Sleepy Hollow (film)
Theatrical release poster
|Directed by||Tim Burton|
|Screenplay by||Andrew Kevin Walker|
|Based on||The Legend of Sleepy Hollow
by Washington Irving
|Music by||Danny Elfman|
|Edited by||Chris Lebenzon|
|Box office||$206.1 million|
Sleepy Hollow is a 1999 American gothic horror film directed by Tim Burton. It is a film adaptation loosely inspired by the 1820 short story "The Legend of Sleepy Hollow" by Washington Irving and stars Johnny Depp and Christina Ricci, with Miranda Richardson, Michael Gambon, Casper Van Dien, and Jeffrey Jones in supporting roles. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.
Development began in 1993 at Paramount Pictures with Kevin Yagher originally set to direct Andrew Kevin Walker's script as a low-budget slasher film. Disagreements with Paramount resulted in Yagher being demoted to prosthetic makeup designer, and Burton was hired to direct in June 1998. Filming took place from November 1998 to May 1999, and the film was released to generally favorable reviews from critics, and grossed approximately $206 million worldwide. Sleepy Hollow won the Academy Award for Best Art Direction.
In 1799, New York City police constable Ichabod Crane (Johnny Depp) is deployed to the Westchester County hamlet of Sleepy Hollow, New York, which has been plagued by a series of brutal slayings in which the victims are found decapitated: Peter Van Garrett (Martin Landau), a wealthy farmer; his son Dirk; and the widow Emily Winship. Crane learns that locals believe the killer is the undead apparition of a headless Hessian mercenary from the American Revolutionary War who rides a black steed in search of his missing head.
Crane begins his investigation, remaining skeptical about the paranormal elements until he actually encounters the Headless Horseman, who kills the town magistrate, Samuel Phillipse (Richard Griffiths). Boarding at the home of the town's richest family, the Van Tassels, Crane is taken with their daughter Katrina (Christina Ricci). Crane and Young Masbath, the son of one of the Horseman's victims, go to the cave dwelling of a reclusive witch. She reveals the location of the Tree of the Dead, which marks the Horseman's grave, as well as his portal into the natural, living world.
Crane discovers that the ground is freshly disturbed and the Horseman's skull is missing. That night, the family of the village midwife is killed by the Horseman and Katrina's suitor, Brom van Brunt (Casper Van Dien) is also killed trying to stop the Horseman. The Horseman doesn't attempt to interact with or harm van Brunt until he has no choice; from this, Crane hypothesizes that the Horseman is attacking select targets, and that whoever dug up and stole the skull is the person controlling the Horseman.
Crane starts to believe that a conspiracy links all the deaths together, so he looks into Van Garrett's last will. Van Garrett had made a new will just before he died, leaving all his possessions to his secret new bride, Emily Winship, whom Crane discovers was pregnant with Van Garrett's child. Crane deduces that all who knew about the new will, the marriage and the pregnancy were the victims of the Horseman and that Katrina's father Baltus Van Tassel (Michael Gambon), who would have inherited the fortune, is the person holding the skull. Katrina, finding out that Crane suspects her father, burns all the evidence that Crane has accumulated.
A council is held in the church. The Horseman seemingly kills Katrina's stepmother, Lady Van Tassel, and heads off to the church to get Baltus. Crane realizes the Horseman can't enter the church due to it being holy ground. A fight breaks out between the village elders in the church resulting in the deaths of Reverend Steenwyck and Doctor Lancaster, only ending when the Horseman harpoons Baltus through a window, dragging him out and acquiring his head. The next day, Crane believes Katrina to be the one who controls the Headless Horsemen.
Crane later becomes suspicious when he realizes the diagram made by Katrina he thought summoned the Horseman is really one of protection, and also that the corpse of Lady Van Tassel has a wound that seems to have been caused post-mortem. The corpse is revealed as that of a servant when Lady Van Tassel (Miranda Richardson) emerges alive to ambush Katrina. Lady Van Tassel tells Katrina that her family was driven from their ancestral home by the Van Garretts, and that she became a witch and summoned the Horseman to kill Van Garrett, his new wife and unborn child and every villager who knew about the new will. She then sends the Horseman after Katrina to remove the last obstacle to inheriting Van Garrett's land.
Following a fight and a stagecoach chase, Crane eventually thwarts Lady Van Tassel by throwing the skull to the Horseman, who reattaches his head to his body and breaks Lady Van Tassel's curse. The Horseman, no longer under her control, simultaneously kisses and bites her, and hoists her up on his horse. He then rides to Hell, taking her with him, fulfilling her end of the deal with the Devil. Crane returns home to New York City with Katrina and Young Masbath, just in time for the new century.
- Johnny Depp as Ichabod Crane
- Christina Ricci as Katrina Van Tassel
- Christopher Walken and Ray Park as The Headless Horseman
- Marc Pickering as Young Masbath
- Casper Van Dien as Brom Van Brunt
- Michael Gambon as Baltus Van Tassel
- Miranda Richardson as Lady Van Tassel/Crone Sister
- Jeffrey Jones as Reverend Steenwyck
- Richard Griffiths as Magistrate Samuel Philipse
- Ian McDiarmid as Dr. Thomas Lancaster
- Michael Gough as Notary James Hardenbrook
- Christopher Lee as the Burgomaster
- Claire Skinner as Beth Killian, the Midwife
- Steven Waddington as Killian, Beth's husband
- Alun Armstrong as the High Constable
- Martin Landau as Peter Van Garrett
- Peter Guinness as Lord Crane, Ichabod's father
- Lisa Marie Smith as Lady Crane, Ichabod's mother
- Jessica Oyelowo as Sarah
- Sean Cronin as Prisoner
In 1993, Kevin Yagher, a make-up effects designer who had turned to directing with Tales from the Crypt, had the notion to adapt Washington Irving's short story "The Legend of Sleepy Hollow" into a feature film. Through his agent, Yagher was introduced to Andrew Kevin Walker; they spent a few months working on a film treatment that transformed Ichabod Crane as a schoolmaster from Connecticut to a banished New York City detective. Yagher and Walker subsequently pitched Sleepy Hollow to various studios and production companies, eventually securing a deal with producer Scott Rudin, who had been impressed with Walker's unproduced spec script for Seven. Rudin optioned the project to Paramount Pictures in a deal that had Yagher set to direct, with Walker scripting; the pair would share story credit. Following the completion of Hellraiser: Bloodline, Yahger had planned Sleepy Hollow as a low-budget production—"a pretentious slasher film with a spectacular murder every five minutes or so." Paramount disagreed on the concept and demoted Yagher's involvement to prosthetic makeup designer. "They never really saw it as a commercial movie," producer Adam Schroeder noted. "The studio thinks 'old literary classic' and they think The Crucible. We started developing it before horror movies came back."
Paramount CEO Sherry Lansing revived studio interest in 1998. Schroeder, who shepherded Tim Burton's Edward Scissorhands as a studio executive at 20th Century Fox in 1990, suggested that Burton direct the film. Francis Ford Coppola's minimal production duties came from American Zoetrope; Burton only became aware of Coppola's involvement during the editing process when he was sent a copy of Sleepy Hollow's trailer and saw Coppola's name on it. Burton, coming off the troubled production of Superman Lives, was hired to direct in June 1998. "I had never really done something that was more of a horror film," he explained, "and it's funny, because those are the kind of movies that I like probably more than any other genre." His interest in directing a horror film influenced by his love for Hammer Film Productions and Black Sunday—particularly the supernatural feel they evoked as a result of being filmed primarily on sound stages. As a result, Sleepy Hollow is a homage to various Hammer Film Productions, including Dr. Jekyll and Sister Hyde, and other films such as Frankenstein, Bride of Frankenstein, various Roger Corman horror films, Jason and the Argonauts, and Scream Blacula Scream. The image of the Headless Horseman had fascinated Burton during his apprenticeship as a Disney animator at CalArts in the early 1980s. "One of my teachers had worked on the Disney version as one of the layout artists on the chase, and he brought in some layouts from it, so that was exciting. It was one of the things that maybe shaped what I like to do." Burton worked with Walker on rewrites, but Rudin suggested that Tom Stoppard rewrite the script to add to the comical aspects of Ichabod's bumbling mannerisms, and emphasize the character's romance with Katrina. His work went uncredited through the WGA screenwriting credit system.
While Johnny Depp was Burton's first choice for the role of Ichabod Crane, Paramount required him to consider Brad Pitt, Liam Neeson and Daniel Day-Lewis. Depp was cast in July 1998 for his third collaboration with Burton. The actor wanted Ichabod to parallel Irving's description of the character in the short story. This included a long prosthetic snipe nose, huge ears, and elongated fingers. Paramount turned down his suggestions, and after Depp read Tom Stoppard's rewrite of the script, he was inspired to take the character even further. "I always thought of Ichabod as a very delicate, fragile person who was maybe a little too in touch with his feminine side, like a frightened little girl," Depp explained. He did not wish to portray the character as a typical action star would have, and instead took inspiration by Angela Lansbury's performance in Death on the Nile. "It's good," Burton reasoned, "because I'm not the greatest action director in the world, and he's not the greatest action star." Depp modeled Ichabod's detective personality from Basil Rathbone in the 1939 Sherlock Holmes film series. He also studied Roddy McDowall's acting for additional influence. Burton added that "the idea was to try to find an elegance in action of the kind that Christopher Lee or Peter Cushing or Vincent Price had." Christina Ricci, who worked with producer Scott Rudin on The Addams Family, was cast as Katrina Van Tassel. Sleepy Hollow also reunited Burton with Jeffrey Jones (from Beetlejuice and Ed Wood) as Reverent Steenwyck, Christopher Walken (Max Schreck in Batman Returns) as the Hessian Horseman, Martin Landau (Ed Wood) in a cameo role, and Hammer veteran Michael Gough (Alfred in Burton's Batman films), whom Burton tempted out of retirement. The Hammer influence was further confirmed by the casting of Christopher Lee in a small role as the Burgomaster who sends Crane to Sleepy Hollow.
The original intention had been to shoot Sleepy Hollow predominantly on location with a $30 million budget. Towns were scouted throughout Upstate New York along the Hudson Valley, and the filmmakers decided on Tarrytown for an October 1998 start date. The Historic Hudson Valley organization assisted in scouting locations, which included the Philipsburg Manor House and forests in the Rockefeller State Park Preserve. "They had a wonderful quality to them," production designer Rick Heinrichs reflected on the locations, "but it wasn't quite lending itself to the sort of expressionism that we were going for, which wanted to express the feeling of foreboding." Disappointed, the filmmakers scouted locations in Sturbridge, Massachusetts, and considered using Dutch colonial villages and period town recreations in the Northeastern United States. When no suitable existing location could be found, coupled with a lack of readily available studio space in the New York area needed to house the production's large number of sets, producer Scott Rudin suggested the UK.
Rudin believed England offered the level of craftsmanship in period detail, painting and costuming that was suitable for the film's design. Having directed Batman entirely in Britain, Burton agreed, and designers from Batman's art department were employed by Paramount for Sleepy Hollow. As a result, principal photography was pushed back to November 20, 1998 at Leavesden Film Studios, which had been recently vacated by Star Wars: Episode I – The Phantom Menace. The majority of filming took place at Leavesden, with studio other work at Shepperton Studios, where the massive Tree of the Dead set was built using Stage H. Production then moved to the Hambleden estate at Lime Tree Valley for a month-long shoot in March, where the town of Sleepy Hollow was constructed. "We came to England figuring we would find a perfect little town," producer Adam Schroeder recalled, "and then we had to build it anyway." Filming in Britain continued through April, and a few last minute scenes were shot using a sound stage in Yonkers, New York the following May.
Responsible for the film's production design was Rick Heinrichs, who Burton intended to use on Superman Lives. While the production crew was always going to build a substantial number of sets, the decision was taken early on that to fulfill Burton's vision best would necessitate shooting Sleepy Hollow in a totally controlled environment at Leavesden Film Studios. The production design was influenced by Burton's love for Hammer Film Productions and Black Sunday—particularly the supernatural feel they evoked as a result of being filmed primarily on sound stages. Heinrichs was also influenced by American colonial architecture, German Expressionism, Dr. Seuss illustrations, and Hammer's Dracula Has Risen from the Grave. One sound stage at Leavesden was dedicated to the "Forest to Field" set, for the scene in which the Headless Horseman races out of the woods and into a field. This stage was then transformed into, variously, a graveyard, a corn field, a field of harvested wheat, a churchyard, and a snowy battlefield. In addition, a small backlot area was devoted to a New York City street and waterfront tank.
Burton was impressed by the cinematography in Great Expectations, and hired Emmanuel Lubezki as Sleepy Hollow's director of photography. Initially, Lubezki and Burton contemplated shooting the film in black and white and in old square Academy ratio. When that proved unfeasible, they opted for an almost monochromatic effect which would enhance the fantasy aspect. Burton and Lubezki intentionally planned the over-dependency of smoke and soft lighting to accompany the film's sole wide-angle lens strategy. Lubezki also used Hammer horror and Mexican lucha films from the 1960s, such as Santo Contra los Zombis and Santo vs. las Mujeres Vampiro. Lighting effects increased the dynamic energy of the Headless Horseman, while the contrast of the film stock was increased in post-production to add to the monochromatic feel.
Leavesden Studios, a converted airplane factory, presented problems because of its relatively low ceilings. This was less of an issue for The Phantom Menace, in which set height was generally achieved by digital means. "Our visual choices get channeled and violent," Heinrichs elaborated, "so you end up with liabilities that you tend to exploit as virtues. When you've got a certain ceiling height, and you're dealing with painted backings, you need to push atmosphere and diffusion." This was particularly the case in several exteriors that were built on sound stages. "We would mitigate the disadvantages by hiding lights with teasers and smoke."
The majority of Sleepy Hollow's 150 visual effects shots were handled by Industrial Light & Magic (ILM), while Kevin Yagher supervised the human and creature effects. Framestore also assisted on digital effects, and The Mill handled motion control photography. In part a reaction to the computer-generated effects in Mars Attacks!, Burton opted to use as limited an amount of digital effects as possible. Ray Park, who served as the Headless Horseman stunt double, wore a blue ski mask for the chroma key effect, digitally removed by ILM. Burton and Heinrichs applied to Sleepy Hollow many of the techniques they had used in stop motion animation on Vincent—such as forced perspective sets.
The windmill was a 60-foot-tall forced-perspective exterior (visible to highway travellers miles away), a base and rooftop set and a quarter-scale miniature. The interior of the mill, which was about 30-feet high and 25-feet wide, featured wooden gears equipped with mechanisms for grinding flour. A wider view of the windmill was rendered on a Leavesden soundstage set with a quarter-scale windmill, complete with rotating vanes, painted sky backdrop and special-effects fire. "It was scary for the actors who were having burning wood explode at them," Heinrichs recalled. "There were controls in place and people standing by with hoses, of course, but there's always a chance of something going wrong." For the final shot of the burning mill exploding, the quarter-scale windmill and painted backdrop were erected against the outside wall of the "flight shed", a spacious hangar on the far side of Leavesden Studios. The hangar's interior walls were knocked down to create a 450-foot run, with a 40-foot width still allowing for coach and cameras. Heinrichs tailored the sets so cinematographer Emmanuel Lubezki could shoot from above without seeing the end of the stage.
Actor Ian McDiarmid, who portrayed Dr. Lancaster, had just finished another Leavesden production with Star Wars: Episode I – The Phantom Menace. He compared the aesthetics of the two films, stating that physical sets helped the actors get into a natural frame of mind. "Having come from the blue-screen world of Star Wars it was wonderful to see gigantic, beautifully made perspective sets and wonderful clothes, and also people recreating a world. It's like the way movies used to be done."
|Sleepy Hollow: Music from the Motion Picture|
|Soundtrack album by Danny Elfman|
|Released||November 16, 1999|
Tracks marked with ♦ are only available as a bonus track on disc 8 of the Danny Elfman / Tim Burton 25th Anniversary Music Box.
The track numbers listed here do not therefore correspond to the original 1999 album.
- Main Titles
- Young Ichabod
- The Story...
- Masbath's Terrible Death
- Young Masbath ♦
- Phony Chase ♦
- Sweet Dreams
- A Gift
- Phillipse's Death ♦
- Into the Woods / The Witch
- Mysterious Figure ♦
- More Dreams
- The Tree of Death
- Bad Dreams / Tender Moment
- Evil Eye
- The Church Battle
- Love Lost
- The Windmill
- The Chase
- The Final Confrontation
- A New Day!
- End Credits
To promote Sleepy Hollow, Paramount Pictures featured the film's trailer at San Diego Comic-Con International in August 1999. The following October, the studio launched a website, which Variety described as being the "most ambitious online launch of a motion picture to date." The site (sleepyhollowmovie.com) offered visitors live video chats with several of the filmmakers hosted by Yahoo! Movies and enabled them to send postcards, view photos, trailers and a six-minute behind-the-scenes featurette edited from a broadcast that aired on Entertainment Tonight. Extensive tours of 10 sets where offered, where visitors were able to roam around photographs, including the sets for the entire town of Sleepy Hollow, forest, church, graveyard and covered bridge. Arthur Cohen, president of worldwide marketing for Paramount, explained that the "Web-friendly" pre-release reports from websites such as Ain't It Cool News and Dark Horizons encouraged the studio to create the site. In the weeks pre-dating the release of Sleepy Hollow, a toy line was marketed by McFarlane Toys. Simon & Schuster also published The Art of Sleepy Hollow (ISBN 0671036572), which included the film's screenplay and an introduction by Tim Burton. A novelization, also published by Simon & Schuster, was written by Peter Lerangis.
Sleepy Hollow was released in the United States on November 19, 1999 in 3,069 theaters, grossing $30,060,467 in its opening weekend at the #2 spot behind The World Is Not Enough. Sleepy Hollow eventually earned $101,071,502 in domestic gross, and $105 million in foreign sales, coming to a worldwide total of $206,071,502. David Walsh of the National Institute on Media and the Family criticized the film's financial success from the exaggeration of gore. "The real impact is not so much that violent images create violent behavior," Walsh explained, "but that they create an atmosphere of disrespect." Burton addressed the concerns as a matter of opinion. "Everyone has a different perception of things. When I was a kid," Burton continued, "I was probably more scared by seeing John Wayne or Barbra Streisand on the big screen than by seeing violence."
Paramount Home Video first released Sleepy Hollow on DVD in the United States on May 23, 2000. The HD DVD release came in July 2006, while the film was released on Blu-ray Disc two years later, in June 2008.
Film review aggregator Rotten Tomatoes reports that 67% of critics gave the film a "Certified Fresh" rating, based on 126 reviews with an average score of 6.2/10, with the site's consensus stating, "Sleepy Hollow entertains with its stunning visuals and creepy atmosphere."  Metacritic, another review aggregator, assigned the film a weighted average score of 65 (out of 100) based on 35 reviews from mainstream critics, considered to be "generally favorable".
Roger Ebert praised Johnny Depp's performance and Tim Burton's methods of visual design. "Johnny Depp is an actor able to disappear into characters," Ebert continued, "never more readily than in one of Burton's films." Richard Corliss wrote, in his review for TIME Magazine, "Burton's richest, prettiest, weirdest [film] since Batman Returns. The simple story bends to his twists, freeing him for an exercise in high style."
David Sterritt of The Christian Science Monitor highly praised Burton's filmmaking and the high-spirited acting of cast, but believed Andrew Kevin Walker's writing was too repetitious and formulaic for the third act. "You go into a Tim Burton film wanting to be transported, but Sleepy Hollow is little more than a lavish, art-directed slasher movie."
Owen Gleiberman from Entertainment Weekly wrote Sleepy Hollow is "a choppily plotted crowd-pleaser that lacks the seductive, freakazoid alchemy of Burton's best work." Gleiberman compared the film to The Mummy, and said "it feels like every high-powered action climax of the last 10 years. Personally, I'd rather see Burton so intoxicated by a movie that he lost his head."
Andrew Johnston of Time Out New York wrote: "Like the best of Burton's films, Sleepy Hollow takes place in a world so richly imagined that, despite its abundant terrors, you can't help wanting to step through the screen."
Mick LaSalle, writing in the San Francisco Chronicle, criticized Burton's perceived image as a creative artist. "All Sleepy Hollow has going for it is art direction, and even in that it falls back on cliché." Doug Walker linked the film to the Hammer Films style of horror cinematography, considering it an homage to those movies, comparing the usage of dignified British actors, choices in color and movie sets and character relations. Walker gave it the merit of recreating the "very specific genre" of Hammer Films, citing the skill and "clever casting" Burton used to manage this.
Jonathan Rosenbaum from the Chicago Reader called Sleepy Hollow "a ravishing visual experience, a pretty good vehicle for some talented American and English actors," but concluded that the film was a missed opportunity to depict an actual representation of the short story. "Burton's fidelity is exclusively to the period feeling he gets from disreputable Hammer horror films and a few images culled from Ichabod and Mr. Toad. When it comes to one of America's great stories, Burton obviously couldn't care less."
|Award||Date of ceremony||Category||Recipients and nominees||Result|
|Academy Awards||March 26, 2000||Best Art Direction||Rick Heinrichs, Peter Young||Won|
|Best Cinematography||Emmanuel Lubezki||Nominated|
|Best Costume Design||Colleen Atwood||Nominated|
|British Academy Film Awards||April 9, 2000||Best Production Design||Rick Heinrichs||Won|
|Best Costume Design||Colleen Atwood||Won|
|Best Visual Effects||Jim Mitchell, Kevin Yagher, Joss Williams, Paddy Eason||Nominated|
|Academy of Science Fiction, Fantasy & Horror Films||June 6, 2000||Best Horror Film||Scott Rudin, Adam Schroeder||Nominated|
|Best Director||Tim Burton||Nominated|
|Best Writing||Andrew Kevin Walker||Nominated|
|Best Actor||Johnny Depp||Nominated|
|Best Actress||Christina Ricci||Won|
|Best Supporting Actor||Christopher Walken||Nominated|
|Best Supporting Actress||Miranda Richardson||Nominated|
|Best Music||Danny Elfman||Won|
|Best Costume||Collen Atwood||Nominated|
|Best Make-up||Kevin Yagher, Peter Owen||Nominated|
|Best Special Effects||Jim Mitchell, Kevin Yagher, Joss Williams, Paddy Eason||Nominated|
|American Society of Cinematographers||February 20, 2000||Outstanding Achievement in Cinematography||Emmanuel Lubezki||Nominated|
|Art Directors Guild||February 8, 2000||Excellence in Production Design for a Feature Film||Rick Heinrichs, Les Tompkins, John Dexter, Kevin Phipps, John Wright Stevens, Ken Court, Andrew Nicholson, Bill Hoes, Julian Ashby, Gary Tompkins, Nick Navarro||Won|
|BMI Film & Television Awards||December 8, 2014||BMI Film Music Award||Danny Elfman||Won|
|Blockbuster Entertainment Awards||May 9, 2000||Favorite Actor - Horror||Johnny Depp||Won|
|Favorite Actress - Horror||Christina Ricci||Won|
|Favorite Supporting Actress - Horror||Miranda Richardson||Won|
|Favorite Supporting Actor - Horror||Marc Pickering||Nominated|
|Boston Society of Film Critics Awards||December 12, 1999||Best Cinematography||Emmanuel Lubezki||Won|
|Chicago Film Critics Association||March 13, 2000||Best Cinematography||Emmanuel Lubezki||Nominated|
|Costume Designers Guild||February 25, 2000||Excellence in Period/Fantasy Costume Design for Film||Colleen Atwood||Won|
|Hollywood Makeup Artist and Hair Stylist Guild Awards||March 19, 2000||Best Character Makeup - Feature||Kevin Yagher, Peter Owen, Liz Tagg, Paul Gooch||Won|
|International Film Music Critics Association||February 23, 2012||Best Archival Release of an Existing Score||Danny Elfman (also for Pee-wee's Big Adventure, Beetlejuice, Batman, Edward Scissorhands, The Nightmare Before Christmas, Big Fish, Charlie and the Chocolate Factory, Corpse Bride and Alice in Wonderland)||Won|
|International Film Music Critics Association||February 4, 1999||Film Score of the Year||Danny Elfman||Nominated|
|International Horror Guild||May 12, 2000||Best Film||Nominated|
|Italian National Syndicate of Film Journalists||May 12, 2000||Best Foreign Director||Tim Burton||Nominated|
|Las Vegas Film Critics Society Awards||January 18, 2000||Best Score||Danny Elfman||Nominated|
|Best Cinematography||Emmanuel Lubezki||Nominated|
|Best Costume Design||Colleen Atwood||Nominated|
|Best Production Design||Rick Heinrichs||Won|
|Los Angeles Film Critics Association Awards||December 12, 1999||Best Production Design||Rick Heinrichs||Won|
|MTV Movie Awards||June 5, 2000||Best Villain||Christopher Walken||Nominated|
|Motion Picture Sound Editors||December 15, 1999||Best Sound Editing - Effects & Foley||Skip Lievsay, Thomas W. Small, Sean Garnhart, Lewis Goldstein, Paul Urmson, Craig Berkey, Richard L. Anderson, John Pospisil, Michael Dressel, Scott Curtis, Matthew Harrison, Tammy Fearing||Nominated|
|National Society of Film Critics||January 8, 2000||Best Cinematography||Emmanuel Lubezki||Nominated|
|New York Film Critics Circle Awards||January 9, 2000||Best Cinematographer||Emmanuel Lubezki||Runner-up|
|Online Film & Television Association||January 12, 2000||Best Original Score||Danny Elfman||Nominated|
|Best Cinematography||Emmanuel Lubezki||Nominated|
|Best Production Design||Rick Heinrichs, Ken Court, John Dexter, Andy Nicholson, Kevin Phipps, Leslie Tomkins, Peter Young||Won|
|Best Costume Design||Colleen Atwood||Nominated|
|Best Makeup and Hairstyling||Kevin Yagher, Peter Owen, Liz Tagg, Paul Gooch, Susan Parkinson, Bernadette Mazur, Tamsin Dorling||Nominated|
|Best Sound Mixing||Lee Dichter, Robert Fernandez, Skip Lievsay, Frank Morrone||Nominated|
|Best Sound Effects||Skip Lievsay||Nominated|
|Best Visual Effects||James Mitchell, Kevin Yagher, Joss Williams, Paddy Eason||Nominated|
|Best Official Film Website||www.sleepyhollow.com||Nominated|
|Online Film Critics Society||January 2, 2000||Best Cinematography||Emmanuel Lubezki||Won|
|Santa Fe Film Critics Circle Awards||January 9, 2000||Best Cinematography||Emmanuel Lubezki||Won|
|Satellite Awards||January 16, 2000||Best Actor - Musical or Comedy||Johnny Depp||Nominated|
|Best Original Score||Danny Elfman||Won|
|Best Cinematography||Emmanuel Lubezki||Won|
|Best Art Direction||Ken Court, John Dexter, Rick Heinrichs and Andy Nicholson||Won|
|Best Costume Design||Colleen Atwood||Won|
|Best Editing||Chris Lebenzon||Nominated|
|Best Sound||Gary Alpers, Skip Lievsay, Frank Morrone||Won|
|Best Visual Effects||Jim Mitchell, Joss Williams||Nominated|
|Teen Choice Awards||August 6, 2000||Film - Choice Actress||Christina Ricci||Nominated|
|Young Artist Awards||March 19, 2000||Best Performance in a Feature Film: Leading Young Actress||Christina Ricci||Nominated|
American Film Institute recognition:
- AFI's 100 Years...100 Thrills – Nominated
- AFI's 100 Years...100 Heroes and Villains:
- The Headless Horseman – Nominated Villain
- "Sleepy Hollow". British Board of Film Classification. Retrieved May 29, 2016.
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- Kim Newman (January 2000). "The Cage of Reason". Sight and Sound.
- Mark Salisbury (November 1999). "Grayveyard Shift". Fangoria.
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- Amid Amidi (September 1999). "San Diego Comic-Con '99: More Than Fat, Sweaty Guys". Animation World Network. Retrieved November 1, 2010.
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- Marc Graser (October 19, 1999). ".Com before storm". Variety. Retrieved November 1, 2010.
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- David Kilmer (November 19, 1999). "McFarlane Toys releases Sleepy Hollow figures". Animation World Network. Retrieved November 1, 2010.
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