{"id":52486,"date":"2017-10-26T14:18:59","date_gmt":"2017-10-26T19:18:59","guid":{"rendered":"https:\/\/uwm.edu\/news\/?p=52486"},"modified":"2023-05-10T15:46:40","modified_gmt":"2023-05-10T20:46:40","slug":"alums-watch-animation-handiwork-nightmare-christmas","status":"publish","type":"post","link":"https:\/\/uwm.edu\/news\/alums-watch-animation-handiwork-nightmare-christmas\/","title":{"rendered":"Alums watch their animation handiwork in \u2018The Nightmare Before Christmas\u2019"},"content":{"rendered":"

Two former UWM students will be watching their work on the big screen this weekend when the Milwaukee Symphony performs the live soundtrack<\/a> to the cult Halloween classic \u201cThe Nightmare Before Christmas\u201d at the Riverside Theater.<\/p>\n

Before Owen Klatte and Angie Glocka were busy movie studio animators, they spent several years in the late \u201970s taking film classes at the Peck School of the Arts and working at what was then Wisconsin\u2019s only animation studio.<\/p>\n

The couple estimate that between the two of them, they animated about 15 percent of the unlikely hit about the collision between Halloween Town and Christmas Town. As an aspiring animator but, in his own estimation, not a very good artist, Klatte found a niche in stop-motion, the painstaking process in which a puppet\u2019s limbs and face are moved a fraction of an inch by hand for each frame of film. \u201cA good animator can do five seconds a week \u2014 in a good week,\u201d Klatte said.<\/p>\n

\"Klette
Klatte and Glocka have a prop of a gate from the set of the movie in their home. (David Lewellen photo)<\/figcaption><\/figure>\n

Klatte graduated from UWM in 1976 with an architecture degree, figuring it was a field where he could be just good enough at both art and engineering. \u201cLots of animators come out of architecture,\u201d he said. \u201cIt speaks to both sides of the brain.\u201d But although he never wanted to be an architect, \u201cI learned a lot about design and how to work hard.\u201d<\/p>\n

When they moved west without film degrees in 1982, their destination was the Bay Area rather than Hollywood \u2014 it was where they could seek out George Lucas, Pixar, a predecessor of DreamWorks, and lots of work with the Pillsbury Doughboy, the California Raisins, and \u201cthe whole period of dancing food commercials,\u201d Klatte said.<\/p>\n

But it took them several years to find regular work in the field before \u201cNightmare\u201d producer Tim Burton and director Henry Selick began hiring talent for the multi-year project in the late 1980s. \u201cTo this day, it\u2019s the hardest job I\u2019ve ever had,\u201d Klatte said. \u201cBut we didn\u2019t know it would be a classic. Disney didn\u2019t know what to do with it.\u201d<\/p>\n

After characters are built and painted in one shop and costumed in another, and after a miniature set is built and lighted, it\u2019s the animator\u2019s turn. Although each character has many different heads and mouths to capture every possible expression, \u201cthe puppets often break in the middle of a scene,\u201d Glocka said. \u201cThat was a trick, swapping them out so it didn\u2019t look like a mistake.\u201d<\/p>\n

One challenge for \u201cNightmare\u201d was that Burton designed the characters with very small feet \u2014 too small to balance the weight of a puppet. The solution was to bolt the feet to the floor, which in turn meant drilling a hole in the bottom of the set for every footstep.<\/p>\n

Klatte has kept a chart for one shot from \u201cNightmare,\u201d which was 15 seconds of dialogue between Jack Skellington and Sally. Half a dozen 11×17 pages detail frame-by-frame movements for face, body, right hand, left hand. \u201cThe puppets have to hit their marks like a regular stage mark,\u201d Glocka said. The director would stop by every day to talk about progress, but otherwise, once the scene is set up, stop-motion is a pretty lonely process.<\/p>\n

\u201cI had a scene with 15 characters moving at the same time,\u201d Glocka said. \u201cThat\u2019s when I started going gray.\u201d<\/p>\n

Like everything else, stop-motion has changed with technology \u2014 video assist is a faster and easier way to measure movement than the old metal gauges. But Klatte thinks computer-generated animation will never replace it entirely.<\/p>\n

\u201cEveryone remembers the crushing day when we found out that \u2018Jurassic Park\u2019 was going to be done with computers,\u201d he said \u2014 the original plans for the 1993 dinosaur epic had actually called for stop-motion. \u201cBut it hasn\u2019t killed stop-motion yet. It\u2019s still cheaper, and it has that hands-on aesthetic. People like that funky look.\u201d<\/p>\n

After \u201cNightmare,\u201d Klatte worked on \u201cJames and the Giant Peach\u201d and Glocka worked on \u201cToy Story,\u201d among other credits. They moved to Southern California in 1998 and spent a decade doing mostly computer animation, including \u201cHarry Potter and the Deathly Hallows,\u201d for which Klatte supervised all shots involving the dementors.<\/p>\n

But movie work involved more and more travel \u2014 the \u201cHarry Potter\u201d work meant six months in Australia \u2014 and the couple decided to make a change in 2013. They moved to Shorewood to be close to family and to \u201cwatch a Packer game without driving cross-country,\u201d Glocka joked. Their daughter, Julia, graduated from Shorewood High School in 2016.<\/p>\n

While Glocka is busy with gardening and beekeeping at her late father\u2019s house in West Allis, Klatte now teaches animation part-time at UWM. His average load, he said, is teaching introduction to stop-motion every semester, and somewhat less often, the business of animation \u2014 \u201cbecause I\u2019ve been a boss, I\u2019ve started studios. I tell them how to put together a good demo reel, and where the industry is and where it\u2019s going.\u201d<\/p>\n

This story originally appeared in different form on the Milwaukee Symphony website.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Owen Klatte and Angie Glocka helped bring director Tim Burton\u2019s unique vision to life by providing animation for \u201cThe Nightmare Before Christmas.\u201d Just in time for Halloween, the movie will be screened with live accompaniment by the Milwaukee 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