Explorez tous les épisodes du podcast We Know Jack Show

Director Henry Selick and animator Anthony Scott interviewed in front of a live audience at the Disney Family Museum in San Francisco.

He was responsible for the overall look of the film through the lens of a half dozen different camera crews on 20 different sets. Not to mention he basically invented motion control.

The man who put it all together.

Bonita was in charge of getting every single puppet completed and ready for animation - a mind boggling amount of work. She tells us all about it.

Ghosts, smoke, fire, stars, snowflakes, and obsolete techniques.

Sewing, painting, dressing, and bringing every single puppet to life.

Henry Selick, Art Clokey, Peter Jackson, Marilyn Manson, motorcycles, breast feeding, Excederin, Gumby, cotton ball clouds, and of the course the beauty of stop motion animation.

Carl takes us on a Skellington journey through the lens of a possibly irradiated camera. Collaboration, multiple camera crews, multiple set ups, in-camera effects, and the 'faces in the fire'.

Twenty four stages all running at the same time. Who kept all that in order? Kirk for one. 

Allison somehow kept the entire Art Department on track - an enormous job. She tells us all about it.

Camera problems, motion control problems, animator problems, set problems, and margaritas.

Mold Maker? What's that, and why do we need one on a movie? Mike fills us in.

With enough cardboard and hot glue anything is possible. Bill takes us deep into the heart of the Art Department.

Abstraction vs Suggestion. Our most ineffable interview. Buckle up. Mark takes us deep.

Each character in Nightmare Before Christmas has a posable skeleton. Somebody had to make them. Chris tells us about it.

Tales from the heart of the Art Department.

2D animation, more Tim Burton stories, and the alternate ending!!

Set up after set up...Problem after problem. Jim fills us in.

Cigarettes, musicals, collaboration, making it up as you go, and the endless joy of building with your own two hands.

Gisela shares stories about the Producer, the Director, Danny Elfman, Tim Burton, and the den of wolves otherwise known as the Story Department.

Confidence, ritual, meditation, and animating skeleton reindeer.

Dan tells us how he made Jack Skellington speak.

Studio shenanigans, Gumby, shopping on Fillmore Street with Catherine O'Hara, and Bill Hickey's "orange juice".

One of the original Skellington Seven animators shares his story.

Prat falls, food poisoning, smoke and mirrors, and a broken bathroom fan.

Shirtless animators, sleeping in the projection booth, nightclubbing, KUSF, Bill Hickey, and all Shane's crushes.

Set building, set painting, and a rat killing dog.

Angie talks animation, art, weekend parties, group think, and being stuck with the worst frame grabber in the studio.

Who painted the puppets? Who dressed the puppets? Who sewed Jack's suit? Lauren tells all about it.

Sculptor, character designer, and animator Randal Dutra stops by to talk about bringing the designs to 3D life.

Academy Award Nominee Tim Hittle shares his stories about animating Jack, Sally, and Zero.

Jerome comes in studio and tells us fantastic stories about his brother Joe, his boss Mitch, the model shop, and of course, The Claw.

Producer Kathleen Gavin joins us by phone for a fun conversation and some really good stories about what it was like to lead the Skellington crew.

Animator Anthony Scott shares his memories about animating Jack Skellington.

Associate Producer / Production Manager Phil Lofaro stops by to tells us what it was really like trying to keep Skellington Studios on course and pointed in the right direction throughout more than 24 months of production.