Set back in the late 1800s in a Victorian village, a man and woman by the names of Victor Van Dort and Victoria Everglot are betrothed because the Everglots need the money or else they'll be living on the streets and the Van Dorts want to be high in society. But when things go wrong at the wedding rehearsal, Victor goes into the woods to practice his vows. Just as soon as he gets them right, he finds himself married to Emily, the corpse bride. While Victoria waits on the other side, there's a rich newcomer that may take Victor's place. So two brides, one groom, who will Victor pick? Written by
The film's images were stored on a 1GB image card that was capable of holding approximately 100 frames of animation. Eight roving camera teams--each team including a lighting cameraman, an assistant, a lighting electrician and a set dresser to deal with any art department issues--worked with the animators to set up shots. Each camera team had a "lighting station" workstation--comprising an Apple G4 computer and a monitor to assist in checking lighting and framing--to view TIFF file versions of the camera's images. Once a shot was approved, the computer was removed and the animators were left to shoot the scene using their still camera and "grabber" computer/camera system to check their work. The film's story department head Jeffrey Lynch explained that the scenes were developed initially from storyboards created by a team, saying: "We shot as close to a 1:1 film ratio [one take per shot] as we could because there was no time for reshoots. We did most of our experimentation in the storyboard process--as many ways as needed--to get the scene how we wanted it. There was no coverage, as there would be for a live-action film." Co-director Johnson would go over each scene with the animators, sometimes acting out the scene, if necessary. The animators would create a "dope sheet"--in which a shot was broken down, frame by frame--to account for key "hits". The animators would then shoot tests of the scene, often shooting on "2s" or "4s" (meaning shooting just every second or fourth frame of what would appear in the final animation). Johnson explained: "The next day, when they'd finish their test/rehearsal, we'd cut it in and see how it played in the reel and fine-tune from there. We might do some lighting tweaks, performance tweaks or have the art department get in and touch anything that needed it. Then we'd close the curtain and let the animator animate the shot." The animators would sometimes make use of the voice and/or video recordings of the actors, a practice also common in cel animation. Once photographed, the frames were manipulated by a team of "data wranglers." Using a workflow developed by Chris Watts, the frames were downloaded from the camera image cards as RAW files, converted to Cineon files and processed through a "color cube." Cinematographer Pete Kozachik explained: "The color cube is a 3D lookup table created by FilmLight Ltd. that forces the image data into behaving like a particular Eastman Kodak film stock--in this case, 5248, one of my favorites. With this film emulation, we could actually rate our cameras at ASA 100, then take our light meters and spot meters and, with great confidence, shoot as if we were using 5248. Sure enough, the footage would come back and look just like it." The frames could be processed further to generate a TIFF file for viewing on the lighting station computer monitors so lighting, composition and color could be previewed. See more »
When Victor and Barkis Bittern are dueling in the church, Victor scratches Barkis in the chest with a fork, leaving a scratch, but in the next shot, the scratch is gone. See more »
Hear ye, hear ye, ten minutes to go 'til Van Dort's wedding rehearsal.
See more »
During the introduction sequence, where the camera follows a butterfly around the town, it pauses and stands on the edge of the "Based on characters by" credit. See more »
I probably would have liked this movie more if I had not already seen - many times - "The Nightmare Before Christmas" which was a brilliant and original piece of work. This movie does share some of that movie's qualities - haunting soundtrack, bumbling authority figures, a tall thin protagonist who is searching for something, a heroine whose limbs easily detach, and a dear departed house pet. It also has some interesting ideas of its own - the living looking and acting as though they were already dead, versus the dead living it up, since they have no more worries and forever to look forward to with the prospect of all of their loved ones returning to them one by one. In fact, the only time the living seem happy in this film is when the dead return to the land of the living for a truly unique wedding and instead of menacing or haunting the living, there are tearful and happy reunions. However, the individual characters in this film are just not that interesting.
In short, even though all of the characters in "The Nightmare Before Christmas" are dead, they just seem more alive and motivated than the characters in this film. Also, this movie is darker than "Nightmare" and not as funny, so kids under 10 might find it too intense and probably not as interesting. Thus, although it is worthwhile viewing, I'm just afraid that Tim Burton set the bar too high with his previous animated film.
5 of 6 people found this review helpful.
Was this review helpful to you?
| Report this