Tim Burton's blockbuster rendition of the classic fairytale Alice in Wonderland comes to DVD, Blu-ray and three-disc Blu-ray on June 1st. To help celebrate this upcoming release, we recently went behind the scenes with artist Dermot Power, who was hired in February of 2009 to help Tim Burton with post-production visuals on Alice. He also helped create in-camera artwork as well as marketing illustrations for the film, which includes state-of-the-art DVD and Blu-ray menus.

Mr. Power offered us a look at some of his artwork, which you will see in the images below, as well as engaged us in a very interesting conversation about working on this particular project. Here's what he had to say:

Dermot, talk a little bit about when you first got the call for this film. Give us some insight into your work with Tim Burton.

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Dermot Power: Yes, I got a call from Tim Burton's assistant. And I've worked with Tim Burtonin the past on Charlie and the Chocolate Factory and - but there was a big team of concept artists on that, and I never actually met Tim Burton himself, but he knew my work. So he sort of asked his assistant to track the guy who did that type of stuff on the other film down, and he wanted to have a chat. So I went in and had a chat with him. And yes, so he was quite (led) into the production of Alice in Wonderland and was trying to get the design and look of the film you know to match his vision. And it was a dream come true for me, because I'm a big fan of Tim Burton, and to sit there and have a chat with him, and I'm obviously a big fan of Alice in Wonderland. In fact, I've worked on another Alice in Wonderland production about 10 years before. So you know I love - it was a great opportunity. And the bonus was that, while I was having a chat with Tim Burton, he said, "Well, where do you want to work?" And he said, you can work here in the editing, where he was, or from home or - and then he said, "But you know - you know Arthur Rackham?" And I'm like, "Yeah, of course." Arthur Rackham is the 19th century illustrator of Alice in Wonderland and I'm a huge fan of his work. And Tim Burton was like well, 'I bought his studio. So do you want to work in the studio?' So that was where I ended up working for almost a year. Tim Burton bought this studio which just happens to be very near where he lives in London and he set up an office there himself. And then I was up in the attic like the artists in the garage. Yes, it was great. It was great opportunity.

Brilliant. I can imagine the inspiration you got from that.

Dermot Power: Yes.

Could you explain the construct of Alice, as she is first approaching Wonderland.

Dermot Power: The shot where she is running through the woods? So that shot was one of the very first shots I did. What I did was, I did a very quick sketch for Tim Burton of what I felt the woods should look like. Have that feel, the feel for them which he really liked. And then I took distance from an edited sequence so I knew exactly where - I mean Alice is just a figure in a green environment. And there was nothing in it. And what was important to me was to have - with all the things that I designed is contrasting forms. So you know Alice is running straight into the woods on a straight path and crossing her path is this straight tree and then off that you have these very curved shapes that the trees, twisting trees and twisting ferns. And of course when you work for Tim Burton you attempt to find spires you know and excuses for drawing them everyplace so that was the thinking there. And very dark and lines...menacing out in the field I wanted to go for. In fact I did a much more detailed visual of the same shot and when Tim Burton saw it he was like 'yes, that's cool' but you know we don't - he didn't need me to do that. He wanted me to do the quite sort of very impressionistic - I don't want to say simple, but minimalist illustrations that go to the point and didn't hide the point of the design and the detail. I think before I had arrived on the firm there were a lot of beautiful t-frames illustrated by some of the guys and people like that at Sony. And I think the problem with that is their's is so finished and beautiful it's a little distracting so Tim Burton asked me to come in and just do these quite minimalist, but strong concepts for the shapes and the things that she'd see in Underland.

Great. Let's move to the next image of Alice as she is miniaturized. And can you talk a bit about the combination of incorporating the live action imagery into artwork.

Dermot Power: Yes, sure because the sequences were already edited. So I had kind of the luxury of working on what was going to be the final edited sequences in the film which is very unusual. Usually that's because I came in quite late and into the production I had that luxury. So, again it's quite simply done. The painting of the various elements around her but their very, very carefully placed if you know what I mean. So those dandelion clocks and all these kind of little elements, I tried to place them so that it's a very kind of pleasing composition. But again very simply done, not, I think what it is when I design I like to leave a lot of creative input to the person next along the line. So I prefer to work to that level and then people can put their details and colors and everything in afterwards. But, let me think about what else I can say about that. I think next is maybe the Hatter.

Is the Hatter in the concept piece?

Dermot Power: Yes that's purely a concept, in that it doesn't, it's not taken from any other edit or anything. It's just a moment that Tim Burton was trying to think about that hat which was on top of the may pole, in the scene where the Mad Hatter is trying to...it's like a symbol of what has happened. I mean that didn't end up in the film actually. But it was sort of trying to think about scale of the hat to the Hatter and that's quite a conversational piece. I love drawing it to engage in a dialog, conversation with Tim Burton about what he's thinking about the scene. Rather than the previous image which was very directly drawn to guide the animators and people afterwards as to where things should be in the sequence. This is more kind of a discussion piece. I remember Tim Burton had in mind what he wanted for that sequence where the village is being, Mad Hatters village is being burned out, it was very, very tricky to get what he needed because it needed to be quite minimal. And I was trying to, I was looking for symbols to put across what had happened. And the top hat, the Hatter looking under the hat. I don't know if you see that little skull under there. That would have never had made it in a Disney Alice in Wonderland. Maybe a Tim Burton one but yes, I don't know what I was thinking there.

Definitely, let's move to the next piece. Now you also did some design work on props.

Dermot Power: Yes very little. I did a couple of different pieces of props. My role kind of became whatever Tim Burton would throw at me I would solve it. So if he needed me to do a prop I would do the prop. And in fact the dodo, what was quite funny was I did another, maybe I should have sent you that. I did another exact visual of the dodo carrying the flamingos in the caddy, croquet caddy, and I completely got it wrong. In that I had it that the pelicans were trying to burst out of the caddy and they were full of energy and they were, and the dodo was like being crushed by the weight of this and he was sweating and it was completely a different take on it. And Tim Burton came in and he looked at it and just was, because he doesn't say an awful lot. And he just went, ohh ahh, like that. I mean it was completely wrong. And he just went, no like this, he drew that essentially, I mean I drew that what you're looking at but he very quickly did a sketch. What's wonderful about working for a director who can draw is that he can explain himself, he doesn't need to say anything he can just do a quick sketch.

Absolutely. We're now looking of course at the image with the red queen and the flamingo and the croquet match.

Dermot Power: It's more to the left of the flamingo, but the background, it's just to design all the shapes that would be behind her head. That's sort of how I like to design. I don't think there's any confusion in about what that background is, even if it isn't full of photographic detail.

And moving on to the chambers.

Dermot Power: Yes, I think Tim Burton wanted the inside of the palace to reflect the crazy kind of shapes and crazy world that you see from outside. And for inspiration I actually had a researcher dig out as many strange and extraordinary buildings as I could, that I tried to do it myself, I love working with researchers because that way when I'm drawing something else they start digging things out. And that's actually very inspired, now I can't remember the name but we might have to dig that out, it's a hotel. It has very similar kind of...it's got that swirling kind of cast ceiling, it's based on a real thing. I think Tim Burton wanted everything to look really kind of bonkers and it was really nice to find some actual architecture that was almost as bonkers. I mean it's not exactly it, but its inspired by it. Yes.

Well speaking of architecture that's inspiring, looking at the next slide, if you talk a bit about this.

Dermot Power: Yes, again this is part of the sequence where she arrives at the palace and then goes on to the moat of heads. The real sort of doing this is to put across some of that sort of Tim Burton gothiness. I wasn't really designing, I didn't design the palace though. It had already been done, it was more a case of saying, you know if you guys can find an angle, to give you a flavor of these gothic arches and spiral, that would suit what Tim Burton's looking for. You've moved on to the red queen looking down at the floating heads?


Dermot Power: Yes. That's quite an interesting one because I wasn't familiar with all of the script and everything that was happening. I mean I read the script and forgot some of it but when Alice was jumping across the heads I got it wrong. I thought it was, that she was jumping across giant heads and not that she was tiny. Which was kind of stupid of me to think that. So I kept, this sequence, I kept drawing the heads quite big and then Tim Burton would come in and go, yes they need to be a little smaller. And then I'd keep making them smaller and smaller and smaller and eventually I was like are these supposed to be human sized heads?


Dermot Power: Yes, yes, yes, but because he doesn't say an awful lot it took me redrawing it, and redrawing it, and redrawing it, but that sequence of her looking in the, down on the moat is, I was really pleased because it's a lock shot it was almost exactly like that in the film. That's what Ken Ralston's team did, which was amazing there, it's really beautiful. The shot where she's jumping across again that's a more finished illustration because Tim Burton was going to the San Diego Comic Con and they wanted some artwork to show from the film and so that was a more simple illustration but I kind of tightened it up a little bit. That's why you're seeing a rare color one. So I think the other one was as well where the queen was looking down on the head. It's quite important to Tim Burton as well when I'm doing these visuals that I don't bring it up to a level of detail that's trying to mimic the film. Because the film, you don't want to, I mean for my own personal way of designing I don't see the point in that, I think designers are trying to inspire and help get to the final vision. But I'm not so sure you need ever to pretend that the frame is the final shot, film sequence, a shot from the film. And I think Tim Burton appreciated the fact that I paid a lot of attention to the kind of light and the mist and everything. You don't look at that and think oh this is a frame from the film. It's still quite painterly, which I think he really likes.

Absolutely. Let's move on then to the next shot of the executioner.

Dermot Power: Yes this was actually part of the...somebody else had done a much wider illustration so I knew the architecture and the heart shaped executions block is from another illustrator's work and Tim Burton just asked me to put more stuff into the background. So I did the illustration of the arches and the high gate with the heart in it and all that kind of difference. And I redrew the executioner and things like that. I was trying to get them to change the design of the axe because I thought it was more -- the axe that was in the film it's heart shaped. And one of the problems with the hearts shape is it's a very friendly warm kind of, almost motherly shape, to be Freudian about it. And the axe I thought didn't really look threatening enough. So I wanted a more gothic arch put into it but it was too late. It had already been built so, and Tim Burton was more than happy with the other one. Also the little details because that's where the jubjub bird is released from. So that would be the reason for doing that.

Nice. Moving on to a couple of the early Jabberwocky images.

Dermot Power: They're actually very late Jabberwocky images, because they already had it done, I think they were well on their way to doing the Jabberwocky. And I think Tim Burton gets notions and ideas and he just wants to explore them and he said oh have a go, because I think what happened is at one point the Jabberwocky that ends up in the film is mostly, it's very similar to a dragon, traditional dragon but it doesn't fly in the film. And there was a decision made at some point by Tim Burton that it wouldn't fly that it would walk through the woods. And then he was wondering if he needed to change the design completely. So, again, to help him think about it, I'll just do a couple of drawings. And the one on the left is very much based on the Jabberwocky from John Tenniel's 18th century illustration, from the original book. And I also, when I looked at that illustration, I looked at it as if it was a puppet on strings, if you know what I mean? So when you look at that, if you imagine what my thinking with this, it should be hanging there as if the loose head and limbs have been held by strings. That's the kind of look I was going for. Also, because every dragon has been done, it's so difficult to come up with a new one. I just thought I wouldn't do a dragon. I'd just do something completely different. And the one on the right, again, it's more like a demon or something. I think Tim Burton liked them, but then they went with the original design anyway. So, fun to do, though. Great fun to do.

Absolutely. And then, last one for your concept pieces, we do have a few slides of some of the final artwork that, as you mentioned, appeared in the film.

Dermot Power: Yes.

Can you talk a bit to these?

Dermot Power: Yes. During the designing of some of the inside of the palace, I've put in a lot of picture frames and then of course they needed to be filled with something. And Tim Burton was like, 'well, what are you going to do?' So I was, 'oh, I'll just build scenes and sequences from the original Alice in Wonderland book.' So that's the lion and the unicorn and I think represent - I'm trying to get my history right here, but represents the two sides of the British Empire in the 18th century - 19th century. So it was a great excuse for me to just paint some crazy stuff from the originals books. At that point - I've been on the film about eight or nine months and I think Tim Burton trusted me to - you know, he knew I got into his mindset. I knew what he liked, and I think he trusted me to just kind of risk on these things. So because they were just going to be a theme in passing in the frames, they didn't need a lot of art direction from him. It was kind of like, just do whatever. And then the mural, and the red-green on the Jabberwocky, that was because when I revised the throne room and the sequence where the Mad Hatter walks in through the doors and is being presented to the queen, the walls looked a little bit grey and dark and dank, and I thought, you know. So I suggested to Tim Burton, like, I'm going to get the name wrong, but what's the castle, that palace in Germany?


Dermot Power: Yes. That's the one. There are beautiful murals on the walls in that palace, so I said why don't we do something like that but have it really, really faded, like it's been up there for years? And so I did. And so I painted it, and then the way the tone and colors are laid out, (embossed) on those little corners and all these things, don't really mean anything, except that when they were in the sequence, it balanced all the little colors out. So in the red rooms and the blue rooms, it just adds in the shot where you are. Again, because they were so faded and scrubbed out, you're just going to get an impression of something being there, these guys are ancestors - very obviously, the one of the left is sort of inspired by Henry the Eight. And, yes, they had the heart motif, wherever we could put it in. And because it's something you're going to see so quickly in the film, of course you can pause the DVD now, but there's not a huge amount of detail there, but I think it's just the right amount for a quick little shot. And even though he's quite extreme in his anatomy, I mean, he actually is quite similar to - I think King Henry the Eight was probably even bigger and (bolder). And the one on the right, that was towards the end of the film, I just thought I'm going to go mad here. I'll just draw some really crazy shapes and - you know, in the style that I really love to work in and not try to be imitating (inaudible) painter (that kind of thing), just to see what would happen. And Tim Burton really loved that, so he was like, yes, yes. The crazier the better, which is probably not surprising as well.

Well, beautiful work. And I want to move on to your extraordinary work in the Oraculum, which I think will set the stage for the importance of this particular prop and your design work within it. An important (McGuffin) in this story. Talk about how this was approached. And not only from a design standpoint but in terms of story.

Dermot Power: From the design point theory, I think that a placeholder for the Oraculum with some of the Tenniel illustrations. And a couple of other bits and pieces, again it was one of those things where I was chatting to Tim Burton about it and I just said well if you want me to I'll bash it and illustrating it I'd love to do it, (I'll have a go). I think originally we talked about doing it in a kind of John Tenniel style and part of the problem is doing that as illustrations from a book work in the context of the book and it's weird when you try to ape that style for another thing like the Oraculum. It didn't quite work as well. That's my excuse for very quickly just doing it the way I like to draw. So what I did was I said OK this thing is going to end up being a foot and a half or two feet tall by I don't know maybe 8-10 feet. It's going to be huge so. I'm not sure how much time we have. So what I did was I started on the sequences that I knew the camera was definitely going to be on. Obviously where Alice is looking at the Oraculum and the sequence where she's fighting the Jabberwocky, and the idea was that it should look like an illustrator's version of events and not an exact copy of it. Because I could have taken the actual green screen sequences and traced the Oraculum illustrations over it but I think Tim Burton wanted it to look like it was an artist impression. And so what I did was I did very detailed illustrations of the main part and then for the left and right, because they would end up in the camera, possibly in the camera I then just illustrated whatever. And again like the, I just randomly picked scenes from the film or characters from the film and just kind of illustrated them in there in a way that, because the viewer in the cinema, in the theater just wants to get an impression that the Oraculum doesn't stop at that point that you're looking at. So it was really enjoyable to do. And then I think late in the process it was decided that maybe we should have a 3D element that you can separate out the different layers of the scene. Which meant that the Oraculum took, I don't know, 3 times longer to do because I then have to cut out Alice and the Dodo and the mushrooms and then put them on a separate layer and illustrate everything behind her. So there's layered versions of the Oraculum where you can switch each character off and there's details in behind. Which was it was great fun to do that. Again this film project gave me a chance to do every kind of art style that an artist is apt to do. From very chunky paintings and murals to these, I end up doing these very tight line drawings. It was great fun. Yes.

A lot of great variety. It is the Oraculum that's being utilized as part of the living menus on the upcoming Blu-ray release of Alice in Wonderland and so we're going to kind of stroll through these particular images that are broken down, not only of your drawings, but also the screen imagery of the menus and, perhaps if you could talk just a bit about how these were integrated and utilized in the set up of the Blu-ray...

David Jessen: Well when you enter the Blu-ray this is our other menu system and in the U. S., Mexico and Canada currently we call it our living menu system. So if you're BD Live connected what happens is, the very first thing that occurs is that whatever your weather is in your particular climate, Dermot was very generous and gracious to design new Oraculum art for us that features whatever that is, either it's a sunny day, a cloudy day, a rainy day, a snowy day, a clear night, a cloudy night, a rainy night, a snowy night, and the cool thing is that this is new Blu-Ray exclusive material that you can get nowhere else. So it's pretty cool. Also if you're not on BD Live connected the fact that you get to see the Oraculum in its entirety, I believe it's the...

Dermot Power: Pretty much its entirety, yes.

David Jessen: It's the first opportunity also a person would have to actually see it laid out for them in the menus and have it and own it.

We're running edited sequences of these various illustrations, Dermot if you could talk a bit about these.

Dermot Power: Oh it's fantastic, I'm just bowled over by what you guys have done, and it's beautiful. No because its seeing my drawings come to life like that, it's just fantastic. Well done that's beautiful. All the clarity.

If you can just talk a little bit about how this works. When you turn on your disk.

David Jessen: If you're BD Live connected and you put your disk in, it's automatically going to pin your local weather through the BD Live system in the States and in Canada and the U. S. and Mexico and it will load these pieces of art and these little animations that we have done. Like its right here it's showing that if it's raining in your climate it's going to be raining on screen in the Oraculum magically. And it will depend on whatever it is, if it's sunny you'll have a beautiful sunny image, if it's snowing you'll have some snow. It's just a magical way to bring your Blu-ray Disk to life.


Dermot Power: Looks fantastic.

Dermot, in terms of creating this type of art work, did you have to do anything above and beyond just the standard illustrations?

Dermot Power: I think what you guys have done its fantastic to see it now real, it's the first Time I'm seeing it. It's beautifully realized. The rays of the sun coming out, that's absolutely perfect. It was difficult because you didn't have a defined boarder and for ink drawings, you know if you do cloudy night for example it can be a little difficult just knowing where to border what you're doing and things like that. Really it's just an excuse for me to feel like a traditional book illustrator for a week or so, or a few days. I really enjoyed doing it. But yes it's great to see it being used so, so beautiful.

There's a sequence of the additional art, Oraculum artwork that is also on the DVD menus.

David Jessen: What's wonderful is, we at Disney are always trying to find a way to extend the film experience organically and work with the film talent to do that, and I think this is the perfect example of that.}

Jim Davy: When we first saw Dermot's Oraculum art we just thought what a perfect way to have that be the theme for the menus for the whole disk experience.

Dermot Power: Yes that's great, and to have something made drawn for the film which can be the end of its existence and have another life outside of it is kind of a rare opportunity for me. To tell you the truth it's fantastic.

David Jessen: Obviously we don't have the text on this yet but the menu text would be on the left side there, obviously. But we wanted to show Dermot's art.

Dermot Power: Great.

We're going to run some of these other images, kind of a comparison of your drawings to the menu pages. Can you talk just a bit about each of these pieces?

Dermot Power: Yes. I'm trying to imagine how somebody would draw them in the 19th century. In fact the Jabberwocky is based on the one in the film but I deliberately made it quite different in some of its shapes, it's not, it's in fact toward the end I did say to Tim Burton, do you want me to go back in and make it look more like what was in the film. He was like no, no, no we want it to be obviously illustrated, kind of thing. Yes the thing about the Oraculum is you end up being brought in to it by the White Night who is, you know I love that character because it's what Lewis Carroll ...I mean that's basically, he is the White Night. Lewis Carroll based that character on himself. And then you're going out the other side in this ship going into the sunset and I like the feeling of your leaving the Oraculum even though the Oraculum is meant to be continuous and ongoing it was kind of a nice little end, stop. Yes that's the White Night shivering on his horse. I also like the idea that when you're being brought into the Oraculum you see Humpty Dumpty, this crazy little creature coming the other way as if you're on the way to some festival and your coming across some, you know some mad crazy people who have just been enjoying themselves at the festival and you get the sense of what it's going to be like meeting the people coming out of it. So that's fun. I think in the original Oraculum, Humpty Dumpty is faced the other way but for the revision I've turned him around. And now I'm looking at myself sitting exactly where I am sitting now.

Gentleman any other thoughts or comments about the menus and the utilization of the art work?

David Jessen: No. Just it's wonderful to partner with the filmmaking community whenever we can on these titles.

Yes I think this is a terrific example of kind of continuing the story into the process of the DVD, Blu-ray and DVD experience. Please check with your markets on the release dates of when "Alice in Wonderland" will be out. I know in the U. S. it is June 1.

I wanted to ask a question about the menus, concerning the living menus and these seem to be more the norm back when DVDs were being pumped out and they seemingly been scraped recently sadly I think, especially with Blu-ray. What made the decision to go with the more intricate menus and kind of utilize some of the Blu-ray technology where it seems like it hasn't been utilized properly I think enough?

David Jessen: It's funny that you say that I mean, because at Disney, and I head up creative productions for DVD and Blu-Ray we've been, menus have always been integral to the experience. We always try to make menus organic to the entertainment experience so it's a holistic experience and with living menus we did use them on Sleeping Beauty. We then followed up with Earth and we had them on Snow White and the Seven Dwarfs [3 Discs] [Blu-Ray/DVD] so the magic mirror had artificial intelligence so whenever you put your disk in he would say something new to you and he knew what the weather was and were now continuing it with Alice in a different way. So be sure to check out those other disks.

Dermot you were talking about the variety that you're able to do on this film as far as the different styles your able to do. Maybe you can talk about, was this kind of the biggest draw for you or was it more working with Tim Burton?

Dermot Power: To me it's working with Tim Burton really. The thing is when I started, as often happens in film, it was quite late in the production and Tim Burton asked me to help out visualize, come up with the environments behind the green screen edits. And I was meant to be in it for, actually I was due to start another production and I had to cancel it because Tim Burton said oh I just need you for 6 weeks maybe and then it just expanded. And so I had no idea when I was starting, the range of work I would end up doing and I think what happens is because I was around Tim Burton, he was downstairs or literally in the attic of the Building, whenever it would occur to him, he had an idea or something to do and we talked about it, I would go 'OK I'll just draw it.' So it was one of those things that whatever he would throw at me I would just go 'oh lets, I'll have a go, I'll have a go,' and it was never, it was very casual. And so from doing the Oraculum I was like 'I'll have a go if you like.' And because I've been working as an illustrator for I don't know 20 years or something, working in the film industry 15 years, I've kind of developed a wide range of styles for different things. So I'm not intimidated by trying anything and because Tim Burton is an artist he's not fearful about asking for anything. He can read very quickly whether a design or drawing is working. So it's not as if a director who is not sure is asking you to do things and then is not sure, he's sure immediately. And so not everything worked but most of the things I was doing he was like yes, yes just keep going. And it was really, really enjoyable. But the draw in the first place was just to work with him. Because I know he's great fun to be around and to work for and he's a real visionary. And he drags the best out of people. And I think we talked about this before we started that a lot of the kind of motion captured, live action crossovers have been done up in them. But I think Tim Burton used the tools that have been developed, including the skills that have been developed over the last few years at Sony for other productions. And he just knows how to get the best out of people and I kind of knew that if I was working around that environment was going to be really creative and really energetic and a bit crazy and hard to predict what was going to happen. And it doesn't get more fun in life than being asked to do what you do and then not being absolutely sure what tomorrow's going to bring. It was wonderful.

Because of the range that your able to play with, what would you say of all the pieces you did for Alice was the most maybe challenging or time consuming piece that you did.

Dermot Power: Well the Oraculum was the most challenging but it needed to work on the screen; it needed to work when you saw it very quickly and if you saw it very closely. And also we didn't want it to look modern. It was a bit of a challenge but I went out and I worked completely digitally. And I have done that for the last 15 years. But I've like 8 or ten years before that when I worked traditionally with paint and ink and everything. So I had to go out and buy nibs and ink and draw a little bit in the real world on real paper to make sure it looked and then scanned it in and make sure it looked correct. Doesn't have that line wave and everything. So that was technically kind of difficult. But I'm trying to think if anything else was, not everything was. I think when you work a long time in the film industry you get used to; it's all about puzzle solving, about doing what's appropriate. So I never really thought all this was too difficult. Not really.

OK, on the Oraculum did you, did you have input as far as what would be animated or...

Dermot Power: No, no.

Ken Ralston) and his team at Sony sort of said can you do some layers, well actually they asked me to, can I send over some layers, but I don't really work in layers digitally. So no not really, and then of course when it came to the Blu-ray menu all the ideas were {no_person and his team. I'm right about that, not crediting the wrong people?

Jim Davy: Yes we took Dermot's art for the menus and we saw that in the movie the team there animated certain sections and we thought that would be fun to do the same thing for the menus and animate certain things, clock hands moving, leaves blowing through, some subtle details of animation throughout the menus.

Dermot Power: Yes it's great, it's like here's a crazy idea, go for it. It's great. Yes.

Tim Burton's Alice in Wonderland comes to DVD, Blu-ray and three-disc Blu-ray on June 1st, 2010.