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					            Tim Burton's
  The nightmare before Christmas 3D

      Notes on the transformation

                      "'Twas a long time ago, longer now than it seems,
                      in a place perhaps you've seen in your dreams…"
              - Santa in Tim Burton's THE NIGHTMARE BEFORE CHRISTMAS

       This Halloween, everyone's favorite nightmare will return - in another dimension.
On the occasion of its 13th anniversary, Tim Burton's hippest of holiday classics, THE
NIGHTMARE BEFORE CHRISTMAS, will make a ghoulishly groundbreaking comeback
to the big screen, seamlessly transformed into stunning Disney Digital 3D™. This
dazzling new makeover offers a frightfully fun, eye-popping trip into a universe of magic
and wonder that remains unlike any other. The film's transformation was led by the
original filmmaking team of Academy Award-nominated writer/producer Tim Burton
("Charlie and the Chocolate Factory," "Corpse Bride") and director Henry Selick
("James and the Giant Peach") - and was turned into reality through an intense,
frame-by-frame digitizing process spearheaded by the technical wizards at Industrial
Light & Magic and driven by a passion for the film's visual splendor and timeless (not to
mention occasionally headless) characters.
       Donning their state-of-the-art, polarized 3D glasses, audiences will now have the
chance to get truly up close and bone-rattlingly personal with the film's cast of
mischievously macabre ghosts and goblins. They'll be transported directly into the
three-dimensional center of the haunted house-like environs of Halloweentown as its
bored Pumpkin King, Jack Skellington, attempts to take over the festive Christmas
season for a change of pace. Against the advice of Sally (Catherine O'Hara), the lonely
rag doll who has secret feelings for him, Jack enlists three trick-or-treaters - Lock,
Shock, and Barrel - to help him kidnap Santa Claus. But even when Jack realizes his
mistake, he'll have to contend with the evil Oogie Boogie before he can turn things
around and restore the holiday's cheer.
        Fuelled by an unforgettable Grammy-nominated soundtrack featuring ten
infectiously spooky songs by Oscar nominee Danny Elfman ("Corpse Bride," "Big Fish"),
who also provided the singing voice for Jack, Tim Burton's THE NIGHTMARE BEFORE
CHRISTMAS 3D will be released in conjunction with a new soundtrack album from Walt
Disney Records that revisits the music in equally fun ways. The two-disc set will feature
Danny Elfman's acclaimed original score, four never-before-released demos from
Elfman and a new twist: a collection of covers of the film's most favorite songs from
such popular artists as Fall Out Boy, Fiona Apple, Marilyn Manson, Panic! At The Disco
and She Wants Revenge.

       Adding a new dimension to a classic: Why it was done
       A landmark film in its genre, the 1993 release of THE NIGHTMARE BEFORE
CHRISTMAS combined the power, enchantment and artistry of stop-motion animation
with technological wizardry to create a moviegoing experience that captured the hearts
and imaginations of millions of die-hard fans. It simultaneously became an all-time
family favorite and attained permanent cult status among the cool. Just as its playful,
pitch-perfect sense of Halloween fun made it a holiday standard, its mischievously dark
humor and no-holds-barred creativity has made it an enduring video hit among college
kids and hipsters - who admire it, quote it, sing it and even dress the parts at Halloween.
For years, every Halloween has been turned into NIGHTMARE season at Hollywood's
legendary El Capitan Theatre, which screens the film each October to ever-growing
        Part ghostly love story, part upside-down holiday celebration and part
toe-tappingly offbeat musical, this NIGHTMARE was always multidimensional. But now,
the classic film that had audiences falling in love with one of the most painstakingly
handmade of all animation processes has been brought hurtling into the 21st century
and transformed for a new generation to experience in Disney Digital 3D ™, expanding
its legacy of innovation.
       The newly developed Disney Digital 3D™ process debuted with the animated hit
"Chicken Little," but THE NIGHTMARE BEFORE CHRISTMAS 3D breaks even newer
ground. The film marks the first time a once-analog 2D film has been turned into a
wholly digital 3D film. For Walt Disney Animation, the project represents a truly rare
opportunity to allow audiences to experience a beloved classic from an entirely fresh
perspective - from within the very fabric of the story's unabashedly imaginative realm.
    "This was a very special project for us - lending exciting new life to a film and
characters that continue to be a tremendous success," says Don Hahn, an
Oscar-nominated producer ("Beauty and the Beast," "Lion King") and the producer of
THE NIGHTMARE BEFORE CHRISTMAS 3D. "Audiences have long associated 3D
with a story that is fun, scary or both, and with this film, they get it all. You feel like
you're right there in that amazing world with the puppets, not merely watching the story
go by on the screen. When the snow falls, it's falling right on you. When a character
jumps out, he jumps over the head of the person in front of you. It literally brings an
extra dimension to what has become a modern holiday classic."
       Hahn continues: "THE NIGHTMARE BEFORE CHRISTMAS was part of the
Golden Age of Animation in the early 1990s, during the period when Disney was also
doing ‘Aladdin' and ‘The Lion King.' It became its own unique part of Disney's animation
heritage - a haunted-house Halloween movie with a wonderful heart, a Broadway-style
musical for families, and a beautiful example of how stop-motion animation can work for
audiences. Back then, it already had such an unusual and risk-taking combination of
elements, adding the new, technologically advanced digital 3D into the mix seemed
entirely natural."
        Long before embarking on the project, Disney executives asked their partners in
Digital 3D at Industrial Light & Magic to do a test run - digitizing a brief snippet of the
film to see if the idea would sink or soar. The results were, in turn, screened for Tim
         His response was effusive. "What's amazing is that because of the 3D process,
audiences will really get to see the texture of the puppets," Burton says. "When we were
making the movie, we got to feel in our hearts like our characters were real - when you
see it in 3D; it just takes it that much further. Everything comes to life, and you can
literally see in through the eye sockets of Jack Skellington."
       Meanwhile, when director Henry Selick first heard about the idea, he admits he
was, well, a little spooked and quite skeptical - which made him even more surprised
when he was completely won over by ILM's work. "I honestly wasn't too excited about
the idea at first because, as amazing as modern technology is, I was concerned that it
wouldn't look good, that it would be a kind of Frankenstein's monster," Selick comments.
"I was afraid it would come off looking like a bunch of cut-outs and disconnected layers."
       "But as they began to show me more footage, my jaw started to drop. I was
astonished by what they were achieving," Selick continues. "They were being incredibly
respectful of the original material, and it wasn't gimmicky at all. Even though the
technology is incredibly advanced, they were managing to really keep intact the
handmade quality of the film. It actually took me back to how exciting it was when we
were first making the film years ago and all these characters started to come to life."

       Making the leap from analogue 2d to digital 3d: How it was done
        Indeed, 3D is currently undergoing an extraordinary resurgence, thanks to the
latest technological advances which have been seen in special versions of such films as
"Chicken Little" and "Superman Returns." The concept of 3D movies first emerged in
Hollywood in the 1920s but didn't take off until the 1950s with the advent of stereoscopic
horror films such as "The House of Wax," "Bwana Devil" and "The Creature From the
Black Lagoon." Audiences loved the idea of having a film's action pop out right at them,
but not the reality, which, unfortunately, was plagued by "ghosting" - in which two
images blur on the screen - which could cause annoying and uncomfortable eye strain.
         Now, in the brave new world of digital cinema, 3D has finally come of age. A new
generation of digital tools has revolutionized 3D viewing, creating a more seamless
illusion for the audience. Disney Digital 3D™ was one of the first out of the gate,
presenting a state-of-the-art system that combined the expertise of both ILM and Dolby
Laboratories to offer unprecedented clarity, comfort, image integrity and a totally
immersive film experience. Family audiences flocked to see the 3D version of "Chicken
Little," proving that the concept of 3D is now more appealing than ever as it achieves its
real potential.
      In theory, all 3D films work by projecting a double image - one for the right eye
and another for the left, which creates the rich sensation of real-life depth. Traditionally,
this was achieved by using two projectors. Disney Digital 3D™, however, takes it to
another level by using just one projector, which rapidly shifts between images for the left
eye and the right eye, so quickly (144 times per second) that the brain is not even
aware of it. Using polarized light the images are crisper and clearer than any 3D
process in history.
       But so far, the only films to be seen in their entirety in Digital 3D have been those
that were digitally created in the first place. With THE NIGHTMARE BEFORE
CHRISTMAS 3D, the unprecedented challenge would be to take the 2D, flat world of
the original and give it the depth and dimension of Digital 3D - without, in any way,
altering its innate charms. The first step in the process was to digitize the film -
re-animating a "proxy" version of the entire movie in CG - a vast undertaking that fell to
Industrial Light & Magic, under the supervision of ILM's executive in charge of
production, Colum Slevin.
       For Slevin and his team, the project was irresistible. "I don't know of another
instance like this where an analog film was transformed into a digital film. The
processes were a real breakthrough for us, and we thrive on those sorts of big
challenges," he says. "It was incredibly tough, but it was also unbelievably rewarding
because we were taking everything to the next level."
        The team's adoration of the original NIGHTMARE further amplified their
excitement. "Everyone at ILM is a big fan of this movie. We were already in love with the
project before we began," notes Slevin. "It's such a cool film and everybody kept saying,
‘It's perfect for 3D!' It's so beautifully composed, the sets are gorgeous and there's this
quirky forced-perspective thing going on that already has a kind of 3D feel about it. In
fact, once we began rendering the characters in 3D, they looked so fantastic, we felt it
was just destined to be viewed this way."
        Starting with a crew of 20 and eventually ramping up to 80, it took 19 very
intense weeks of work for ILM to complete the transformation of NIGHTMARE. During
this process, automatic tools were used to replicate the original film's camera motions,
sets were turned into digital models and a crew of animators was recruited to
hand-animate the CG characters on a frame-by-frame basis, so their digital doubles
matched the original camera photography. Once the geometry was forged for the sets
and characters, special-effects artists used the computer to map the original film image
directly onto the CG-animated geometry. Then the virtual camera, shifted slightly to the
right, recorded a new camera angle for the right eye.
        Ultimately, audiences will unwittingly be seeing the original NIGHTMARE with
their left eyes while seeing the digital re-creation with their right eyes, allowing for the
three-dimensional effect.
       To begin with, the process required lots of digging into history. "We used a lot of
archival lens information from Disney and we dug up all the original puppets so we
could photograph them and create computer graphic models of each," Slevin explains.
"The original sets no longer exist but we were able, with digital tools, to take a sequence
of images and infer the volume of each set from the still frames. So we could infer
things like this floor is at a 45-degree angle and this chair is three feet from the wall, and
then we could create an accurate blocking of the original sets in CG. It's all basically
       Digitising the characters in all their stylized movement was the crux of the
project. Slevin continues: "With stop-motion, you have to pose every single frame and
every single frame is incredibly deliberate. So when you try to track and follow a
character that's been stop-motion animated, and you're trying to replicate that in CG,
you have to redo all that labor all over again from scratch, because there's just no
automatic way to do it. So there was a lot of blood, sweat and tears that went into
replicating the performances authentically so the stereo would pick up faithfully in the
right eye when we reprojected the original performances."
       Yet even as the high-tech proceedings kicked into a higher gear, there was a
constant emphasis on maintaining the film's inimitably funky, scary-funny aesthetic with
complete integrity. "Early on, I spoke to Henry Selick and we talked about what was
possible, because once a film is digitized, there are no limits," recalls Don Hahn. "So we
could have changed anything, but the decision was made to keep that loving,
handmade aspect of the film's charm completely intact. So we didn't even erase wires
or shadows or alter any original mistakes. We really tried to be completely true to the
original and not introduce anything artificial, but rather simply bring new dimensions to
what was already there, with wonderful results."
         Adding to the pressure to do right by the film was the fact that several of the staff
at ILM had actually worked on the original release of NIGHTMARE. Slevin notes that his
team developed a very helpful, oft-repeated mantra during the entire process - "Keep
your filthy hands off the film" - to avoid any temptation to alter what had been created
more than a decade ago by the impassioned original team of animators. "This was not a
fix-it job," he notes. "The grit and grain, the pops and errors and the ‘happy accidents' of
stop-motion animation are all still a part of the heart of the film."
       For Henry Selick, that decision was very gratifying. "It seems that people these
days are often trying to make films that are more and more slick - so for the handmade
quality of our film to be a priority was just wonderful," he says. "The 3D simply brings
the audience further into the film's environment. It reveals a side of the film that no one
has ever seen before."
        The only creative choices the team behind THE NIGHTMARE BEFORE
CHRISTMAS 3D did make concerned where the action should be placed in the plane of
depth to best serve the story. For example, the average distance between human eyes
is about 2.5 inches. But that distance can be played with - stretched or shrunk - to
create a particular 3D effect, such as allowing the audience to see the world from Jack
Skellington's skewed point of view. The team also decided which elements would
appear in the foreground and background for virtual immersion, turning the 3D effect
into a storytelling tool that guides the eye from one important detail to the next.
       "We worked out an entire stereo script with Don Hahn and the guys at Disney,"
Slevin explains, "where they would say, ‘This is where the effect needs to be cranked
up, and this is where you can ease off and dial the intensity back.' Everything had to be
completely in sync with the score and especially the storytelling, because it's all about
the story. That's where the real magic is."
        And Tim Burton agrees, "Turning THE NIGHTMARE BEFORE CHRISTMAS into
Digital 3D has taken a very pure little gem for me and made it that much better. I am
extremely happy about the fact that the movie has kept its purity and the 3D actually
adds much more to it."

       A new musical dimension: Today's hottest artists revisit Nightmare's songs
      A big part of the hip allure and creativity of THE NIGHTMARE BEFORE
CHRISTMAS was always Danny Elfman's cleverly macabre musical score, including the
music and lyrics for the ten songs performed on-screen by the film's characters. The
soundtrack became a screaming success upon the original film's release, garnered a
Grammy nomination and remains one of the most unconventional and enduring film
scores of the 20th Century.
       So when Walt Disney Records first learned about the imminent release of the
new 3D version of the film, they were inspired to also revisit the music, just as the
visuals were being refreshed. "When we heard about the new Digital 3D release, we
saw a rare opportunity to bring this great music to a new generation of fans," comments
Robert Marick, Senior Vice President and General Manager of Walt Disney Records.
"We immediately approached Danny Elfman's management team (Richard Kraft and
Laura Engel) and, at first, we really didn't know what he would say. A lot of artists might
have said no to taking a new look at their own classic work, but we knew that Danny
was a risk taker, and we were thrilled when he agreed that it would be exciting to
commission covers from some of today's most popular and interesting artists."
       The result is a new two-disc set that will be released in sync with the film and will
include one disc featuring Elfman's original score, along with a second disc made up of
covers of some of the movie's most memorable songs - including Marilyn Manson
performing "This Is Halloween," Chicago's hot alternative rock/pop-punk/emo band Fall
Out Boy doing a raucous version of "What's This," Grammy-winning singer/songwriter
Fiona Apple tackling the moving "Sally's Song," the rising indie rock band Panic! At The
Disco also performing "This Is Halloween" and the distinctive sounds of the Los Angeles
duo She Wants Revenge covering "Kidnap the Sandy Claws." In addition, Elfman made
available two demos from his private collection - "Making Christmas," "Oogie Boogie's
Song," "This Is Halloween" and "Kidnap the Sandy Claws."
      Once Elfman had given his blessing, Marick and his team began by developing a
dreamer's "wish list" of artists, sending out invitations to each. The response took them
by storm. "It was amazing to see just how excited people were about the concept.
Almost everyone we contacted was either a major fan of Tim Burton, listed the movie as
one of their favorites, saw Danny Elfman as a musical hero, or all three," says Marick.
"Word got around so fast that soon artists were approaching us!"
        Marick soon discovered that lots of young rock and pop stars had grown up with
the movie and become huge fans of its darkly sweet gothic stylings. The label, Elfman
and his management team were taken aback by the sheer breadth of artists who
responded. After all, if Fiona Apple, Marilyn Manson and Fall Out Boy were all in love
with this music, it had touched some kind of universal chord in the culture.
       Says Marilyn Manson of his involvement: "I couldn't really resist the opportunity
as everything I do is Halloween, and Halloween needed me to be a part of it. I liked the
different characters the song ‘This Is Halloween' has, and it was a chance for me to ham
it up and make it a musical representation of my Sybil."
       Adds bassist Pete Wentz of Fall Out Boy: "We were already obsessed with the
film, and the songs are pretty much the best thing ever - they're Danny Elfman at his
        The label and Elfman's management team were even more gratified once they
began to hear the surprise-filled recordings. "We had such a diverse group and each
artist gave their own stellar interpretation," Marick says. "Some were closer to Elfman's
originals and some really took their own path, but they each bring something new and
unique to these terrific songs. There's something for everybody, and I think it will give
people a new appreciation of just how incredible an achievement Danny Elfman's score
was in the first place. We also think it will become a perennial modern holiday album."
      To top off the music, the CD will be released featuring a very appropriate cover,
one based on original art from the film and rendered in - what else? - strikingly vivid 3D.

       About the filmmakers
        Tim Burton (Producer) conceived and produced the original THE NIGHTMARE
BEFORE CHRISTMAS, bringing his trademark mix of the moving and the macabre to
create an enduring holiday classic. Burton most recently directed the critically acclaimed
hit fantasy-adventure "Charlie and the Chocolate Factory," starring Johnny Depp and
Freddie Highmore, and produced and co-directed the animated love story "Corpse
Bride" to further praise from critics around the world. His previous film was "Big Fish," a
heartwarming tale of a fabled relationship between a father and his son, hailed as
Burton's most personal and emotional tale to date. Burton also directed the box-office
hit "Planet of the Apes," a new version of the 1968 classic, starring Mark Wahlberg, Tim
Roth, Helena Bonham Carter, Michael Clarke Duncan and Kris Kristofferson, which was
a summer 2001 box-office hit.
       All of Burton's films are well-known for the highly imaginative and detailed world
he creates to surround and inform the story. They include "Pee-Wee's Big Adventure,"
"Beetlejuice," "Batman," "Edward Scissorhands," "Batman Returns," Tim Burton's The
Nightmare Before Christmas, "Ed Wood," "Mars Attacks!" and "Sleepy Hollow."
        Burton began drawing at an early age, attended California Institute of the Arts on
a Disney fellowship and, soon after, joined the studio as an animator. He made his
directing debut with the animated short "Vincent," narrated by Vincent Price. The film
was a critical success and an award-winner on the festival circuit. Burton's next
in-house project was a live-action short film called "Frankenweenie," an inventive and
youthful twist on the Frankenstein legend.
       In 1985, Burton's first feature film, "Pee-Wee's Big Adventure," was a box-office
hit, and the director was praised for his original vision. "Beetlejuice" (l988), a
supernatural comedy starring Michael Keaton, Geena Davis, Alec Baldwin and Winona
Ryder, was another critical and financial success. In 1989, Burton directed the
blockbuster "Batman," starring Jack Nicholson, Michael Keaton and Kim Basinger.
Following the triumph of "Batman," the National Association of Theatre Owners (NATO)
awarded Burton the Director of the Year Award. The film also won an Academy Award
for Best Art Direction.
        "Edward Scissorhands," starring Johnny Depp, Winona Ryder and Dianne Wiest,
was one of the big hits of the 1990 Christmas season and acclaimed for its original
vision and poignant fairy-tale sensibility. In 1992, Burton once again explored the dark
underworld of Gotham City in "Batman Returns," the highest-grossing film of that year,
which featured Michelle Pfeiffer as the formidable Catwoman and Danny DeVito as the
Penguin. In 1994, Burton produced and directed "Ed Wood," starring Johnny Depp in
the title role. The film garnered Academy Awards for Best Supporting Actor (Martin
Landau as Bela Lugosi) and Best Special Effects Makeup.
       He also produced 1993's "Cabin Boy" and 1995's summer blockbuster "Batman
Forever," as well as the 1996 release of "James and the Giant Peach," based on Roald
Dahl's children's novel.
       Burton then produced and directed "Mars Attacks!," a sci-fi comedy based on the
original Topps trading card series, starring an elite array of 20 leading players, including
Jack Nicholson, Glenn Close, Danny DeVito and Annette Bening. In 1999, Burton
directed "Sleepy Hollow," which was inspired by Washington Irving's classic story and
starred Johnny Depp, Christina Ricci, Miranda Richardson and Michael Gambon. The
film was nominated for three Academy Awards, including Best Costume Design and
Best Cinematography and won the Oscar for Best Art Direction. Honors from BAFTA
included Best Costume Design and Best Production Design.
      Burton authored and illustrated a children's book for THE NIGHTMARE BEFORE
CHRISTMAS, released in conjunction with the film. His next book of drawings and
rhyming verse, The Melancholy Death of Oyster Boy and Other Stories, was praised by
the New York Times for "conveying the pain of an adolescent outsider."
       Henry Selick (Director) made his feature-film directing debut in 1993 with the
extraordinary and intensive production of THE NIGHTMARE BEFORE CHRISTMAS.
Already one of the leading innovators in the field of stop-motion and alternate forms of
animation, Selick was handpicked by Tim Burton for the assignment and went on to
establish himself as a major creative force in the field. His imaginative vision and
attention to detail guided the film through its various development and production stages
and he was also largely responsible for assembling the talented team that made the
       Besides an Academy Award nomination for Best Special Effects, the film earned
Selick an Annie Award from ASIFA Hollywood for best individual directing achievement,
beating out "The Lion King." Selick followed this three-year-plus production with a
live-action and animation combo of Roald Dahl's "James and the Giant Peach," which
won the top prize at the Annecy International Animation Festival in 1997. He then
directed "Monkeybone," a fantasy about a cartoonist trapped inside his own creation.
Selick, who has continued to chart new territory in animation and fantasy filmmaking,
recently created animated sequences for Wes Anderson's "The Life Aquatic With Steve
Zissou." He is currently directing a digital, stop-motion animated film based on his own
adaptation of Neil Gaiman's Hugo Award-winning, international best-selling children's
book, "Coraline."
       After studying at Rutgers University, Syracuse University, and St Martin's School
of Art in London, Selick eventually enrolled at Cal Arts as part of the first
character-animation program along with John Lassiter, John Musker and Brad Bird. He
simultaneously studied experimental animation with Jules Engel and made two
award-winning student films: "Phases," a runner-up in the Student Academy Awards
and Tube Tales, also nominated for a Student Academy Award. Selick later became a
trainee at Disney and served as a full animator on "The Fox and the Hound," under lead
animator Glen Keane. Selick has also written, produced, designed and directed many
memorable television spots and commercials.
        Danny      Elfman       (Jack      Skellington's   Singing    Voice/Voice        of
Barrel/Composer/Lyricist) was a major player in the creation and production of THE
NIGHTMARE BEFORE CHRISTMAS, contributing on many different levels to the
project. As the singing voice of Jack Skellington, he brings his dynamic range to six
diverse songs, while as Barrel, he slips into the persona of a
childlike-but-not-so-innocent trick-or-treater. As the composer and lyricist for the film's
10 songs, he adds to the story and overall entertainment value, while his evocative
underscore strikes all the right chords throughout for fantasy, suspense and humor.
Elfman's score went on to become an enduring and influential hit, garnering a Grammy
        Elfman was born in 1953 in Los Angeles, California, where he currently resides.
Over the last 20 years, he has established himself as one of Hollywood's leading film
composers. Elfman has written close to 50 film scores featuring his unique sound,
including "Batman," "Spider-Man," "Men in Black," "Beetlejuice," "Edward Scissorhands"
and "Pee-Wee's Big Adventure." In addition to these signature soundtracks, he has
scored such diverse films as "Big Fish," "Good Will Hunting," "Dolores Claiborne,"
"Midnight Run," "To Die For," "Dead Presidents," "Sommersby" and "Chicago." For
television, Elfman created the infectious themes to "The Simpsons" and "Desperate
Housewives." His honors include a Grammy and three Academy Award nominations.
       Elfman's first experience in performance and composition was for a French
theatrical troupe, "Le Grand Magic Circus" at the age of 18. The following year, he
collaborated with his brother Richard, performing musical theater on the streets of
California. Elfman then worked with a "surrealistic musical cabaret" for six years, using
this outlet to explore multifarious musical genres. For 17 years, he wrote and performed
with his rock band Oingo Boingo, producing such hits as "Weird Science" and "Dead
Man's Party." In 2005, Elfman worked with longtime collaborator Tim Burton on the films
"Charlie and the Chocolate Factory" and the stop-motion animated musical "Corpse
Bride." Other recent projects include the scores for the forthcoming Disney CGI
animated feature "Meet the Robinsons" and Paramount's adaptation of "Charlotte's
       Colum Slevin (Executive in Charge of Production) joined Industrial Light &
Magic in 1999 as Project Manager for the Digital Technology Department. He was
responsible for managing the software R&D teams and acting as a liaison between R&D
and the visual-effects production departments. Prior to that, Slevin had accrued over ten
years of experience in the fields of media production and feature animation. At Sullivan
Bluth Animation Studios in Dublin, he worked for seven years in a number of production
roles, including overseas coordinator in Hungary. In 1994 he participated in the set-up
of Twentieth Century Fox's animation production facility in Phoenix, Arizona, where he
worked as quality control manager and production manager. Slevin's screen credits
include "The Land Before Time," "All Dogs Go to Heaven," "Anastasia" and "Titan AE"
       At ILM, Slevin took on the role of Director of Scheduling & Utilization in January
of 2002, which entailed oversight of the management and crewing for all production
projects within the Computer Graphics Department.
        In September 2002, Slevin was promoted to Director of Computer Graphics. Two
years later, he was named Senior Director of Computer Graphics. In this role, he heads
the Computer Graphics Department, which is comprised of artists who create and
develop the digital creatures, effects and environments featured in recent motion
pictures such as "The Hulk," "Terminator 3: Rise of the Machines," "Pirates of the
Caribbean: The Curse of the Black Pearl," "Master and Commander: The Far Side of
the World," "Peter Pan," "Hidalgo," "Van Helsing," "Harry Potter and the Prisoner of
Azkaban," "Mask 2," "Lemony Snicket" and "Star Wars: Episode III." His daily work
revolves around managing the operational needs of the department as well as the
staffing of all production projects.
       Slevin is from Dublin, Ireland. His wife, Marie, is also from Dublin, and they
currently reside in San Rafael, California, with their two children.
        Don Hahn (Producer of THE NIGHTMARE BEFORE CHRISTMAS 3D) is one of
the most successful producers of all time, with films that have grossed more than $2
billion and have been nominated for 17 Academy Awards. The films that he has
produced, including "Beauty and the Beast," "The Lion King," "The Hunchback of Notre
Dame" and "Who Framed Roger Rabbit?," formed the very heart of Disney's animation
      Hahn has more recently served as executive producer of the 2000 animated
comedy "The Emperor's New Groove" and the 2001 animated feature "Atlantis: The
Lost Empire" and producer of "The Haunted Mansion" starring Eddie Murphy.
       Hahn began his professional career at Disney in 1976. As the producer of the
1991 animated phenomenon "Beauty and the Beast," he was responsible for guiding a
team of 600 artists and helping to create the first film of its genre ever to receive a Best
Picture nomination at the Academy Awards. His next producing credit was the 1994
animated blockbuster "The Lion King," which broke box-office records all over the world
to become the top-grossing film in Disney history. In his role as associate producer of
"Who Framed Roger Rabbit?" he was creatively involved in the production of yet
another landmark motion picture. He re-teamed with the irrepressible 'toon rabbit as
producer of his first short film, "Tummy Trouble."
       In addition to his enormous accomplishments as a filmmaker, Hahn is the author
of several books, including Disney's Animation Magic: A Behind-the-Scenes Look at
How an Animated Film Is Made, which provides the definitive illustrated account of how
these films are created. His most recent book, Dancing Corndogs in the Night, a
lighthearted look at the reawakening of the creative spirit, was published in 1999.

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