite the directorial misattribution, it’s crucial to recognize that Tim Burton’s creative input was significant. He originated the story, characters, and overall aesthetic, sharing these with Selick to execute. Inspired by the unusual juxtaposition of Halloween and Christmas decorations, Burton crafted a three-page poem that outlined Jack Skellington’s adventures and his dog Zero, complemented by sculptor Rick Heinrichs’ character designs. This initial concept, slightly darker than the final product, cleverly parodied the classic “The Night Before Christmas.”
Collaborating with co-writers Michael McDowell and Caroline Thompson, they expanded the narrative and introduced additional characters, including the beloved Sally, to flesh out the film’s storyline.
Selick has openly praised Burton’s visionary talent, stating, “Tim’s a genius for the ideas, the designs, and all the things that really do matter, but he wanted somebody else to direct it,”noted during a discussion with A.frame.
Henry Selick’s Current Perspective on Tim Burton
Evolving Views with Time and Friendship
With the passage of time, Henry Selick has come to terms with the misconception surrounding Tim Burton’s directorial role. Selick, who has carved out his own legacy in stop-motion, recognizes the marketing strategy that associated Burton’s name with the film. Reflecting on this change, he remarked:
“It’s not really a problem. For the most part, at least everyone in the industry, everyone in animation, knows it’s me who directed it. I think it made sense to put his name on it to make sure people didn’t confuse it, maybe with Nightmare on Elm Street or some out-and-out horror film. So yeah, it bothered me more years ago. It doesn’t bother me at all now.”
The film’s transformation into a cult favorite has certainly helped, spawning an array of iconic characters and a flourishing multimedia franchise under Disney’s embrace, which contrasts with their initial hesitance.
Selick credits his enduring friendship with Burton for helping him stay faithful to his artistic vision during production. He reflects on how their creative divergence from traditional Hollywood norms proved advantageous for capturing an authentic narrative and aesthetic:
“It’s something Tim Burton taught me a long time ago. He said, ‘The biggest successes are films that look normal, with a normal story.’ But who’s interested in doing that? Certainly not him or myself. ‘Or you could have a film that looks really weird and has a really weird story, and that’s going to have the least amount of success.’” (via Polygon)
Both Selick and Burton share the conviction that unless all original collaborators, including composer Danny Elfman, can be involved, a sequel to The Nightmare Before Christmas should remain unmade, desiring to preserve the unique charm of the original production.
The legacy of The Nightmare Before Christmas has evolved into a formidable franchise, encompassing books, comics, video games, and various merchandise, indicating its pervasive cultural impact.
Ultimately, the film’s unforeseen popularity underscores its originality and stop-motion execution. “Its cultural legacy, I couldn’t have predicted it,”Selick remarked. “I’m grateful that it lives on, and I suspect it’ll be around for decades to come.”
In retrospect, Tim Burton’s name, so frequently associated with the film, has potentially served as a strategic advantage, facilitating creative control over any sequels—an aspect valued by Selick, Burton, and Elfman alike.
The Nightmare Before Christmas is currently available for streaming on Disney+.
Sources: A.frame, AV Club, THR, Polygon
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