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REVIEW: Two of the most beloved family holiday movies of the last 30 years are passed under the microscope in this new miniseries from the makers of The movies they made us.
Having already tackled the crowd-pleasing Christmas cookies Home alone Y Die hardIt only makes sense that this entertaining and enlightening show will once again take a look behind more stories that delight the masses season after season.
Following its now proprietary format, The Christmas movies they made us (now streaming on Netflix) spends around 45 minutes on each track, delving into production, from initial concept to finished product.
In addition to bringing together the anonymous heroes of the films (producers, screenwriters, production designers), Made us it also mixes footage and cleverly juxtaposed reactions and comments created from clips from the film in question and related ones (something you’ll find endlessly hilarious or distracting and annoying, depending on your sensitivity).
What is this?! We sat down with creator Tim Burton and the stars who brought these beloved characters to life!
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* On-screen Santas ranking: from Kurt Russell’s hot Santa to Billy Bob’s bad Santa
* Neighborly Poll Finds Love Actually Kiwis Favorite Christmas Movie
Yes, like VH1 Behind the music documentaries, there is a certain frivolous and irreverent style in Made us tell stories you will love or hate.
However, what is unequivocal is that he will learn much more than he ever thought possible during these two episodes about Will Ferrell. Elf and the stop-motion musical produced by Tim Burton The nightmare before christmas. In the first, writer David Berenbaum reveals how he was inspired by the Rankin Bass television specials of the 1960s (especially Rudolph the red nosed reindeer), something that leaked throughout director Jon Favreau’s film production (even in the costumes, something that almost led the film to a major legal problem).
You’ll also learn how Chris Farley was almost the star, Gary Shandling could have been Buddy’s father instead of James Caan, that the studio desperately wanted Katie Holmes (instead of Zooey Deschanel) to play Jovie, and why Faizon Love has a “Wanda” identification badge. Movie fans will also enjoy the details on how they created Ferrell’s oversized elf using forced perspective, will recoil in horror at how the animated sequence nearly fell off, and will gawk at the news that the film was almost released without a uplifting Christmas finale.
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As The Holiday Movies That Made Us reveals, Will Ferrell wasn’t everyone’s first choice to play Buddy in Elf.
However, there is actually much more drama in the Nightmare episode.
As Felicia “Phe” Caplan’s incessantly optimistic narrative tells us, the production of the 1993 cult classic was one of “stops and starts, and stops and starts.” While that’s not surprising given the way the meticulous 100,000 shots of stop-motion animation were put together, it’s fascinating the amount of ordeal the film went through to make it to the big screen (where it was initially bombarded).
Jack Skellington’s Misadventures in Christmas Town was a project Tim Burton had wanted to bring to life since he was a young animator at Disney in the early 1980s. It was only after success in other movie locations such as Beetle juice Y bat Man however, he had the influence to do so. But although he desperately wanted to direct it, he was actually already committed to doing Batman Returns. Enter your former Disney animation partner, Henry Selick, and a team of animators based, not in Anaheim or Hollywood, but in the San Francisco Bay area.
However, they were hampered by the lack of a script. Beetle juiceMichael McDowell was initially hired to write the lines, but according to various sources here, he was too busy puffing. To the rescue came Eduardo scissorhands writer Caroline Thompson (who also provides some interesting behind-the-scenes details about that production here).
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Tim Burton spent more than a decade trying to bring The Nightmare Before Christmas to life.
Naturally, this all led to budget issues, studio issues for dark footage, and disputes over what the final cut was. Around the same time, a disturbing screening test filled with children convinced the House of the Mouse that they should change. Nightmare to his more avant-garde Touchstone label, Burton was so outraged by Selick’s original Scooby Doo-End because he made a hole in a wall. Naturally, it was later changed.
Capable of being viewed with both focused intensity and as wallpaper, The Christmas movies they made us It offers fascinating insight and an irreverent tone that makes them a lesser pleasure to watch. I hope you direct your attention to Gremlins Y Scrooged next.
