FRANKENWEENIE Production Notes - Visual Hollywood

FRANKENWEENIE Production Notes - Visual Hollywood

FRANKENWEENIE (2012)PRODUCTION NOTESFRANKENWEENIEProduction NotesRelease Date: October 5, 2012 (3D/2D)Studio: Walt Disney PicturesDirector: Tim BurtonScreenwriter: John AugustStarring: Winona Ryder, Martin Short, Catherine O'Hara, Martin Landau, Charlie Tahan, Atticus Shaffer,Robert Capron, Conchata FerrellGenre: Animation, ComedyMPAA Rating: PG (for thematic elements, scary images and action)Official Website: SYNOPSIS: From creative genius Tim Burton ("Alice in Wonderland," "The Nightmare BeforeChristmas") comes "Frankenweenie," a heartwarming tale about a boy and his dog. After unexpectedly losinghis beloved dog Sparky, young Victor harnesses the power of science to bring his best friend back tolife—with just a few minor adjustments. He tries to hide his home-sewn creation, but when Sparky getsout, Victor's fellow students, teachers and the entire town all learn that getting a new "leash on life" can bemonstrous.A stop-motion animated film, "Frankenweenie" will be filmed in black and white and rendered in 3D, whichwill elevate the classic style to a whole new experience.© 2012 Walt Disney Pictures1

FRANKENWEENIE (2012)PRODUCTION NOTESABOUT THE PRODUCTIONFrom Disney comes acclaimed filmmaker Tim Burton's "Frankenweenie," a visually stunning,black-and white, stop-motion animated film in 3D, featuring the talented voice cast of CatherineO'Hara, Martin Short, Martin Landau, Charlie Tahan, Atticus Shaffer, Robert Capron, ConchataFerrell and Winona Ryder."Frankenweenie" is a heartwarming tale about a boy and his dog. After unexpectedly losing his beloveddog Sparky, young Victor harnesses the power of science to bring his best friend back tolife—with just a few minor adjustments. He tries to hide his home-sewn creation, but when Sparkygets out, Victor's fellow students, teachers and the entire town all learn that getting a new "leash onlife" can be monstrous."Frankenweenie" harkens back to the classic horror films of Tim Burton's influential youth, not onlyby filming in black and white, but also in the expression of innocence embodied by the use ofstop-motion animation, which respects the simplicity of the story and adds both depth and texture toits presentation.Burton directed "Frankenweenie"—the first animated feature film that he has ever helmed for Disney—andalso produced along with Allison Abbate, with Don Hahn serving as executive producer.Both Abbate and Hahn are animation veterans: Abbate produced, among others, "The Iron Giant"and Burton's "Corpse Bride," and Hahn produced Disney's "Beauty and the Beast" and "The LionKing."The screenplay is by John August, based on a screenplay by Lenny Ripps, based on an original ideaby Tim Burton. August's credits include "Dark Shadows," "Corpse Bride," "Charlie and the ChocolateFactory" and "Big Fish."Burton studied at CalArts alongside such animation greats as Henry Selick, John Lasseter, BradBird and John Musker and later joined Disney as an animator. But his talent and unique vision weresoon unleashed and Burton went on to make movies that have excited audiences for over a quarterof a century.His creative genius has produced a legacy of award-garnering films both in live-action and stopmotionanimation. Burton's beloved live-action films such as "Beetlejuice," "Edward Scissorhands,""Charlie and the Chocolate Factory," "Batman," "Sweeney Todd: The Demon Barber of FleetStreet" and his recent "Alice in Wonderland" have brought enjoyment to generations of moviegoers."Alice in Wonderland" received a Golden Globe® nomination for Best Picture–Musical or Comedy,and won two Academy Awards®, for Best Art Direction and Best Costume Design, as well asearning over $1 billion in worldwide box office receipts."Frankenweenie" is Tim Burton's third stop-motion animated feature, following his two previoushits, the Best Animated Feature Oscar® nominee "Corpse Bride" and "The Nightmare BeforeChristmas," Oscar nominated for Best Visual Effects.Although his bodyody of work certainly amounts to a legacy, Burton puts it all in perspective when he comments, "Idon't think about creating a legacy. I just know that if somebody comes up on the street and sayssomething I did affected them on a positive level that's all that matters to me."THE VISION FOR "FRANKENWEENIE"© 2012 Walt Disney Pictures2

FRANKENWEENIE (2012)PRODUCTION NOTESthan the other kids in New Holland. Nassor is instantly skeptical of the rumors surrounding Victor'sexperiments with electricity but, once convinced, he is zealous in his quest to obtain Victor's secret.WEIRD GIRLWeird Girl doesn't fit in well with the other kids in New Holland, but it's easy to see why— she deliversominous pronouncements in a monotone voice with an unnerving stare. Her constant companionis her fluffy, white cat, Mr. Whiskers, whose unblinking gaze matches her own. The otherkids give them a wide berth—especially when Weird Girl rambles about Mr. Whiskers' dreams.TOSHIAKIToshiaki is over-achieving and mega-competitive. He delights in beating Victor at his own game,and like a power-hungry, mad scientist, Toshiaki will stop at nothing to win the top prize in theschool's science fair—even if it means stealing Victor's ideas to do it.BOBBob is a momma's boy who is the brawn to Toshiaki's brains. He is agreeable and never meanspirited,but on the flip side he's easily led and gullible. Bob follows Toshiaki everywhere, but is thefirst one to run to Victor for help when he gets in over his head.BOB'S MOMBob's Mom is a plump, suburban housewife who is prone to panic and hysteria when things goawry. She has very simple, stereotypical views on life, which she isn't shy about sharing with thecommunity. She dotes on her son, Bob, and believes her actions, though often misguided, are in hisbest interest.THE MONSTERSTURTLE MONSTERToshiaki finally uncovers Victor's secrets of reanimation and is sure he will win the science fair.But when he digs up his dead turtle, Shelley, and conducts the experiment, it goes terribly awry.The resurrected turtle roars to life and grows to an enormous size. Toshiaki can only get out of theway as the Turtle Monster heads off towards the town center, crushing every flower garden andpicket fence in his path.MUMMY HAMSTERNassor is convinced he can bring his pet hamster, Colossus, back to life with a combination of incantationsand Victor's scientific secrets. He frees his hamster from the confines of his mausoleumin the town's pet cemetery, bringing forth a mummy-wrapped little monster that has a bigger-thanlifeidea of what he actually is.WERE-RATOnce nothing but roadkill in the school trash bin, this flat-as-a-pancake rat gets a second chance at© 2012 Walt Disney Pictures5

FRANKENWEENIE (2012)PRODUCTION NOTESlife when Edgar brings him back from the dead. No longer an ordinary pest, the dumpster menacehas been transformed into a plump Were-rat that walks on his hind legs and displays long, sharpfangs. Like a real rat, Were-rat has no loyalty to his creator and chases the terrified Edgar throughNew Holland.SEA CREATURESToshiaki and Bob's science fair project about Sea-Monkeys isn't coming along very well. But whenthe two boys discover the secret of electricity from Victor's attic lab, Bob gets the idea to try it outon his Sea-Monkeys on his own. The description on the package doesn't come close to matching theresult when Bob unleashes an army of little warriors. Wreaking havoc everywhere, the mischievousSea Creatures are not easy to stop.VAMPIRE CATWeird Girl's experiment with electricity for the science fair takes a wrong turn when she accidentallytransforms her beloved cat, Mr. Whiskers, into a Vampire Cat. Complete with giant bat wingsand two enormous fangs, the once gentle Mr. Whiskers flies menacingly off into the night sky overthe unsuspecting town of New Holland.VOICE CAST REDUXThe voice cast includes four actors who worked with Burton on previous films:Winona Ryder ("Beetlejuice," "Edward Scissorhands")Catherine O'Hara ("Beetlejuice," "The Nightmare Before Christmas")Martin Short ("Mars Attacks!")Martin Landau ("Ed Wood," "Sleepy Hollow")The voice cast includes four actors who worked with Burton on previous films:Winona Ryder ("Beetlejuice," "Edward Scissorhands")Catherine O'Hara ("Beetlejuice," "The Nightmare Before Christmas")Martin Short ("Mars Attacks!")Martin Landau ("Ed Wood," "Sleepy Hollow")CASTING THE VOICESThe filmmakers had definite ideas in mind when it came to finding the right voices for the charactersin "Frankenweenie." The voice talent had to have the ability to further bring the characters tolife by conveying personality and emotion.Charlie Tahan ("Charlie St. Cloud") was chosen from hundreds of hopefuls because the young actordisplayed sincerity, a sense of humor and the ability to bring forth the appropriate emotions. As executiveproducer Don Hahn says, "Charlie brings a great sense of emotion to the story. And, as anaudience member, we have to experience the story through him and through his eyes and ears. Andhe gives us that; he gives the audience a character to follow that we can really root for."© 2012 Walt Disney Pictures6

FRANKENWEENIE (2012)PRODUCTION NOTESDirector Tim Burton felt that Tahan had both an innocent quality and a "knowing" quality that camethrough in his tone. He says, "Charlie did a good job because he's got a certain clarity to him. Hischaracter Victor is not a very verbal person. He's a very internal person. And I think Charlie just gotthat kind of thoughtfulness and maturity."Adds producer Allison Abbate, "Victor and Sparky share something special; they don't need anybodyelse, but yet, in Victor's relationship with his parents and his relationships with the other kids,he has a softness and an openness. I think that Charlie embodied that whole package."Charlie was excited to be in a Tim Burton film and comments on the experience, "It's really coolbecause it seems like he has an exact idea of exactly what he wants for each shot. He wants mycharacter to speak kind of softly and a little mellow. It seems like he has a perfect image in his headof what he thinks each scene should be."Multi-talented Catherine O'Hara, who has worked with Burton before (most recently on "TheNightmare Before Christmas"), came on to play Victor's mother, Mrs. Frankenstein, and also tookon the voices for Weird Girl and the Gym Teacher. Comments Tim Burton, "Catherine's such agreat actress and so much fun to be around. She's so good at playing different characters. We wantedto make sure that there was a certain reality to Victor's parents as well as a positive nature tothem. Catherine did a great job of bringing that out."Producer Allison Abbate elaborates on the roles O'Hara plays: "Mrs. Frankenstein is the heart andsoul of the family. She's sympathetic to Victor and understands his need for space and how hard it isto be a young teen. The Gym Teacher she plays is a nuts-and-bolts, mean gym teacher at school,who takes over from the science teacher, Mr. Rzykruski, when they decide that he is filling the kids'minds with dangerous information. And then she plays the Weird Girl character, the girl in the backof the classroom who always says insanely weird things and has a cat that she is obsessed with. SoCatherine gets to have a variety of different characters, all filtered through her comic sensibilities."Martin Short also plays three characters in "Frankenweenie." He plays Victor's dad, Mr. Frankenstein,who is an upstanding, suburban father, and the next-door neighbor, cranky Mr. Burgemeister,who is also the mayor of New Holland. He also plays one of Victor's classmates, Nassor, who islike an 11-year-old version of Boris Karloff.Tim Burton states, "I've had the pleasure of working with Martin before and he is amazing at doingcharacters. He just does incredible things whenever he speaks."Elsa Van Helsing, the girl next-door, is brought to life by the voice of Winona Ryder. Burtonworked with Ryder on "Edward Scissorhands" and "Beetlejuice" and says that he based the characterof Elsa in part on her. "Winona was a real sort of inspiration for the character," says Burton."She's got a simple purity to her voice and a kind of grounded reality to her that really fits the character."Martin Landau, who worked with Burton in "Ed Wood," plays the Eastern European science teacher,Mr. Rzykruski. Mr. Rzykruski is very exciting to students like Victor because he opens theirminds up to a world of possibilities. Tim Burton comments, "Martin Landau is an amazing actor.He has that sort of imposing nature and could really get into the role of somebody who could bothscare and inspire the children to think about science."Producer Abbate adds, "Mr. Rzykruski becomes the inspiration for Victor Frankenstein and so it's© 2012 Walt Disney Pictures7

FRANKENWEENIE (2012)PRODUCTION NOTESan important character to establish. He's a complete contrast to the suburban town that never wantsto change anything and when he comes into town, it catalyzes a lot of the craziness that happens."Talented, young Atticus Shaffer ("The Middle") plays Edgar "E" Gore, whose voice and mannerismsare inspired by the late actor Peter Lorre. Although Shaffer is too young to remember Lorre, hedid research and watched old movies to embrace the part. Allison Abbate says, "It's been really funworking with Atticus on creating something new, so it's not just a mimicking of something. "E"Gore is a great character because he has a desperate need to be accepted. Atticus has to run thegamut of emotions with this character and he does a great job."Rounding out the voice cast are Robert Capron ("Diary of a Wimpy Kid," "The Three Stooges"),who voices Bob; Conchata Ferrell ("Two and a Half Men"), voicing Bob's Mom; and James HiroyukiLiao ("Battle Los Angeles") as Toshiaki.THE MAKING OF "FRANKENWEENIE"From concept to filming, the making of "Frankenweenie" was a labor of love, involving a hugecrew of artisans, animators, prop makers, puppet makers, designers and artists. Over the years it totook to make "Frankenweenie," Tim Burton was hands-on in every step of the process and the finalresult reflects his signature creativity and vision.STOP-MOTION ANIMATIONStop-motion animation is one of the oldest animation styles and is a very hands-on process. Thereare 24 frames per second in the stop motion for "Frankenweenie." This means that the animatormust stop and reposition the puppet 24 times to get one second of filmed action. On average, oneanimator can only produce 5 seconds of animation per week. Multiple puppets of the same characterallowed animators to work on more than one scene at once.Filming "Frankenweenie" in stop-motion animation took two years and employed the skills of amulti talented and diverse crew. "There are a lot of people that go into making a film like this," directorTim Burton says. "The thing that makes it different than, say, a live-action film is that it happensin very slow-motion time. In live action you have to make quick decisions all the time; in stopmotion it may take a couple of days or couple of weeks to do a shot depending on its complexity."Much research and preparation went into animating the two dogs—Sparky and Persephone. Animationdirector Trey Thomas and his team conducted research on how dogs move, which included goingto the Windsor Dog Show to videotape dogs in action. Then they had a bull terrier come into thestudio and act out parts of Sparky's action and videotaped it from different angles. Poodles also visitedand played out the role of Persephone. Thomas says, "We were trying to get as authentic a replicationof dog action as we could. We were trying to make it as real as possible with this Tim Burton–aesthetically designed Sparky version of a dog."On the film there were about 33 animators, who, for the most part, worked alone over the two yearsit took to film "Frankenweenie." The typical week for a stop- motion animator began with beingassigned a shot. The animator was responsible for all the characters in that shot. Once he had reviewedthe assignment, the animator did a run-through or block rehearsal with the animation director.That process helped to decide the camera movement, the lighting and where the placement ofprops would be.© 2012 Walt Disney Pictures8

FRANKENWEENIE (2012)PRODUCTION NOTESThe next day the animator had time to actually do a proper rehearsal, where he could get into thespecifics of the acting and the timing. Tim Burton and animation director Trey Thomas were veryspecific about what they wanted as far as the conveyance of emotion or humor.The animator also spent time tensioning the puppet. Tensioning a puppet involves tightening thescrews in the limbs and the joints in order to find what works best for them. Some animators wantedabsolute precision, so they would use a tighter setting, while others preferred a gentler touch andwould be looking for looser tensioning.An animator had to spend hours working with the puppet to get all of the movement that was required,whether the puppet had to sit or stand or drink tea, or whatever other action it had to do. Onthe day of the shooting, the animator knew exactly what he was going for and began the process ofshooting the 24 frames per second.As the animation director, Trey Thomas was very actively involved. Every day he was visiting eachset and helping the animators when a challenge arose. "Each shot was like a puzzle piece of a largerpicture, so it was just a frame-by-frame process of getting the puppets to emote and to act realisticallyand believably," explains Thomas. "Tim [Burton] was going for a believable style and hewanted the laws of physics to be in play and for everything to feel very real. He wanted a very realfilm that was genuine and sincere, and so that was what our animators were going for."Voices were matched up to the movement by using planning tools called dope sheets, which haveevery frame broken out with the dialogue in it. So, for example, when the character said, "Please, sitdown," the animator noted that as soon as the character finished that line, he gestured to a chair andthen the other character sat down. The dope sheets helped the animator to organize his thoughts,especially when there were multiple characters in a shot and each character's action needed to betracked—even if the character was just blinking.THE PUPPETSOver 200 puppets were created for the film; there were 18 Victors and 15 Sparkys. Since each animatorworked independently on different scenes, multiples were needed. They also needed backupsin case a puppet required repair.The first puppet designed for the movie was Sparky, and the scale that they established with him setthe standard for the whole rest of the film. Tim Burton had a very specific vision for Sparky's characterand really wanted him to act and move like a real dog. The armature needed to be very intricateand four inches is literally the smallest they could make him and still have him display all thebehavior and personality that was required.Once they had Sparky's size fixed, the puppet makers were able to scale the rest of the charactersproperly.The puppets all had different levels of articulation. Victor was the most complicated human puppetand his head mechanism contained not only lip and brow paddles but also a complicated allenwrench system that allowed the animator to move his cheeks and jaw in tiny increments. This gavehim the most subtle and varied acting capabilities. Other puppets, like Elsa Van Helsing and heruncle, Mr. Burgemeister, had far less screen time and didn't need to exhibit the emotional range thatVictor had to, so the animators were able to get what they needed with only lip paddles and eyebrowpaddles.© 2012 Walt Disney Pictures9

FRANKENWEENIE (2012)PRODUCTION NOTESSparky was also an incredibly complicated puppet. There are over 300 joints in his body and becauseof the thinness of his legs he often needed to be supported with a special rig so that the animatorscould make him move realistically like a dog. "Sparky never sits still," says producer AllisonAbbate, "so it would have been impossible to stabilize him on those thin little legs. Now that weare able to remove rigs in post, the animators have complete freedom to have him scamper andjump around like a real, little dog."The complicated puppet-making process had several integral steps. First, Tim Burton did a sketchof the character. The sketch was then sent to the puppet makers at Mackinnon and Saunders in theU.K., who started to make 3D sculpts of the drawings, called maquettes. From that point, there werediscussions back and forth between Tim Burton and the puppet makers to get the character where itshould be artistically.When size and all the other factors were set in stone, the artists did a final sculpt that was separatefrom the first maquette. This maquette had to be completely neutral with its arms to its sides, facelooking forward and feet apart.The next step was to make a mold of the maquette. Once the puppet maker had a mold, he was ableto pull castings from it in order to make an armature. It was important at that stage for the puppetmaker to look at the script and determine what the puppet needed to be able to do. Does the charactersit down or eat or jump? With this information, the puppet makers could build the right kind ofskeleton underneath to accommodate the required actions.Armature makers had to be very precise as there were many tiny movable parts that had to fit exactlywhere they were supposed to in the body. Once the armature was designed, the puppet maker beganto cast the puppets. The armature was laid in the mold and then silicone or latex was poured in.Often, the head was done separately from the body.In the meantime, Tim Burton kept very busy working with the artists to design the costumes andpick out the perfect fabrics for the period that would complement his vision. The costumers wouldfirst need to make mock-ups of the costumes for Burton to approve, like the raincoats for Mr. andMrs. Frankenstein. The costume makers then had to sew all the costumes by hand, using very tinystitches to keep the clothing in scale.Bringing Sparky to Life... and Death:How the Sparky Puppets Were MadeFirst, Tim Burton provides the sculptors with sketches of his vision of Sparky.The sculptors make quick, rough maquettes to get an idea of what Sparky will look like in3D.Tim Burton picks out the ones he likes and the sculptors develop them.Once the look is decided upon, the sculptors have to come up with a "live" Sparky, a "dead"Sparky and sitting and standing versions of both.Once the mold has been approved, it's up to the armature makers to design Sparky's workingparts to fit in the mold.When the armatures are finalized, the Sparky mold is cast with a fiberglass core. The castingis carefully trimmed and the seams removed.Then the mold goes to the painter, who mixes the pigments for the puppet with silicone andputs it through an airbrush.© 2012 Walt Disney Pictures10

FRANKENWEENIE (2012)PRODUCTION NOTES The painter then sprays Sparky, wiping away the paint with a cotton ball and then resprayingseveral times to create layers. The painter handpaints the stitches on "dead" Sparky with a brush. There are about 300stitches on a dead Sparky, and they all need to be painted twice to get the tone. It takes aboutthree days to paint a "dead" Sparky.Sparky is finally camera-ready!On stage there are 9 "dead" Sparkys and 3 "live" Sparkys. Once they've been used andabused, the Sparkys have to go back to the painter for repainting. It would not be unusual fora painter to repaint "dead" Sparky 60 times!Next came the work of the wigmakers, who used human hair to create hair on the puppets.Synthetic hair was tried first, but it was too shiny and crimped when pulled tight. Each of thesehairs had to be individually punched and then put on wires. The wires were there so that therewould be movement when the puppet walked.The Puppet Hospital on the "Frankenweenie" set was always full and kept the 150 artisans verybusy. The highly trained model makers spent months repairing limbs, fixing hair and skin issuesand mending costumes that were ripped or dirty. This team even found time to create all of thegeneric background puppets as well as a few of the main characters from scratch.PRODUCTION DESIGNThe film is set in the fictitious town of New Holland, which executive producer Don Hahn refers toas "a mythical 1970s suburban town—a ‘Transylvania meets Burbank' kind of place."Thus the set design for "Frankenweenie" evokes the flat, suburban landscape of the southwesternUnited States in the mid-20th century. The tract-house neighborhoods of New Holland are watchedover by a huge replica of a windmill ensconced on a hillside, the remnant landmark of the old salespitch used to attract families to the community at its founding. It's also reminiscent of the ubiquitouscastle on the hill above the village in classic horror movies. The production design team studied thearchitecture of the 1970s as well as the two decades prior to it to find the sensibility of suburbantract, post-war housing that director Tim Burton wanted.Another nod to the Transylvania feel, and a prototypical Tim Burton design, is the pet cemeterybuilt on a hill. Going from the flats of the subdivision to a hill creates a visual rhythm that helps tiethe story underneath to the action and the characters.Crewmembers who had pets that had passed away were invited to submit the name of their pet tothe production design team, so many of the tombstones actually bear the names of real pets. Asproducer Allison Abbate relates, "It was great to be able to pay homage to all of our own pets and,besides, so many of the names are so charming and funny. I love that pets like ‘Bob Fishy' and‘Mrs. Wiggles' can be eulogized this way."In order to create the design of the tabletop sets to mirror the suburban 1970s and bring NewHolland to life, the filmmakers brought on Academy Award®–winning production designer RickHeinrichs, who had worked with Burton previously on many films, including the original"Frankenweenie" short filmed in live action in 1984. Much of the visual style was first set in theoriginal film—the use of black and white, the expressionistic stylization, the nod to classic horrorfilms—so Burton and Heinrichs worked together to re-imagine what was important to Burton's© 2012 Walt Disney Pictures11

FRANKENWEENIE (2012)PRODUCTION NOTESoriginal vision and what required a fresh design approach.Rick Heinrichs started by researching in order to get a handle on the conceptual look and feel of theproject. Unlike most live action, stop motion requires that a world be created from scratch. Usingthe time period as a jumping-off point, Heinrichs explored the look of the times, always keeping inmind that within that scope, the drama of the story had to be visually played out for the audience.The production design started in November 2009, working in a small art department in LosAngeles. In the beginning there were only illustrators and a research assistant. Heinrichs and histeam worked there for about three months before the design effort moved to 3 Mills Studios inLondon. There, art director Tim Browning worked with Heinrichs, continuing to develop theemerging design with 3D models, drawings and samples. Browning helped organize the efforts ofthe art, modeling, decorating and construction departments where the tabletop sets and props wereconstructed and dressed.The scale of build is much smaller for a stop-motion than a live-action film, but the work that wentinto building the sets presented many challenges. Everything on the sets had to be properly scaled tothe puppets and, as the smallest major character requiring complicated armature engineering in thefilm, Sparky established the dominant scale of the rest of the puppets and sets. Few of the propscould be found in miniature, so most had to be built and hand-painted.Heinrichs points out that even though an object may be in the arithmetically correct scale to theother elements, it doesn't automatically mean it's a good fit. Ultimately, Heinrichs and the artdepartment had to rely on their eyes and visual judgment to definitively say that an object felt rightnext to the intentionally stylized proportions of a given puppet. "The minute your brain starts to livein that scale, it stays there, and you kind of forget yourself a little bit," he says. "It was like that with‘Frankenweenie,' walking on the stages and getting into the environment. It's also interesting to seethat when the lights are all hooked up and you look at the monitor, the visual selection takes overand reminds you how filmmaking is truly an artificial process that builds something organic in frontof you."Many of the miniature props were nonworking models but in many cases it was easier and morepractical to build objects that actually were functional. For instance, the miniature blinds in theschool's classroom worked, so the filmmakers were able to manipulate them for lighting effects.Since they were filming the classroom in several different scenes, they could adjust the blinds to seethe outside or not.The most challenging set to design was the town of New Holland. This set had to be fully realizedso that the animators could set the action where they needed it. The production design team had todesign stores that went for blocks in several directions and figure out the traffic patterns and streetlayout. It gave a sense of a bigger world, yet still allowed for tightening the vision to stay focusedon the story and characters when the action took place in the town. The most challenging set tobuild was the collapsing windmill, which required a great deal of thought about the natural forcesthat would make the structure fail and how to engineer that capability into the physical elements ofthe set piece. The most challenging set to shoot was Victor's Attic Lab, with all the superbinteractive lighting and effects that cinematographer Peter Sorg had to install and program.All in all, there were approximately 200 sets built for "Frankenweenie." Executive producer DonHahn was impressed by the efforts that both Heinrichs and Burton put forth to create the world andkeep true to the vision of the film. "What Rick has done is marry the sets and the style of the© 2012 Walt Disney Pictures12

FRANKENWEENIE (2012)PRODUCTION NOTESfun. ‘Frankenweenie' is very sweet but then there's this monster movie side of it that I really got totap into my own roots as a life-long fan of that genre."Like Burton, Elfman grew up on a steady diet of monster films. He went every weekend to a localmovie theater that played science fiction, horror and fantasy films. He is calling upon all of thoseearly experiences to create the perfect score for "Frankenweenie." "We did some strings thatreminded me of Dimitri Tiomkin," says Elfman. "I'm also using a little bit of Theremin andtouching on some Japanese horror."Elfman describes his score for "Frankenweenie" as a "weird combination of very simple and sweetand a dose of fun horror." He explains, "There's a theme for Victor and his relationship with his dogand then there's actually a theme for Sparky himself. Sparky's theme is more playful, as dogs are.Victor's theme is a little sadder because it's more about how much he loves and misses Sparky. It isultimately a story about a boy and his dog and there's almost nothing purer than that."In scoring the film, Elfman is employing a traditional orchestra that is smaller than the one heusually uses on films like "Alice in Wonderland." "I'm getting a big sound out of a smaller group,which makes it just a bit more authentic to the period because they didn't really use big orchestrasback in those days," he says.Working with Tim Burton is a unique experience because Burton approaches the collaboration withthe composer quite differently than most directors. As Elfman explains: "We just don't talk aboutthe movie a lot or spend time analyzing the characters. With Tim everything with the music is reallyvisceral."Elfman is a fan of "the simplicity and the sweetness" of the film. "It's something that takes me backto ‘The Nightmare Before Christmas,' which also had a very simple story," says Elfman. "It's verypure Tim and very uniquely Tim in that regard—the look and the feel of it and it's great to be ableto frolic in that realm."Karen O wrote an original song, "Strange Love," which is featured in the end credits. Assinger/songwriter/ composer and the lead singer for the rock band the Yeah Yeah Yeahs, Karen Ohas collaborated with artists in music and film over the past ten years, including Spike Jonze, TrentReznor, David Lynch, Flaming Lips, Barnaby Clay, Carter Burwell and many others.She credits the references to classic horror films in "Frankenweenie" and the calypso music ofHarry Belafonte in Tim Burton's "Beetlejuice" for her inspiration to write "Strange Love."The "Frankenweenie" original motion picture soundtrack will be available on September 25, 2012.EXPERIENCE "FRANKENWEENIE"Director Tim Burton is excited for audiences to experience "Frankenweenie," not just because it isrevisiting a story that meant something to him, but because of all the pieces that come into play thatmake the film resonate. "I'm excited because all the elements—trying to capture the spirit of thedrawings, the opportunity to do stop motion, black and white, 3D—all those elements togethermake it an original creation."Producer Allison Abbate sums up what the audience can expect: "It's a wonderful family movie. Ithas allusions to old films that we've all grown up with, so I think parents will have a lot of fun© 2012 Walt Disney Pictures15

FRANKENWEENIE (2012)PRODUCTION NOTESseeing those references and remembering what made them excited about going to the movies whenthey were kids."And then, of course, it's a story that at its very center is about a little boy who is at that age ofwanting to learn new things and defining who he is, and what his world is all about. Kids will relateto that character and really feel like they can follow his journey through the film," she concludes.© 2012 Walt Disney Pictures16

FRANKENWEENIE (2012)PRODUCTION NOTESIn 1994, Short was awarded the Order of Canada, the Canadian equivalent to British Knighthood.He was also inducted into the Canadian Walk of Fame in June 2000.For revered actor MARTIN LANDAU (Mr. Rzykruski) there has been a rich continuity of greatroles and great performances across six decades.Landau, winner of the 1994 Best Supporting Oscar® for his portrayal of Bela Lugosi in TimBurton's "Ed Wood," had also been nominated for an Academy Award® twice before, first in 1988for his performance as Abe Karatz in Francis Ford Coppola's "Tucker" and again for his role asJudah Rosenthal in Woody Allen's "Crimes and Misdemeanors."In addition to his Academy Award® nominations, Landau's list of honors for "Ed Wood" wasunprecedented. He received The Hollywood Foreign Press Golden Globe® Award, The ScreenActors Guild's® first annual award, The Actor, The American Comedy Award, The New York FilmCritics Award, The National Society of Film Critics Award, The Chicago Film Critics Award, TheLos Angeles Film Critics Award, The Boston Film Critics Award and the Texas Film CriticsAward.One of the most active of film and television performers, he is also one of the most acknowledgedand sought- after acting teachers. A proud member of The Actors Studio, he has continued thatgreat teaching institution as Artistic Director of Actors Studio West, a post he has for many yearsshared with director Mark Rydell. He has been personal instructor for many of Hollywood's greateststars.Landau made his Hollywood debut in the Gregory Peck-starring war film, "Pork Chop Hill" andwent on to star in such films as Alfred Hitchcock's "North By Northwest," Allen's "Crimes andMisdemeanors," Tim Burton's "Ed Wood," Francis Ford Coppola's "Tucker" and Joseph L.Mankiewicz's "Cleopatra."nominations, including two for guest-starring appearances on "Without A Trace," playing AnthonyLaPaglia's father, a man in the beginning stages of Alzheimer's, and thereafter for his three-episodearc on "Entourage." In addition to dozens of made-for-TV and cable movies and hundreds of gueststarringappearances in episodic shows, television viewers around the world are familiar with thetwo hit series in which Landau starred, "Mission: Impossible" and "Space: 1999."Landau's distinctive voice and vocal character creation have made him a leading voice actor ofanimated films. He teamed with such other esteemed actors as Laurence Fishburne in the HallmarkHall of Fame production of the beloved Mitch Albom novel, "Have A Little Faith" and with EllenBurstyn in the festival-honored feature, "Lovely, Still."Landau starred in "The Aryan Couple," with Judy Parfitt, a festival-honored theatrical film writtenand directed by Landau's longtime friend, partner and fellow Oscar® winner, the late John Daly.For this performance, set against the terrors of Nazi persecutions, Landau was honored with thefollowing awards: Milano International Film Festival (Best Actor) and Jewish Image Awards (BestMale Role).Born in Brooklyn, N.Y., he studied art at the prestigious Pratt Institute, regarded as one ofAmerica's finest art schools. Then at 17, he worked as an artist for the New York Daily News, thenewspaper with the country's largest circulation, illustrating Billy Rose's column, "PitchingHorseshoes," as well as other comic strips, including the renowned "The Gumps." Needing a new© 2012 Walt Disney Pictures18

FRANKENWEENIE (2012)PRODUCTION NOTESchallenge, he resigned from the newspaper and began studying theater in his early twenties. Whenhe auditioned for the Actor's Studio, he was one of 2000 applicants. That year only Martin Landauand Steve McQueen were accepted.Gaining experience under the tutelage of some of the theater's greatest directors at the Actor'sStudio (Strasberg, Elia Kazan, Harold Clurman, Bobby Lewis and Curt Conway), Landau soonmoved into professional theater. He played Juvan in Franz Werfel's "Goat Song," a role originatedby Alfred Lunt, as well as other stage successes, including "Stalag 17," "First Love the Penguin"and Arthur Miller's "All My Sons." Having created the role with great success on Broadway, hearrived in Hollywood with the national company of Paddy Chayefsky's "Middle of the Night,"which starred Edward G. Robinson. Alfred Hitchcock's viewing of that play resulted in his castingthe young Landau opposite Cary Grant, Eva Marie Saint and James Mason in "North ByNorthwest."CHARLIE TAHAN (Victor) has been a fan of Tim Burton's work for as long as he can remember,so he was honored to be cast as the voice of Victor in Burton's "Frankenweenie."Tahan made his major feature film debut at age nine, sharing the screen with Will Smith in theWarner Bros. blockbuster "I Am Legend." Now 14 years old, Tahan has since gone on to work onnumerous projects, ranging from short films and independent features to major studio releases.Notable roles include that of an autistic child in the Lionsgate thriller "Burning Bright"; DianeLane's son in Warner Bros.' "Nights In Rodanthe"; and a co-starring turn alongside Natalie Portmanin the IFC drama "The Other Woman." Tahan's starring performance as Zac Efron's younger brotherin Universal's "Charlie St. Cloud" earned him strong reviews and a Saturn Award nomination.On the small screen, Tahan has had a recurring role on the NBC hit series "Law and Order: SVU"and guest- starring roles on the CBS drama "Blue Bloods" and the FOX sci-fi series "Fringe."When he is not busy filming, Tahan enjoys skateboarding, drawing, playing the guitar, andspending time with his brother, sister and friends. He has a dog named Sam, and he loves her asmuch as Victor loves Sparky.ATTICUS SHAFFER (Edgar "E" Gore) lives in California with his mother, Debbie, and father,Ron, as well as a small menagerie of pets (all rescues).Atticus currently plays the role of Brick on ABC's half-hour comedy, "The Middle." He began hisprofessional acting career in late 2006 with a guest-starring role in the comedy series "The Class."Other television appearances followed, including "Human Giant," "Days of Our Lives," "Out ofJimmy's Head," "Carpoolers," "My Name is Earl" and the Disney Channel's "Shake it Up."On film, Atticus is perhaps best known for the bus stop scene he shared with Will Smith in"Hancock." Other feature films include "The Unborn," "An American Carol," "Leaving Barstow"and "Opposite Day."Atticus has given a voice to numerous characters in the world of animation, both on film and TV.He appeared in "Year One" and "Subject: I Love You." On television, he is a regular voice on TheDisney Channel's animated series, "Fish Hooks" and previously voiced a recurring part on "ThePenguins of Madagascar" as well as a guest role on the animated series "Thundercats." Atticus isalso very talented with voice impersonations and has been incorporating that into some of his recentwork.© 2012 Walt Disney Pictures19

FRANKENWEENIE (2012)PRODUCTION NOTESAtticus continues to excel in his education and is a major history buff, which he incorporates intodirecting stop- motion animated movies using Legos. He is an avid "gamer" and especially enjoysvideo games that include history, Legos or "Star Wars."Atticus has made numerous talk show appearances, including "The Tonight Show with Jay Leno,""Conan," "The View," "Good Morning America" and "Jimmy Kimmel Live!"—a fan favorite. Hewas selected to be a presenter for the 2011 Genesis Awards for his recognition to public awarenessof humane treatment of animals and was invited to be the Grand Marshal of Washington, D.C.'s2011 National Cherry Blossom Festival. He was also invited to an internship with Lego MasterBuilders of Florida, who honored him for spending time learning more about one of his mostpassionate hobbies.In addition to all of this are his love for acting and his true passion for comedy. Atticus gives muchlove and credit to his mom and dad for enabling him to "be himself" and have the time of his life.ROBERT CAPRON (Bob) began his acting career when he was eight years old by enrolling in anafter-school drama program sponsored by Trinity Repertory Company. Later that year he landed arole as Turkey Boy in Trinity's production of "A Christmas Carol." Since that time Robert hasperformed a variety of roles on stage. Recently, Robert has turned his efforts to film. Robert's firstprincipal role was in "Bride Wars," where he played Robert. Shortly thereafter, he earned a role asyoung Dave's pal in the movie "The Sorcerer's Apprentice."Robert's role as Rowley in Fox's three-movie franchise "Diary of A Wimpy Kid" (2010, 2011) isperhaps his most recognized role to date. The third installment of the franchise, "Dog Days," wasreleased on August 3, 2012.In April 2012, Robert played Young Curly in the movie "The Three Stooges." Looking ahead,Robert will be playing Derek in the 3D CGI motion-capture version of "Tarzan," which is set forrelease in 2013.In addition to theater and film, Robert has also appeared on television as a guest star on ABC's "TheMiddle" and as the lead on two episodes of The Hub Network's "The Haunting Hour."Robert is passionate about reading, acting, watching movies and writing his own screenplays. Heloves riding his Razor scooter, swimming, riding his bike and playing in "improvised" rugbymatches. He also enjoys playing video games and following all his favorite superheroes, andplaying his percussion instruments.In May 2012, Robert was elected into the National Junior Honor Society and enters his first year ofhigh school in September 2012. His favorite subjects are Social Studies and English.CONCHATA FERRELL's (Bob's Mom) first Hollywood break was in Sidney Lumet's"Network." Following came many films, including "Heartland" with Rip Torn, "Where the RiverRuns Black," "For Keeps," "Mystic Pizza" alongside Julia Roberts, Tim Burton's "EdwardScissorhands," starring Johnny Depp, "True Romance," starring Brad Pitt, Gary Oldman and DennisHopper, Oliver Stone's "Heaven and Earth," "Touch," "Erin Brockovich," "K-Pax," "Mr. Deeds"and "Surviving Eden." On television, Ferrell has appeared as a guest star on over 100 differentshows. She was seen as a series regular on "E/R" (the sitcom), "L.A. Law," for which she receivedan Emmy® nomination, "Townies" and "Teen Angel." Ferrell can currently be seen in her Emmy-© 2012 Walt Disney Pictures20

FRANKENWEENIE (2012)PRODUCTION NOTESnominated role of Berta on the CBS hit comedy series "Two and a Half Men," which is starting itstenth season.With two Oscar® nominations and a Golden Globe® award to her credit, WINONA RYDER (ElsaVan Helsing) hails as one of Hollywood's most sought-after talents and classic beauties.Ryder was recently seen in Darren Aronofsky's critically acclaimed supernatural thriller "BlackSwan" opposite Natalie Portman and Mila Kunis. The film went on to receive Academy Award®,Golden Globe® and Screen Actors Guild Award® nominations.Ryder will next been seen in the drama "The Iceman" opposite Oscar® nominees Michael Shannonand James Franco. The film is based on the true story of Richard Kuklinski, the notorious contractkiller and family man.Ryder also appeared in the Universal comedy "The Dilemma," from director Ron Howard, whichco-starred Vince Vaughn, Kevin James and Jennifer Connelly. Previously, she was seen in RebeccaMiller's "The Private Lives of Pippa Lee" opposite Robin Wright Penn, Alan Arkin, Keanu Reevesand Julianne Moore, and in J.J. Abrams' "Star Trek," starring Chris Pine, Simon Pegg, Karl Urbanand Eric Bana.As Jo in Gillian Armstrong's highly acclaimed version of the Louisa May Alcott classic, "LittleWomen," Ryder received an Academy Award® nomination for Best Actress. The previous year shewas Oscar®-nominated, and won the Golden Globe® and National Board of Review Awards forBest Supporting Actress for her performance in Martin Scorsese's "The Age of Innocence." Ryderalso received a Golden Globe nomination for Best Supporting Actress for Richard Benjamin's"Mermaids."In 1999, Ryder starred in and served as executive producer on the critically acclaimed "Girl,Interrupted," based on the best-selling memoir and directed by James Mangold. While the filmmarked Ryder's first feature as executive producer, she previously produced the documentary "TheDay My God Died," which depicted the human story behind the modern tragedy of child sextrafficking in India.Noted for constantly challenging herself with each project, Ryder has worked with some of themost acclaimed directors in film today, including Jean-Pierre Jeunet ("Alien: Resurrection"),Woody Allen ("Celebrity"), Nicholas Hytner ("The Crucible"), Billie August ("The House of theSpirits"), Francis Ford Coppola ("Bram Stoker's Dracula"), Jim Jarmusch ("Night on Earth"), TimBurton ("Edward Scissorhands" and "Beetlejuice"), Michael Lehman ("Heathers"), Ben Stiller("Reality Bites"), Al Pacino ("Looking For Richard"), Joan Chen ("Autumn in New York"), JanuszKaminski ("Lost Souls"), Jocelyn Moorehouse ("How To Make an American Quilt"), David Wain("The Ten"), and Richard Linklater ("A Scanner Darkly").On television, Ryder lent her voice to both "The Simpsons" and "Dr. Katz." She also narrated aGRAMMY®- nominated album, "Anne Frank: The Diary of A Young Girl." Additionally, Ryderappeared in the season finale episode of "Strangers With Candy" and on an episode of "Friends."In 1997, Ryder was honored with ShoWest's Female Star of the Year, the Motion Picture Club'sFemale Star of the Year, as well as receiving an honorary degree from San Francisco's AmericanConservatory Theater. She served as a juror for the 51st Annual Cannes International Film Festivalunder Martin Scorsese and received the Peter J. Owens Award for "brilliance, independence and© 2012 Walt Disney Pictures21

FRANKENWEENIE (2012)PRODUCTION NOTESintegrity" at the 2000 San Francisco Film Festival. Ryder was also honored with a star on theHollywood Walk of Fame.Ryder served on the Board of Trustees to the American Indian College Fund, which helps NativeAmericans preserve and protect their culture through education. She has been very involved withthe KlaasKids Foundation since the organization's inception in 1994.© 2012 Walt Disney Pictures22

FRANKENWEENIE (2012)PRODUCTION NOTESABOUT THE FILMMAKERSTIM BURTON (Director/Producer), widely regarded as one of the cinema's most imaginativefilmmakers, has enjoyed great success in both the live-action and animation arenas. Most recentlyhe directed Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter and Eva Green in the gothiccomedy "Dark Shadows," based on the cult favorite television show.Burton also produced the fantasy horror thriller "Abraham Lincoln: Vampire Hunter," which wasdirected by Timur Bekmambetov. In 2010, he directed "Alice in Wonderland," an epic fantasybased on the classic story by Lewis Carroll, and starring Johnny Depp, Helena Bonham Carter,Anne Hathaway and Mia Wasikowska in the title role. The film earned more than a billion dollarsat the worldwide box office, making it the second-highest grossing release of 2010. "Alice inWonderland" also received a Golden Globe® nomination for Best Picture— Musical or Comedy,and won two Academy Awards®, for Best Art Direction and Best Costume Design.Burton was previously honored with an Academy Award® nomination for Best Animated Featurefor the 2005 stop-motion film "Corpse Bride," which he directed and produced. He earlier receivedBAFTA Award and Critics' Choice Award nominations for Best Director for the acclaimed fantasydrama "Big Fish." More recently, Burton won a National Board of Review Award and garneredGolden Globe® and Critics' Choice Award nominations for his directing work on "Sweeney Todd:The Demon Barber of Fleet Street," which also won the Golden Globe for Best Film—Musical orComedy. Depp earned an Oscar® nomination for his performance in the title role of Burton's 2007film adaptation of the Stephen Sondheim musical thriller, also starring Bonham Carter and AlanRickman.Burton began his film career in animation, and, in 1982, directed the stop-motion animated short"Vincent," narrated by Vincent Price, which was an award winner on the film festival circuit. Hemade his feature film directorial debut in 1985 with the hit comedy "Pee-wee's Big Adventure."In 1988, Burton helmed the inventive comedy hit "Beetlejuice," starring Michael Keaton as the titlecharacter. He then reteamed with Keaton on the action blockbusters "Batman," which became thetop-grossing film of 1989 and also starred Jack Nicholson as the Joker, and "Batman Returns," alsostarring Michelle Pfeiffer and Danny DeVito.In 1990, Burton directed, co-wrote and produced the romantic fantasy "Edward Scissorhands,"which was acclaimed by both critics and audiences. The film also marked the start of his successfulcinematic partnership with Johnny Depp, who delivered a poignant performance in the title role.Their subsequent collaborations include the Burton-directed films "Ed Wood," also starring MartinLandau in an Oscar®-winning portrayal of Bela Lugosi; "Sleepy Hollow," adapted from the classictale by Washington Irving; and the 2005 worldwide smash "Charlie and the Chocolate Factory,"which was based on Roald Dahl's beloved book and grossed more than $470 million worldwide.Burton's additional directing credits include the all-star sci-fi comedy "Mars Attacks!," which healso produced, and the 2001 remake of "Planet of the Apes," which marked his first collaborationwith producer Richard Zanuck.Burton also conceived and produced the stop-motion animated feature "The Nightmare BeforeChristmas," which remains an enduring holiday favorite. In addition, he has produced such films as"Cabin Boy," "Batman Forever" and the animated features "James and the Giant Peach" and "9."© 2012 Walt Disney Pictures23

FRANKENWEENIE (2012)PRODUCTION NOTESIn 2010, the filmmaker released "The Art of Tim Burton," a 430-page book comprising more than40 years of his personal and project artwork. In November of that year, the Museum of Modern Art(MoMA) opened an extensive exhibit of his work, which went on to tour in Melbourne, Australia,and Toronto, Canada. It opened at the Los Angeles County Museum of Art (LACMA) in May 2011and continued its tour in Paris, France this year.ALLISON ABBATE (Producer) is the BAFTA award-winning producer of "The Iron Giant" andTim Burton's "Corpse Bride." She has made a career of working on some of the most innovativeanimated features in the business. A native of New York, Abbate relocated to Hollywood in 1989where she started at Disney and served as an artistic coordinator on Tim Burton's cult classic "TheNightmare Before Christmas."Abbate then moved to Paris for The Walt Disney Company to set up their satellite animation studioand co produce the Academy Award®–nominated Mickey Mouse short "Runaway Brain." In 1996,Abbate joined Warner Bros. where she co-produced the international hit feature "Space Jam,"which combined classic animated Warner Bros. characters with live-action sequences. This film,headlined by Bugs Bunny, Michael Jordan and Bill Murray, broke new ground in animated features.Giant," an adaptation of British Poet Laureate Ted Hughes' acclaimed children's book, "The IronMan."Abbate followed up her success on "The Iron Giant" by producing "Looney Tunes: Back inAction," another family comedy, which teamed Bugs Bunny and Daffy Duck with Brendan Fraserand Steve Martin.Abbate then moved to London in 2004 to produce the haunting musical feature, "Corpse Bride,"starring Johnny Depp and Helena Bonham Carter, with director Tim Burton. "Corpse Bride" wasalso nominated for an Oscar® in 2005.In 2006, she joined forces with acclaimed filmmaker Wes Anderson to produce another Oscar®nominatedfeature, "Fantastic Mr. Fox," a stop-motion adaptation of Roald Dahl's beloved children'sstory, featuring the voices of George Clooney and Meryl Streep.JOHN AUGUST (Screenplay by) has an endless imagination that has inspired some of the mostmemorable and fantastic movies of the past decade.August recently wrote "Dark Shadows" for frequent collaborator Tim Burton. Based off the seminaltelevision series of the same name, the film stars Johnny Depp, Michelle Pfeiffer, Chloë GraceMoretz, Eva Green, Jackie Earle Haley, Christopher Lee and Helena Bonham Carter.August recently signed on to write the big-screen adaptation of the supernatural graphic novel"Preacher" for Sony. Sam Mendes will direct the film about a preacher given supernatural powerswho searches the country to find God.2007 saw August's feature directing debut, "The Nines," which premiered at Sundance in 2007."The Nines" is a film of three interlocking stories, all starring Ryan Reynolds, Hope Davis andMelissa McCarthy. Sony and Newmarket Films distributed.As a screenwriter, his credits include "Corpse Bride," "Charlie and the Chocolate Factory," "BigFish" and both "Charlie's Angels" movies. He wrote and co-produced "Go," which debuted at the© 2012 Walt Disney Pictures24

FRANKENWEENIE (2012)PRODUCTION NOTES1999 Sundance Film Festival.For television, August created the short-lived show "D.C." for The WB, along with pilots for Foxand ABC.He is a frequent advisor to the Sundance Screenwriters Lab and also runs a website aimed atbudding screenwriters.Born and raised in Boulder, Colorado, August earned a degree in journalism from Drake Universityin Iowa and an MFA in film from the Peter Stark program at the University of Southern California.He lives in Los Angeles.DON HAHN (Executive Producer) produced the classic "Beauty and the Beast," the firstanimated film nominated for a Best Picture Oscar®. His next film "The Lion King," broke boxoffice records as the top-grossing animated film of all time and is a blockbuster Broadway musical.Hahn served as associate producer of the landmark film "Who Framed Roger Rabbit." His othercredits include "The Hunchback of Notre Dame," "Atlantis," "The Emperor's New Groove" and"The Little Matchgirl," which earned him his second Oscar® nomination. His documentary"Waking Sleeping Beauty" chronicles the amazing story of the second "golden age" of animation atthe Walt Disney Studios.Hahn is the executive producer on the Disneynature films "Earth," "Oceans" and "African Cats" aswell as this year's "Chimpanzee."PETER SORG (Director of Photography) was introduced to photography and black-and- whitetechniques at an early age. His experience of working evenings at an arts cinema quickly led him toan ideal combination of his interests in music and photography: filmmaking.In 1998, Sorg got his start shooting commercials and short films. One year after moving to Londonin 2003, he was invited to join Tim Burton's "Corpse Bride" as a lighting cameraman. Thissuccessful collaboration led to his next project, the Henry Selick-directed stop-motion feature,"Coraline," as a lighting cameraman.RICK HEINRICHS (Production Designer) is an original and innovative visual artist, creatingalternate worlds entirely appropriate to his film's stories and settings. Most recently, Heinrichsdesigned the live-action "Dark Shadows" for director Tim Burton.Heinrichs designed the production of "Captain America: The First Avenger" for director JoeJohnston, with whom he also worked on "The Wolfman," and designed the monumental sets andships for "Pirates of the Caribbean: Dead Man's Chest" and "Pirates of the Caribbean: At World'sEnd," both directed by Gore Verbinski. His work on "Dead Man's Chest" was nominated for anOscar®, a BAFTA and an Art Directors Guild award. "At World's End" was also nominated for anADG award. He won the Academy Award® for his work on Tim Burton's "Sleepy Hollow," forwhich he also won the BAFTA and ADG Awards. He received another Oscar nomination and ArtDirectors Guild Award for his imaginative designs for "Lemony Snicket's A Series of UnfortunateEvents."In the 1980s, Heinrichs developed and designed a number of early projects with Tim Burton at WaltDisney Studios, including the short films "Vincent" and the live-action "Frankenweenie," and© 2012 Walt Disney Pictures25

FRANKENWEENIE (2012)PRODUCTION NOTESworked in the art departments of Burton films such as "Pee-wee's Big Adventure," "Beetlejuice"and "Edward Scissorhands." In 1992, he moved up to art director on Burton's "Batman Returns,"having previously assistant-art directed on "Soapdish." He also served as visual consultant on TimBurton's "The Nightmare Before Christmas." Later, he was production designer on Burton's "Planetof the Apes."Heinrichs' other credits as production designer include the Coen Brothers' classics "Fargo" and "TheBig Lebowski," and Ang Lee's "Hulk."TIM BROWNING (Art Director) started his career as a draughtsman on movies such as TimBurton's "Charlie and the Chocolate Factory," "Atonement" and "The Golden Compass." Browningmost recently served as the U.K. art director on Tim Burton's "Alice in Wonderland," prop designeron "Clash of the Titans" and environment designer on "Gnomeo & Juliet" as well as AardmanAnimations' "Arthur Christmas." He also acted as concept artist on Disney's "John Carter."ALEXANDRA WALKER (Art Director) served as art director on three films in the "HarryPotter" franchise: "Harry Potter and the Order of the Phoenix," "Harry Potter and the Goblet ofFire," and "Harry Potter and the Prisoner of Azkaban." Her other credits as art director include "TheYoung Victoria" and "Incendiary.""The Tailor of Panama," "The World Is Not Enough" and "Notting Hill."TREY THOMAS (Animation Director) has been working in animation for the past 20 years andwas one of the pioneers of feature-length stop motion when he began his career on Tim Burton's"The Nightmare Before Christmas." A frequent collaborator with Henry Selick and Tim Burton,Thomas went on to work as a lead animator on "James and The Giant Peach," "Monkeybone,""Corpse Bride" and "Coraline." Thomas has also lent his skills to computer animation and served asSupervising Animator on "Dinosaur," "Shrek 2" and "Madagascar." In 2008, Thomas returned toLondon to work on Wes Anderson's "Fantastic Mr. Fox."MARK WARING (Animation Supervisor) was most recently the animation supervisor on WesAnderson's "Fantastic Mr. Fox" and a lead animator on Tim Burton's "Corpse Bride."Over the last 20 years, Waring has directed and animated on numerous commercials, short filmsand promos, as well as directing and animating on many TV shows and specials.TIM LEDBURY (VFX Supervisor) originally came from an Industrial Design background beforehaving the opportunity to enter the U.K. VFX industry. Since then he has worked for over a decadehelping to create VFX for films such as "Harry Potter and the Prisoner of Azkaban," "The Da VinciCode" and "Charlie and the Chocolate Factory." In 2007 he became the VFX Supervisor on WesAnderson's "Fantastic Mr. Fox."ANDY GENT (Lead Puppet Maker) is a lead puppet maker currently based in the U.K. workingon feature films, short films, commercials and music videos. With almost 20 years' experience inthe stop-motion and live-action film industry, Gent has worked on many award-winningproductions.Prior to "Frankenweenie" Gent worked on Wes Anderson's "Fantastic Mr. Fox," Henry Selick's"Coraline" and Tim Burton's "The Corpse Bride." He has been head puppet maker and rigger onnumerous feature films as well as set builder, prop maker and animator on numerous stop-motion© 2012 Walt Disney Pictures26

FRANKENWEENIE (2012)PRODUCTION NOTESand live-action projects in the U.K., Europe and The United States. Gent has several puppet andmarionette projects currently in production and development all at his new studio The Arch inSouth West London.CHRIS LEBENZON, A.C.E. (Editor) has collaborated with Tim Burton on all of his films for thelast 20 years. They include "Dark Shadows," "Alice in Wonderland," "Sweeney Todd: The DemonBarber of Fleet Street," "Charlie and the Chocolate Factory," "Corpse Bride," "Big Fish," "Planet ofthe Apes," "Sleepy Hollow," "Mars Attacks!," "Ed Wood," "The Nightmare Before Christmas" and"Batman Returns."Lebenzon has teamed up many times with award-winning producer Jerry Bruckheimer, workingwith him on "Pearl Harbor," "Gone in Sixty Seconds," "Enemy of the State," "Armageddon," "ConAir," "Crimson Tide," "Days of Thunder," "Beverly Hills Cop II" and "Top Gun," and is a frequentcollaborator of directors Michael Bay and the late Tony Scott.Lebenzon is a two-time Academy Award® nominee for the films "Crimson Tide" and "Top Gun"(co-editor). His other credits include "Unstoppable," "The Taking of Pelham 123," "Déjà Vu,""XXX," "Radio," "The Last Boy Scout," "Revenge," "Midnight Run," "Weird Science" and"Wolfen."MARK SOLOMON (Editor) has edited such films as "The Tale of Despereaux," "Bambi II,""Dating Games People Play" and "Chicken Run." He worked as an additional editor on "UnbeatableHarold," "Shark Tale," "Spirit: Stallion of the Cimarron" and as an associate editor on "Space Jam."Over the last 30 years, four-time Oscar® nominee DANNY ELFMAN (Composer) has establishedhimself as one of the most versatile and accomplished film composers in the industry. He hascollaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee,Rob Marshall, Guillermo del Toro, Brian De Palma and Peter Jackson.Beginning with his first score on Tim Burton's "Pee-wee's Big Adventure," Elfman has scored abroad range of films, including: "Milk" (Oscar®-nominated), "Good Will Hunting" (Oscarnominated),"Big Fish" (Oscar- nominated), "Men in Black" (Oscar-nominated), "EdwardScissorhands," "Wanted," "Charlie and the Chocolate Factory," "Mission: Impossible," "Planet ofthe Apes," "A Simple Plan," "To Die For," "Spider-Man (1&2)," "Batman," "Dolores Claiborne,""Sommersby," "Chicago," "Dick Tracy," "The Nightmare Before Christmas" and "Alice inWonderland." Most recently he provided the music for Gus Van Sant's "Restless" and ShawnLevy's "Real Steel," as well as "Men in Black 3" and Tim Burton's "Dark Shadows." Up next forElfman is Sam Raimi's "Oz The Great and Powerful."A native of Los Angeles, Elfman grew up loving film music. He traveled the world as a young man,absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attentionof a young Tim Burton, who asked him to write the score for "Pee-wee's Big Adventure." (Twentyfiveyears later, the two have forged one of the most fruitful composer-director collaborations infilm history.)In addition to his film work, Elfman wrote the iconic theme music for "The Simpsons" and"Desperate Housewives." He also composed a ballet, "Rabbit and Rogue," choreographed by TwylaTharp; a symphony entitled "Serenada Schizophrana" for Carnegie Hall; an overture called "TheOvereager Overture" for the Hollywood Bowl; and, most recently, "Iris"—a permanent Cirque duSoleil show at Hollywood's Dolby Theatre.© 2012 Walt Disney Pictures27

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