[Q&A] The Nightmare Before Christmas: Oogie's Revenge
We peek behind the scenes of Capcom's upcoming Nightmare Before Christmas action effort with game (and movie) Art Director Deane Taylor.
Published: September 22, 2005
How much freedom were you given to create new environments and characters? Or did you feel a certain loyalty to the source material and Burton’s inspiration?
Both. Tim's source material contains the absolute essence of this place and these people. We did have total freedom, given that you would have to capture this essence. The hardest thing to do is improve on that first sketch, so creative freedom is very relative.
What was the biggest technical challenge you faced in art-directing the game, and how did you overcome that?
The biggest challenge to me was understanding that a pixel is a unit of measurement and occupies a real space. It's no different to an animator getting their head around the fact that 1/24th of a second is a unit of time. I had to stop myself looking for "real" things. Actually I don't think I’m quite over that.
What was the biggest creative challenge, and how did you overcome that?
I had full and total confidence in everything we did. I knew what felt right because at every step of the design phase I would stand back and look at the way the elements connected, as if through Tim's eyes. The challenge was to show the result to Tim and have him share this confidence. There was no issue of having to justify it, the work spoke for itself.
How did you "update” the look for today's audience?
The look, I don't think was necessarily updated as much as expanded upon. I've heard arguments about more sophistication, more exposure to cool things and so on, but fundamentally I don't think "today’s" audience is any different to any other, though they would probably like to think so.
How would you describe the style of art for the property, and how is it different from other styles in CG films and games?
Gothic Noir would be the look. Somewhere between The Grimm brothers, Frankenstein, Gaudi and Dr. Seuss. All things Tim Burton. How it differs to other games is not something I feel qualified to say since my knowledge in this area is so limited. What I would say is that there was a very conscious effort to bring a cinematic feel to the game. Not in the sense of an action blockbuster, but more in the sense of its aesthetics, and its charm. The difference between watching an interesting book unfold before you, compared to a rock clip.
What 3D software was used in actually generating the images from your designs?
I think it was a grey box thing, with wires coming out...and little plastic toys stuck on top....-Sorry.
What is your favorite new environment in that world? What went into creating it?
You know, I couldn't really say. Since it's so new to me, I still enjoy all of it on equal par right now...With the movie, I think it took me about six years to decide that I liked Lock Shock and Barrel's tree-house interiors the best., and then recently I decided I liked Town Hall more...It's like opening up a Far Side book, you find a new favourite every time. One thing that is important about the new locations is that they all have an actual history, or back-story behind their creation. You won't see this, but you will feel it. In order to design what it is, you need to design why it is. (art talk)
Can you describe the working dynamic between yourself and the Capcom team?
To begin with, we were mostly the same height, which is a rare thing for me. I've only ever experienced that once before, when I worked on a Smurf series. More importantly though, was the creative synergy. Here was a crew of highly talented professionals who, for the most part might have been in their early teens when the movie was released. When I met with them, I got an immediate sense that they were honored and privileged to have the opportunity to work on this. It was a classic to them. I could see it in their sketches, and in the things we discussed. I felt completely at home with this group of artists and held them in the highest respect. We had extensive meetings, and more often than not, we were communicating freely without the need for a translator. I was very impressed.
Over ten years have past since the release of The Nightmare Before Christmas. Are you surprised that the film had such an impact on people and that it still seems to be finding new audiences?
This is a constant source of surprise to me, but at the same time I can understand it. The film is unique in its feel, and seamlessly directed. In a sea of animated films that differ from each other by such minute increments, it has to stand out.
How long did you work on the games project? Please tell us a little about the timelines and schedules. Are you sitting with the development group the whole way, or are you reviewing things as they get done? How does that work?
My involvement was over about 12-18 months. A lot of the work was generated which I made a pass over before it hit the build stage. This was done from South Australia, mostly in my favorite coffee lounge, All work was coordinated through Buena Vista Games in Los Angeles to Capcom in Japan, passing in front of Tim in London at the appropriate times. We then got into a ping pong match of sketches, plans, color and lighting that continued at distance until we felt we had the framework for completion. At that time, I went to Japan and worked directly with the crew for a brief period. Throughout this, we conducted regular reviews, approvals and development. Despite the enormity of the task, and the production demands on Capcom, the big advantage was that everybody was on the same page. This was a well oiled machine who knew not only what they had to do, but how to help each other achieve the result. That is the only way long distance production can work. And it did.
In The Nightmare Before Christmas, is there any one particular character that you identify with? I guess what we’re asking is there a Deane Taylor character in the movie or the new games?
In the movie, in one of the Halloweentown wide shots there is a small Dr. Death character off to one side in the shadows. Basically, we had a hole to fill to imply more crowd, and no puppets to do it with. He's a bit of old sack draped over a plastic coffee cup holding a sad looking scythe. This is the guy I identify with the most. I don't know why...I do appear as a doodle on the Police officers pad, when things go to bits at the end of the film, but this is thanks to an art department in-joke. As far as the game goes...not that I know of.
Anything else you'd like to add about your experience as an artist, your experience working on The Nightmare Before Christmas (film/game), or about anything else?
The most important thing about your growth as an artist is to respect the talents of those you work with, and to have the confidence in your own work, to allow yourself the ability to stretch creatively. This is what is most important when it comes to being able to get right under an idea and push it to a new height. Without this process of inspiration and challenge your work can only ever be ordinary. These are the things my association with Nightmare has given me, and continues to give me on a daily basis. I would urge any artist to look for the ways to be fresh and inspired, and to take full advantage of this incredible medium we have available to us.
Many thanks to Deane and the other interviewers for giving us a peek into the design process.
Both. Tim's source material contains the absolute essence of this place and these people. We did have total freedom, given that you would have to capture this essence. The hardest thing to do is improve on that first sketch, so creative freedom is very relative.
What was the biggest technical challenge you faced in art-directing the game, and how did you overcome that?
The biggest challenge to me was understanding that a pixel is a unit of measurement and occupies a real space. It's no different to an animator getting their head around the fact that 1/24th of a second is a unit of time. I had to stop myself looking for "real" things. Actually I don't think I’m quite over that.
What was the biggest creative challenge, and how did you overcome that?
I had full and total confidence in everything we did. I knew what felt right because at every step of the design phase I would stand back and look at the way the elements connected, as if through Tim's eyes. The challenge was to show the result to Tim and have him share this confidence. There was no issue of having to justify it, the work spoke for itself.
How did you "update” the look for today's audience?
The look, I don't think was necessarily updated as much as expanded upon. I've heard arguments about more sophistication, more exposure to cool things and so on, but fundamentally I don't think "today’s" audience is any different to any other, though they would probably like to think so.
How would you describe the style of art for the property, and how is it different from other styles in CG films and games?
Gothic Noir would be the look. Somewhere between The Grimm brothers, Frankenstein, Gaudi and Dr. Seuss. All things Tim Burton. How it differs to other games is not something I feel qualified to say since my knowledge in this area is so limited. What I would say is that there was a very conscious effort to bring a cinematic feel to the game. Not in the sense of an action blockbuster, but more in the sense of its aesthetics, and its charm. The difference between watching an interesting book unfold before you, compared to a rock clip.
What 3D software was used in actually generating the images from your designs?
I think it was a grey box thing, with wires coming out...and little plastic toys stuck on top....-Sorry.
What is your favorite new environment in that world? What went into creating it?
You know, I couldn't really say. Since it's so new to me, I still enjoy all of it on equal par right now...With the movie, I think it took me about six years to decide that I liked Lock Shock and Barrel's tree-house interiors the best., and then recently I decided I liked Town Hall more...It's like opening up a Far Side book, you find a new favourite every time. One thing that is important about the new locations is that they all have an actual history, or back-story behind their creation. You won't see this, but you will feel it. In order to design what it is, you need to design why it is. (art talk)
Can you describe the working dynamic between yourself and the Capcom team?
To begin with, we were mostly the same height, which is a rare thing for me. I've only ever experienced that once before, when I worked on a Smurf series. More importantly though, was the creative synergy. Here was a crew of highly talented professionals who, for the most part might have been in their early teens when the movie was released. When I met with them, I got an immediate sense that they were honored and privileged to have the opportunity to work on this. It was a classic to them. I could see it in their sketches, and in the things we discussed. I felt completely at home with this group of artists and held them in the highest respect. We had extensive meetings, and more often than not, we were communicating freely without the need for a translator. I was very impressed.
Over ten years have past since the release of The Nightmare Before Christmas. Are you surprised that the film had such an impact on people and that it still seems to be finding new audiences?
This is a constant source of surprise to me, but at the same time I can understand it. The film is unique in its feel, and seamlessly directed. In a sea of animated films that differ from each other by such minute increments, it has to stand out.
How long did you work on the games project? Please tell us a little about the timelines and schedules. Are you sitting with the development group the whole way, or are you reviewing things as they get done? How does that work?
My involvement was over about 12-18 months. A lot of the work was generated which I made a pass over before it hit the build stage. This was done from South Australia, mostly in my favorite coffee lounge, All work was coordinated through Buena Vista Games in Los Angeles to Capcom in Japan, passing in front of Tim in London at the appropriate times. We then got into a ping pong match of sketches, plans, color and lighting that continued at distance until we felt we had the framework for completion. At that time, I went to Japan and worked directly with the crew for a brief period. Throughout this, we conducted regular reviews, approvals and development. Despite the enormity of the task, and the production demands on Capcom, the big advantage was that everybody was on the same page. This was a well oiled machine who knew not only what they had to do, but how to help each other achieve the result. That is the only way long distance production can work. And it did.
In The Nightmare Before Christmas, is there any one particular character that you identify with? I guess what we’re asking is there a Deane Taylor character in the movie or the new games?
In the movie, in one of the Halloweentown wide shots there is a small Dr. Death character off to one side in the shadows. Basically, we had a hole to fill to imply more crowd, and no puppets to do it with. He's a bit of old sack draped over a plastic coffee cup holding a sad looking scythe. This is the guy I identify with the most. I don't know why...I do appear as a doodle on the Police officers pad, when things go to bits at the end of the film, but this is thanks to an art department in-joke. As far as the game goes...not that I know of.
Anything else you'd like to add about your experience as an artist, your experience working on The Nightmare Before Christmas (film/game), or about anything else?
The most important thing about your growth as an artist is to respect the talents of those you work with, and to have the confidence in your own work, to allow yourself the ability to stretch creatively. This is what is most important when it comes to being able to get right under an idea and push it to a new height. Without this process of inspiration and challenge your work can only ever be ordinary. These are the things my association with Nightmare has given me, and continues to give me on a daily basis. I would urge any artist to look for the ways to be fresh and inspired, and to take full advantage of this incredible medium we have available to us.
Many thanks to Deane and the other interviewers for giving us a peek into the design process.