Nightmare Before Christmas 3D Opening Night at the El Capitan
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The Nightmare Before Christmas in Disney Digital 3D
World Premiere October 16, 2006
Opening Night October 19, 2006

Note: Click here For video and pictures from this event

Since it debuted in 1993, Tim Burton’s The Nightmare Before Christmas has developed a deeply devoted fan base. Although the quirky tale of what happens when holidays collide seemed destined to remain in a corner of that cinematic attic known as “cult favorites,�? in recent years it has been repeatedly dusted off and brought into the parlor.

The most recent development in Nightmare’s saga is as unexpected as a skeleton’s dream of delivering Christmas joy. Disney, in conjunction with Industrial Light and Magic, has turned the 13 year old film into an entirely new property with the production of The Nightmare Before Christmas in Disney Digital 3D.

Monday, October 16 marked a rare re-premiere, right in the heart of Hollywood at the historic El Capitan Theater. Fans jostled, cameras clicked, and reporters elbowed to get interviews with the film’s creators, performers, and famous admirers. Among those on hand for the gala occasion were Tim Burton, composer Danny Elfman, Pixar head John Lassiter, legendary film maker Ray Harryhausen, and shock rocker Marilyn Manson. Original voice talents included Ken Page (Oogie Boogie), Paul Reubens (Lock), and Elfman (who sang the role of Jack).

The public was finally able to satisfy its curiosity at the first public screening on Thursday, October 19. It’s hard to attract attention on Hollywood Boulevard, but the El Capitan Theater’s sold out crowd didn’t fail to turn heads. Not only were fans themselves decked out in Nightmare finery, they were entertained by stilt performers in makeup and costume that suggested a demented circus had just pulled into town.

Next door, the Disney Soda Fountain and Studio Store was offering a Nightmare Sundae (pumpkin ice cream, hot fudge, whipped cream and sprinkles), a complete line of merchandise, and limited edition pins. The show window out front featured Jack Skellington with his coffin sleigh.

Inside the theater, decorations set the mood for a night in Halloweentown. Live organ music added to the festive atmosphere. And, there were prizes! A free raffle giveaway was conducted by theater manager Hollie before the screening. Prizes were a copy of the Nightmare book signed by Tim Burton, an Oogie Boogie figurine, a decorated tree, a stocking and earmuffs, and tickets to Disneyland. Patrons were also encouraged to register for a 52�? big screen TV raffle in the lobby. (That drawing will be held in early January.)

After the lucky winners settled back into their seats, it was time for the opening night panel discussion. Frank Thompson, author of the definitive book on The Nightmare Before Christmas was introduced as the night’s “spooksman.�? He noted that this marked the 13th anniversary of The Nightmare Before Christmas. He added that, although it debuted the same year he was married, he would make no “double nightmare�? jokes. While the panel discussion, he promised, would have a few surprises, the presentation of Nightmare in 3D would slay the crowd. Thompson then introduced the four panelists.

Animator Mike Belzer was first to enter. In addition to working with most of the major characters in Nightmare, Mike’s work was also seen in James and the Giant Peach.

Overseeing the 3D conversion for Industrial Light and Magic was the second guest, Anthony Schaeffer. Among his past credits were special effects work on Pirates of the Caribbean, War of the Worlds, and the last three Star Wars films.

A camera operator on the original Nightmare was next introduced. Mike Aupperle worked with Tim Burton on other projects, including Beetlejuice.

The final guest brought an enthusiastic crowd reaction. Ken Page, the voice of Oogie Boogie bounded in to a round of applause. Moderator Thompson noted that Page had just seen the 3D version the previous Monday at the world premiere. Ken responded, “It’s amazing. It’s like seeing it for the first time—like it was intended to be in 3D.�? Thompson agreed, adding, “It’s just like stepping inside the movie.�?

Thompson asked Anthony Schaeffer of Industrial Light and Magic how they managed to balance art and technology in the 3D conversion. Schaeffer stressed that the artists at ILM were all fans of the film, referring to the task as, “a fantastic journey of scanning and photo shopping and 3D.�? The desire was to keep all the texture and charm of the original puppets. In fact, he pointed out, if viewers closed their right eye, they would see the original film through their left.

Animator Mike Belzer jumped in to observe that what ILM called charm, the original production team called mistakes. He said that requests to “fix�? portions of the film fell on deaf ears.