The Nightmare Before Christmas at the El Capitan Theatre
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Thompson welcomes the crowd in the El Capitan Theatre

Moderator Thompson (who had attended a book signing in the Studio Store between screenings) took the stage, noting, “It’s a little shocking to think that it’s been twelve years since I started working on this book.�? He planted both feet on the stage and ruefully noted that he started out looking like Jack Skellington, but now looked more like Oogie Boogie!

The panel (l to r) Frank Thompson, Ken Page, Henry Selick, Kathleen Gavin

In his introduction for Co-producer Kathleen Gavin, Thompson referred to her as the “Disney person.�? Among her credits were Oliver and Company and The Rescuers Down Under. He noted that she was now a liaison with Pixar. He also welcomed her to the El Capitan Theatre, as this was her first appearance.

Thompson next introduced Henry Selick, calling him a “gifted director and film animator.�? He spoke warmly of previous projects James and the Giant Peach and Slow Bob in the Lower Dimensions. He briefly mentioned Selick’s newest work in pre-production, Coraline, before calling out, “I like to call him a genius. Where’s Henry?�?

Thompson teased the crowd with the final introduction, saying, “You’ve heard this guy many times, but you’ve never seen him.�? Broadway credits include Ain’t Misbehavin,’ The Wiz, and Cats. Among his television appearances were Charmed and Touched by an Angel. Thompson wound up with, “Oogie Boogie himself… Ken Page.�?

After the applause for the panel died down, Thompson recalled his first visit to Selick’s studio, saying, “It was like a cross between a film studio and a toy factory.�? He then asked the director why he believed Tim Burton’s Nightmare Before Christmas had had such a lasting impact. Selick promptly answered that it was because the film was filled with love and care. Care from the makers of the film, and love from the fans. Thompson referred to the crowded theater, saying, “It’s all of you, isn’t it?�?

The next question was for Kathleen Gavin. Thompson asked her to delineate the difficulties in bringing Tim Burton’s vision to the screen. Gavin began by pointing out that it had been a long time since a full stop-motion animated feature had been made. She said that everything had to be “made up�? from scratch. They didn’t know how many puppets or stages were needed. And, she concluded, “We were half right and half wrong.�?

The production company started out with fourteen stages, and then had to add six more. They ended up covering the parking lot. Qualified animators were in short supply as well. Even running at full pace, the production goal was 45 seconds of footage a week for eighteen months.