Corpse Bride is a 2005 British-American stop-motion animated musical
fantasy film directed by Mike Johnson and
Tim Burton with a screenplay
by John August,
Caroline Thompson and
Pamela Pettler based on
characters created by Burton and Carlos Grangel. The plot is set in a
Victorian era village in Europe.
Johnny Depp leads the cast
as the voice of Victor, while
Helena Bonham Carter
Helena Bonham Carter voices Emily, the
Corpse Bride is the third stop-motion feature film
produced by Burton and the first directed by him (the previous two
The Nightmare Before Christmas
The Nightmare Before Christmas and James and the Giant Peach,
were directed by Henry Selick). This is also the first stop-motion
feature from Burton that was distributed by
Warner Bros. Pictures. It
was dedicated to executive producer Joe Ranft, who died during
The film was a critical and commercial success and was nominated for
the 78th Academy Awards for Best Animated Feature, but lost to Wallace
& Gromit: The Curse of the Were-Rabbit, which also starred Bonham
Carter. It was shot with
Canon EOS-1D Mark II
Canon EOS-1D Mark II digital SLRs, rather
than the 35mm film cameras used for Burton's previous stop-motion film
The Nightmare Before Christmas
The Nightmare Before Christmas (1993).
3.3 Visual effects
5.1 Box office
5.3 Home media
6 See also
8 External links
In a Victorian village, Victor Van Dort, the son of nouveau riche fish
merchants, and Victoria Everglot, the neglected daughter of snobbish
yet impoverished aristocrats, are preparing for their arranged
marriage, which will simultaneously raise the social class of Victor's
parents and restore the wealth of Victoria's penniless family. Both
have concerns about marrying someone they do not know, but upon
meeting for the first time, they fall for each other. After the shy
Victor ruins the wedding rehearsal by forgetting his vows, he flees
and practices his wedding vows in the nearby forest, placing the
wedding ring on a nearby upturned tree root. The root turns out to be
the finger of a murdered woman in a tattered bridal gown named Emily,
who rises from the grave claiming that she is now Victor's wife. After
fainting, Victor wakes up and finds himself spirited away to the Land
of the Dead. The bewildered Victor learns the story of how Emily was
murdered years ago by an unknown perpetrator on the night of her
Wanting to reunite with Victoria, Victor tricks Emily into taking him
back to the Land of the Living by pretending he wants her to meet his
parents. She agrees to this and takes him to see Elder Gutknecht, the
kindly ruler of the underworld, to return Victor and Emily temporarily
to the Land of the Living. Once back home, Victor asks Emily to wait
in the forest while he rushes off to see Victoria and confess his wish
to marry her as soon as possible, to which she gladly returns his
feelings. Just as they are about to share a kiss, Emily arrives and
sees the two of them together. Feeling betrayed and hurt, she angrily
drags Victor back to the Land of the Dead. Victoria tells her parents
that Victor has been forcibly wed to a dead woman, but no one believes
her. With Victor gone, Victoria's parents decide to marry her off
against her will to a presumed-wealthy newcomer in town named Lord
Barkis Bittern, who appeared at the wedding rehearsal.
Victor apologizes to Emily for lying to her, and the two reconcile.
Shortly after, Victor's recently deceased family coachman appears in
the afterlife and informs Victor of Victoria's impending marriage to
Barkis. He also overhears that, in order to validate Victor and
Emily's marriage, Victor must repeat his vows in the Land of the
Living and willingly drink the Wine of Ages, a poison, thus joining
her in death. Fretting about having lost Victoria to another man,
Victor agrees to die for Emily. All of the dead go "upstairs" to the
Land of the Living to perform the wedding ceremony for Victor and
Emily. Upon their arrival, the town erupts into a temporary panic
until everyone recognizes their loved ones from the dead, and they
have a joyous reunion.
After a quarrel with Barkis, and realizing he was only after her
supposed wealth, Victoria follows the procession of dead to the
church. Emily notices Victoria and realizes that she is denying
Victoria her chance at happiness the same way it was stolen from her.
She stops Victor from drinking the poison and reunites him with
Victoria. Barkis interrupts them, and Emily recognizes him as her
former fiance, who is revealed to be the one who murdered her for her
dowry. Barkis tries to kidnap Victoria at sword point, but Victor
stops him and the two men duel; the dead townspeople are unable to
interfere with the affairs of the living. Emily intercedes to save
Victor, and Barkis mockingly proposes a toast to Emily, unknowingly
drinking the cup of poison. The dead, able to intercede upon Barkis's
death, eagerly take retribution against him by dragging him to the
underworld where he will atone for his crimes. Victoria, now a widow,
is once again able to marry Victor.
Emily frees Victor of his vow to marry her, giving the wedding ring
back to Victor and her wedding bouquet to Victoria before exiting the
church. As she steps into the moonlight, she transforms into hundreds
of butterflies as Victor and Victoria look on wrapped in each other's
Helena Bonham Carter
Helena Bonham Carter voices the title character.
Johnny Depp as Victor Van Dort, a shy and gawky young man who is
engaged to Victoria Everglot for social and financial reasons.
Helena Bonham Carter
Helena Bonham Carter as Emily, the Corpse Bride, a beautiful and
charismatic young zombie woman with a passion for music and dance.
Emily Watson as Victoria Everglot, Victor's pretty, sweet-natured, yet
Tracey Ullman as Nell Van Dort, Victor's socially ambitious mother who
holds contempt for her son; and Hildegarde, the elderly, hunchbacked
maid of the Everglot household.
Paul Whitehouse as William Van Dort, Victor's absent-minded and
tactless father; Mayhew, the Van Dorts' coachman; and Paul the Head
Waiter, literally a severed head.
Joanna Lumley as Maudeline Everglot, Victoria's snide, unloving
Albert Finney as Finis Everglot, Victoria's grim, toad-like, and
Richard E. Grant
Richard E. Grant as Barkis Bittern, a charming yet murderous
con-artist, later revealed to be Emily's former fiancé and killer.
Christopher Lee as Pastor Galswells, a haughty and bad-tempered priest
who is hired to conduct Victor and Victoria's marriage.
Michael Gough as Elder Gutknecht, an ancient and rickety skeleton who
rules benevolently over the underworld.
Jane Horrocks as the Black Widow, an affable black widow spider
seamstress; and Mrs. Plum, the deceased proprietress of the Ball and
Enn Reitel as Maggot, a sarcastic, green maggot who lives inside
Emily's head and acts as her conscience; and the town crier. Reitel's
Maggot is a parody of Austrian-born actor Peter
Deep Roy as General Bonesapart, a diminutive skeleton in a military
uniform with a sword stuck in his chest. He is a parody of Napoleon
Danny Elfman as Bonejangles, a vivacious, one-eyed, singing skeleton.
Stephen Ballantyne as Emil, the Everglots' long-suffering butler.
The film is based on a 19th-century Russian folktale, which Joe Ranft
introduced to Burton while they were finishing The Nightmare Before
Christmas. The film began production in November 2003, while Burton
was completing Big Fish. He continued with production on his next
live-action feature, Charlie and the Chocolate Factory, which was
produced simultaneously with the film. Co-director Mike Johnson
spoke about how they took a more organic approach to directing the
film, saying: "In a co-directing situation, one director usually
handles one sequence while the other handles another. Our approach was
more organic. Tim knew where he wanted the film to go as far as the
emotional tone and story points to hit. My job was to work with the
crew on a daily basis and get the footage as close as possible to how
I thought he wanted it."
Tim Burton co-directed the film.
The film was originally supposed to have been shot on film, though a
last-minute change by the studio helped introduce a different
technology. In 1997, during pre-production on Henry Selick's
feature, Monkeybone, the film's cinematographer Pete Kozachik was
looking for a type of filming that would streamline the process of
integrating stop-motion characters with pre-filmed live actors.
After finishing Monkeybone, Kozachik continued to test cameras for a
practical means of shooting feature animation digitally. In early
2003, the production unit was not interested in digital capture for
stop motion; the team was instead prepping the movie for a film
shoot. Two weeks before filming was to begin, Kozachik and visual
effects consultant Chris Watts came up with a solution using digital
still cameras that was deemed viable by
Warner Bros. senior vice
president of physical production and visual effects Chris DeFaria. The
production then became digital. After testing a dozen different
models, Kozachik opted for a basic digital still camera, the Canon
EOS-1D Mark II, an off-the-shelf model that was outfitted with
adapters to allow the use of Nikon prime lenses (14mm-105mm).
Kozachik spoke about why he chose the camera, saying: "One reason I
went with this particular camera is that its image chip is just about
the same size as Super 35 film negative, so we could use Nikon lenses
and treat them like regular 35mm cine lenses and get the same
effect—the same depth of field and angle of coverage. I knew that we
were going to be fighting to make this look like a 'real' movie
because we weren't shooting on film, so I wanted to at least have the
optics look like movie optics."
Animation took place at
3 Mills Studios
3 Mills Studios in East London. A dozen
animators/puppeteers were put to work when production began, but that
number had tripled by the end of production. The initial group
spent time developing each puppet's unique characteristics. The
puppets themselves, built by Mackinnon and Saunders, were typically
about 17 inches tall and animated on sets built three to four feet off
the ground with trap doors that allowed animators access to the sets'
surfaces to manipulate the puppets. The three primary
characters—Victor, Victoria and Corpse Bride—were fitted with
heads the size of golf balls that contained special gearing to allow
the animators to manipulate individual parts of the puppets' faces.
The animators' work was spread over 25 to 35 individual setups/stages,
each having its own Canon digital camera. A total of 32 cameras
were used on the film. Each camera was outfitted with a "grabber"
system that enabled the animators to capture frames and download them
into a computer to assemble a short "reel" of the shot being produced
to check their work.
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.
Johnny Depp filmed Charlie and the Chocolate Factory and recorded
Corpse Bride simultaneously.
Visual effects were delivered by London's Moving Picture Company
(MPC), and were applied to the 1,000 or so shots in the film, though
most of the effects simply painted out puppet supports and similar set
equipment. Some visual effects elements—groups of birds and
butterflies, were created completely in CG, though others were
composited as visual effects from real-life elements. Pete Kozachik
explained that the trick for shooting the characters by themselves was
obtaining visually interesting shots that would dependably support the
director's storytelling, saying: "The challenge is keeping the action
clear and simple with lighting and composition. There's a discipline
to clear storytelling with these puppets. You want to be abstract, but
one can easily go overboard with these critters because they aren't as
familiar to the audience as real humans. The characters don't
necessarily translate the same as if you're shooting a real person.
You have to consciously balance arty atmosphere and graphic clarity so
as to not confuse the audience about what it is they're looking
In a 2005, interview with About.com, Burton spoke about the
differences between directing
Corpse Bride and The Nightmare Before
Christmas, saying: "The difference on that was that one I had designed
completely. It was a very completed package in my mind. I felt like it
was there. I felt more comfortable with it. With this, it was a bit
more organic. It was based on an old folk tale. We kept kind of
changing it but, you know, I had a great co-director with Mike
Johnson. I feel like we complemented each other quite well. It was
just a different movie, a different process." He also spoke about
Johnny Depp as Victor, saying: "It was weird because we were
doing both at the same time. He was Willy Wonka by day and Victor by
night so it might have been a little schizophrenic for him. But he’s
great. It's the first animated movie he's done and he's always into a
challenge. We just treat it like fun and a creative process. Again,
that’s the joy of working with him. He's kind of up for anything. He
just always adds something to it. The amazing thing is all the actors
never worked [together]. They were never in a room together, so they
were all doing their voices, except for Albert [Finney] and Joanna
[Lumley] did a few scenes together, everybody else was separate. They
were all kind of working in a vacuum, which was interesting. That’s
the thing that I felt ended up so beautifully, that their performances
really meshed together. So he was very canny, as they all were, about
trying to find the right tone and making it work while not being in
the same room with each other."
Tim Burton's Corpse Bride
Film score by Danny Elfman
September 20, 2005
Danny Elfman chronology
Charlie and the Chocolate Factory
(2005)Charlie and the Chocolate Factory2005
The soundtrack was produced by
Danny Elfman with the help of John
August and released on September 20, 2005. It contains all of the
music from the film including score music and four songs with lyrics
sung by voice actors.
All tracks written by
Danny Elfman and John August. All scores written
"Main Title" (Score)
"According to Plan"
Albert Finney, Joanna Lumley, Tracey Ullman, Paul Whitehouse
"Victor's Piano Solo" (Score)
"Into the Forest" (Score)
"Remains of the Day"
Elfman, Jane Horrocks, Paul Baker, Alison Jiear, Gary Martin
"Casting a Spell" (Score)
"Moon Dance" (Score)
"Victor's Deception" (Score)
"Tears to Shed"
Helena Bonham Carter, Horrocks, Enn Reitel
"Victoria's Escape" (Score)
"The Piano Duet" (Score)
"New Arrival" (Score)
"Victoria's Wedding" (Score)
"The Wedding Song"
Elfman, Horrocks, Baker, Jier, Martin
"The Party Arrives" (Score)
"Victor's Wedding" (Score)
"Barkis's Bummer" (Score)
"The Finale" (Score)
"End Credits" (Part 1) (Score)
"End Credits" (Part 2) (Score)
Bonus Tracks from Bonejangles and his Bone Boys
"Ball & Socket Lounge Music #1" (Band Version) (Score)
"Remains of the Day" (Combo Lounge Version) (Score)
"Ball & Socket Lounge Music #2" (Score)
"Ball & Socket Lounge Music #1" (Combo Version) (Score)
Corpse Bride premiered on September 7, 2005 at the Venice
International Film Festival. The film was released on September 23,
2005 in United States and on October 13, 2005 in the United
Corpse Bride grossed $53,359,111 in North America, and $63,835,950 in
other territories, for a worldwide total of $117,195,061.
In North America, the film opened to number two in its first weekend,
with $19,145,480, behind Flightplan. In its second weekend, the
film dropped to number three, grossing an additional $10,033,257.
In its third weekend, the film dropped to number six, grossing
$6,511,336. In its fourth weekend, the film dropped to number
nine, grossing $3,577,465.
The biggest market in other territories being France, UK and Japan
where the film grossed $8.88 million, $8.57 million and $7.1 million
Corpse Bride received positive reviews from critics. The review
Rotten Tomatoes reported an 83% approval rating
with an average rating of 7.2/10 based on 187 reviews. The site's
consensus reads: "As can be expected from a
Tim Burton movie, Corpse
Bride is whimsically macabre, visually imaginative, and emotionally
bittersweet." Another review aggregator, Metacritic, which assigns
a rating out of 100 based on top reviews from mainstream critics,
calculated a score of 83 based on 35 reviews, indicating "universal
acclaim". The film was nominated for the 78th Academy Award for
Best Animated Feature, but lost to Wallace & Gromit: The Curse of
the Were-Rabbit. In 2008, the
American Film Institute
American Film Institute nominated
this film for its Top 10
Animation Films list.
Justin Chang of Variety gave the film a positive review, saying "This
macabre musical about a young bridegroom who mistakenly weds a girl
from beyond the grave is an endearingly schizoid Frankenstein of a
movie, by turns relentlessly high-spirited and darkly poignant."
Kirk Honeycutt of
The Hollywood Reporter
The Hollywood Reporter gave the film a positive
review, calling it "A wondrous flight of fancy, a stop-motion-animated
treat brimming with imaginative characters, evocative sets, sly humor,
inspired songs and a genuine whimsy that seldom finds its way into
today's movies." Michael Atkinson of
The Village Voice
The Village Voice gave the
film a positive review, saying "The variety of its cadaverous style is
never less than inspired; never has the human skull's natural grin
been redeployed so exhaustively for yuks."
Owen Gleiberman of
Entertainment Weekly gave the film a B, saying "As an achievement in
macabre visual wizardry, Tim Burton's
Corpse Bride has to be reckoned
some sort of marvel." Manohla Dargis of
The New York Times
The New York Times gave
the film four out of five stars, saying "Cinema's reinvigorated
fixation with the living dead suggests that we are in the grip of an
impossible longing, or perhaps it's just another movie cycle running
its course. Whatever the case, there is something heartening about Mr.
Burton's love for bones and rot here, if only because it suggests,
despite some recent evidence, that he is not yet ready to abandon his
own dark kingdom." Moira MacDonald of
The Seattle Times
The Seattle Times gave the
film three and a half stars out of four, saying "What makes Corpse
Bride sing, ultimately, is the breadth of imagination that it
demonstrates; creating a cluttered, textured and mysteriously
beautiful world that we're loathe to leave at the end."
Liam Lacey of
The Globe and Mail
The Globe and Mail gave the film three out of four
stars, saying "Ghoulishness and innocence walk hand-in-hand in Tim
Burton's Corpse Bride, a movie that digs into Hollywood's past to
resurrect the antique art of stop-motion animation and create a
fabulous bauble of a movie." Jack Mathews of the New York Daily
News gave the film three and a half stars out of four, saying
Stop-motion animation may be the hardest and most tedious job in
Hollywood, but the makers of Tim Burton's
Corpse Bride deserve a
couple of years in Tahiti celebrating their effort." Lou Lumenick
New York Post
New York Post gave the film three and a half stars out of four,
saying "Tim Burton's
Corpse Bride is an instant classic." Lisa
Rose of the
Newark Star-Ledger gave the film three out of five stars,
Corpse Bride offers unclassifiable enchantment." James
ReelViews gave the film three out of four stars,
saying "As animated films go, this is easily the best of a weak
year." Peter Howell of the
Toronto Star gave the film four out of
four stars, saying "If his
The Nightmare Before Christmas
The Nightmare Before Christmas from a dozen
years back was a treat for the eyes and mind, Tim Burton's Corpse
Bride goes double or nothing by being a delight for the ears and also
the heart." Joe Williams of the
St. Louis Post-Dispatch
St. Louis Post-Dispatch gave the
film a B+, saying "Beneath the bone pile of allusions,
Corpse Bride is
a darkly enchanting fable in its own right."
Andrew Sarris of
The New York Observer
The New York Observer gave the film a negative
review, saying "
Corpse Bride turns out to be a ponderous mixture of
puppetry and animation that is far too technologically complex and
laborious for this hopelessly Luddite reviewer."
Roger Ebert gave
the film three out of four stars, calling it "A sweet and visually
lovely tale of love lost." Roger Moore of the Orlando Sentinel
gave the film four out of five stars, saying "The sweetness, the
visual flourishes and inspired pieces of casting carry the Corpse
Bride, if not all the way down the primrose path, then at least across
the threshold." Robert K. Elder of the
Chicago Tribune gave the
film three and a half stars out of four, saying "If Nightmare Before
Christmas was a jazzy pop number,
Corpse Bride is a waltz--an elegant,
deadly funny bit of macabre matrimony." Kenneth Turan of the Los
Angeles Times gave the film two out of five stars, saying "The film
does have a fairy-tale aspect, but, like many of its characters, it is
more dead and buried than fully alive." Claudia Puig of USA Today
gave the film three and a half stars out of four, saying "Corpse Bride
is an unexpectedly touching celebration of love told in a quirky and
Peter Travers of
Rolling Stone gave the film
three and a half stars out of five, saying "In the guise of a family
film, Burton evokes a darkly erotic obsession that recalls Edgar Allan
Poe and Hitchcock's Vertigo. It would be a test for any filmmaker, and
Burton aces it."
Steven Rea of
The Philadelphia Inquirer
The Philadelphia Inquirer gave the film three and a half
stars out of four, saying "Tim Burton's
Corpse Bride is easily the
best stop-motion animated necrophiliac musical romantic comedy of all
time. It is also just simply, wonderful: a morbid, merry tale of true
love that dazzles the eyes and delights the soul." Bill Muller of
The Arizona Republic
The Arizona Republic gave the film four out of five stars, saying
Corpse Bride is a delightful mix of strange goings-on and
imaginatively crafted puppetry, a wild ride through Burton's chaotic,
splendidly original world." Michael Booth of
The Denver Post
The Denver Post gave
the film three and a half stars out of four, saying "
Corpse Bride will
win your heart, if it doesn't rip it out of your chest first."
Terry Lawson of the
Detroit Free Press
Detroit Free Press gave the film three out of four
stars, saying "There's a happy Halloween in store even for children
who aren't allowed to trick or treat, and it's courtesy of Tim
Burton's animated Corpse Bride." Bruce Westbrook of The Houston
Chronicle gave the film three and a half stars out of four, saying
"Amazingly fluid and drop-dead gorgeous, Tim Burton's
Corpse Bride is
the best-looking, stop-motion animation film ever." Rene Rodriguez
Miami Herald gave the film two and a half stars out of four,
Corpse Bride suffers from the same problem that has plagued
Burton's recent live-action films: for all its formidable
razzle-dazzle, it doesn't engage the heart." Colin Covert of the
Star Tribune gave the film three and a half stars out of four, saying
"This vibrantly imaginative mix of horror and humor puts the f-u-n in
Corpse Bride was released on
DVD and HD
DVD on January 16, 2006.
It was released on Blu-ray on September 26, 2006. As of February
3, 2015, the film has sold 2,777,736 DVDs and 40,411 Blu-ray Discs
totaling a gross of $53,359,111 and $61,411,543 respectively for a
total gross of $114,770,654 in North America.
List of animated feature films
List of ghost films
List of stop-motion films
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Corpse Bride Movie Review
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^ Puig, Claudia (2005-09-15). "USATODAY.com - 'Corpse': Death is
beautiful". Usatoday30.usatoday.com. Retrieved 2014-03-10.
^ "Say "I do" to "Corpse Bride"; the honeymoon's a killer". The Denver
Post. 2005-09-23. Retrieved 2014-03-10.
^ "HoustonChronicle.com - Say 'I do' to Corpse Bride".
Web.archive.org. Archived from the original on 2005-09-29. Retrieved
^ "Tim Burton's
Corpse Bride DVD: Full Screen Edition". Blu-ray.com.
2006-01-31. Retrieved 2014-03-10.
Corpse Bride Blu-ray". Blu-ray.com. Retrieved 2014-03-10.
^ "Corpse Bride". the-numbers.com. Retrieved February 3, 2015.
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Tim Burton Productions
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Edward Scissorhands (1990)
Batman Returns (1992)
Ed Wood (1994)
Mars Attacks! (1996)
Sleepy Hollow (1999)
Planet of the Apes (2001)
Big Fish (2003)
Charlie and the Chocolate Factory (2005)
Corpse Bride (2005)
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Alice in Wonderland (2010)
Dark Shadows (2012)
Big Eyes (2014)
Miss Peregrine's Home for Peculiar Children (2016)
The Island of Doctor Agor (1971)
Stalk of the Celery Monster (1979)
Hansel and Gretel (1982)
"Here with Me"
The Nightmare Before Christmas
The Nightmare Before Christmas (1993)
Cabin Boy (1994)
Batman Forever (1995)
James and the Giant Peach (1996)
Abraham Lincoln: Vampire Hunter (2012)
Alice Through the Looking Glass (2016)
The Melancholy Death of Oyster Boy & Other Stories (1997)
Alfred Hitchcock Presents ("The Jar", 1986)
Faerie Tale Theatre
Faerie Tale Theatre ("Aladdin and His Wonderful Lamp", 1986)
Family Dog (1993)
Saturn Award for Best Animated Film
Watership Down (1978)
The Secret of NIMH
The Secret of NIMH (1982)
Spirited Away (2002)
Finding Nemo (2003)
The Incredibles (2004)
Corpse Bride (2005)
Monsters vs. Aliens
Monsters vs. Aliens (2009)
Toy Story 3
Toy Story 3 (2010)
Puss in Boots (2011)
The Lego Movie
The Lego Movie (2014)
Inside Out (2015)
Finding Dory (2016)
The Boxtrolls (2014)
Kubo and the Two Strings
Kubo and the Two Strings (2016)
Corpse Bride (2005)
King of California
King of California (2007)
Slacker Cats (2007–2009)
A Very Harold & Kumar 3D Christmas (2011)