Friday, December 30, 2011
In a video interview with MTV, Mark Wahlberg discusses working on the 2001 Tim Burton version of Planet of the Apes. He acknowledges that the film wasn't a critical success, but explains that the Burton himself wasn't in a very comfortable position. Regardless, Wahlberg says it was the most fun he has had on a film set.
Wahlberg also talked about going to a club with his director. "I have no better time on any movie than I had working with Tim," Wahlberg recently told MTV. "I had the most amazing time with Tim. I run to be on the set with him. We were doing reshoots, and he came out with me to Paris. We're in the club. Tim was in the club, man. Tim was in the club. Then he'd be drawing people, and all of his caricatures looked the same. He'd be drawing people in the club."
Tuesday, December 20, 2011
Shock Till You Drop visited Three Mill Studios in London to see how production is coming on the upcoming Tim Burton stop-motion film, Frankenweenie. Click the photos for high-resolution versions.
"Tim always wanted to make it into a feature and into an animated feature," explains producer Allison Abbate, "We had to open the story up a little bit. Pretty much, the whole first act is like the short. We meet Victor and his beloved dog, Sparky. There's a terrible car accident tragedy and the dog gets killed. Of course Victor, being a clever guy, figures out how to reincarnate him. Where the story diverges is that Victor is now desperate to keep his dog a secret. He doesn't really know if what he's done is a great thing. He doesn't tell his parents and he doesn't tell his school friends... Of course, the other kids at school get wind of it and kind of want in."
Art director Tim Browning also spoke with Shock Till You Drop to discuss the creation of many of the sets in the film, which are located in Victor’s hometown of New Holland, California.
"[Our setting] is a California suburb sometime between 1965 and 1975," says Browning. "There's no real specific date but, from a design point of view, you approach it much the same as any other period drama. You do the research and try to find all the details of the architecture. Of course, on a project like this we have the luxury of making everything and having complete control. In live action, you have to rely very heavily on locations, purchased props and hired props. Here, you make every single thing."
Browning also discussed the lead canine character.
"He's one of the principal characters," explains Browning, "and in real life he would be sort of bull terrier sized. He needs to be manageable... Our adult puppets are about 50 cm high whereas on 'Corpse Bride' they were more like 25 to 30."
The other aspect of the sets that's instantly striking is that they merge color and black and white. Though the film is being shot for the latter, some elements of puppet-making are simply easier to come by in color and others are designed to make use of the contrast.
"Back in the old days, set painting was geared towards black and white photography," continues Browning, "and it became a whole new challenge when color came in. We're re-creating techniques from the '40s and '50s that this film is homaging."
You can learn more about the film at the original link. But watch out for a few SPOILERS.
Frankenweenie will be released in theaters on October 5th, 2012.
Friday, December 16, 2011
Monday, December 05, 2011
MTV News recently got a few words about Dark Shadows from Helena Bonham Carter. The actress said that the film will be "very original," "uncategorizable," and "impossible to sell, frankly." And that's part of the reason that it's a passion project for her director and partner, Tim Burton.
"This is a thing he raced home to see when he was about age 10, so it's returning to his childhood roots of what he loved watching," Bonham Carter said of the original Dark Shadows television series. "It's actually a really bad, hilariously bad soap opera, and because it's so bad, he felt he had to make a hugely expensive movie."
Bonham Carter also talked about the supporting role that she plays, the character of Dr. Julia Hoffman. "I mean, she's an alcoholic psychiatrist, so I hadn't played that before. And she's got a secret. They all have secrets. It's all about people who have secrets," she teased.
"It's going to be unlike [anything], I think. It's dangerous to say that. But it's very original and it's kind of uncategorizable. It's going to be impossible to sell, frankly, because it's just so ... it's a soap opera, but it's very, very subtle. I don't know. We'll see. It's a ghost story, but then it's an unhappy vampire story, it's a mixture of so many different things and a real ensemble piece. Hopefully it will be funny. I don't know," she said.
Dark Shadows will be released in theaters on May 11th, 2012.
Jane Goldman, the screenwriter of Stardust, Kick-Ass, and X-Men: First Class, is in talks to write the script for the feature film version of Miss Peregrine’s Home For Peculiar Children, the Ransom Riggs novel that Chernin Entertainment is producing, reports Deadline.com. Tim Burton is circling the project as a potential director, but it has not been confirmed that he will helm the project yet. The film is being made by 20th Century Fox.
Friday, November 25, 2011
Tim Burton's "B.Boy" balloon made its world debut at the Macy's Thanksgiving Parade yesterday. Here's a video showing the crew at work:
Photo courtesy of Shavon Leanne McKinstry.
Saturday, November 19, 2011
"Johnny's very open about what things are in the process, but he really lets people present things to him. He never really pushes at all," Atwood said. "Sometimes he doesn't even look in the mirror in his fittings. It's so funny. It's pretty amazing. People would be surprised, because I think they have this image of Johnny, because he's so stylish always, but he really feels his costumes more than looks at them, and the movement and the feeling in them is really important."
"He plays a vampire who wouldn't normally go out in the daytime, but we wanted him to be able to have outings, so I did two or three different hat shapes and we tried them once he got his hair and makeup on," said Atwood. "I also found these amazing hundred-year-old sunglasses, but they were too small ... so I took them and had them copied. And the color of the sunglasses and the color of the hat and his costume coat, which was a really dark green, is one of our favorite combos we've come up with in our work together."
Dark Shadows included, Atwood and Depp have collaborated on eight films together, including five other Tim Burton films (Edward Scissorhands, Ed Wood, Sleepy Hollow, Sweeney Todd: The Demon Barber of Fleet Street, and Alice in Wonderland). During all of those years, Atwood says the two have built a successful working relationship, saying, "There's a lot of trust there for both of us, so it's a nice process, because ... if he has an idea, it comes from someplace; it's not just some wanky fashion idea."
Wednesday, November 16, 2011
The story follows a 16-year-old boy named Jacob, who travels to the old Miss Peregrine’s Home for Peculiar Children, the orphanage his grandfather told him tall tales about, and where he believes the dangerous, super-powered residents might still be lurking around.
Monday, October 31, 2011
Friday, October 28, 2011
Entertainment Weekly spoke with David Katzenberg and Seth Grahame-Smith, the heads of KatzSmith productions, to learn more about their various upcoming plans and projects. Included in were two possible projects that may involve Tim Burton -- emphasis on "possible" and "may." The first was a possible sequel to Beetlejuice.
David Katzenberg: We’re not remaking Beetlejuice. People have been very angry about that.
Seth Grahame-Smith: When Warner Bros. came to us about it, we said the only way we’d do it if we got Tim [Burton’s] blessing and involvement, and we got that, and the star of the movie has to be Michael Keaton as Beetlejuice, and it’s a true continuation 26 years later. Not just throwing him in as a cameo going, “Hey, it’s me. I endorse this movie.” We’re not there yet [with Keaton] because we don’t have a film to present to him.
The second film discussed was a possible stop-motion animated feature, Night of the Living. The idea is still only a concept, but the duo are considering pitching it to Tim Burton. The story concerns a community of monsters whose peaceful lives are turned around when they are invaded by humans.
Seth Grahame-Smith: Night of the Living is all of the topes of horror movies, but turned on their head from the monster’s point-of-view.
Again, however, Night of the Living does not yet have Burton attached to it.
Seth Grahame-Smith wrote the screenplays for two future Burton films, Dark Shadows and the Burton-produced Abraham Lincoln: Vampire Hunter. David Katzenberg is the son of Jeffrey Katzenberg, founder and head of DreamWorks Animation.
Image Credit: Noel Vasquez/Getty Images
Alice Cooper poses in his "Welcome to My Nightmare" maze at Universal Studios Hollywood's annual Halloween Horror Nights attraction in Los Angeles. (David Sprague / Universal Studios Hollywood)
Rock and Roll Hall of Fame inductee Alice Cooper has confirmed that he will have a cameo in the forthcoming Dark Shadows movie.
In an article by the Los Angeles Times, Cooper described his experience on the set and told the writer about his role in the film. “They should take that set and make it a haunted house next year,” Cooper said of the Pinewood Studios constructs that include a sprawling gothic mansion and a harbor city complete with pier and boats floating in an artificial ocean.
Cooper plays himself in the film, which is set in 1972 – Johnny Depp’s character, the recently revived vampire Barnabas Collins, hires the rock star to play a private ball at his seaside home in Maine.
“He’s a guy you have to watch when he’s up on the stage and the songs are just classic,” Depp said last month about Cooper, who, wearing his trademark makeup, plays “No More Mr. Nice Guy” in the film. (His collaboration with Depp went beyond the confine of Pinewood — the actor brought his guitar along to perform with the rock star and his band during a London gig.)
Cooper said he also found in Burton a simpatico soul.
“Rock and horror and comedy work together, that’s something I’ve known a long time and people like Rob Zombie know, and Burton knows that too,” Cooper said. “Sometimes the comedy is disguised a little bit, it’s dark, but it is there. You can’t do horror and rock with a punchline in a way. There’s the absurd stuff and there’s just that delivery of the ’Oh!’ moment that is like a punchline. I just saw Final Destination 5 and I was laughing so hard. I mean, it was Wile E. Coyote, all these elaborate things leading up to this moment of impact... there’s something like that in our shows, too. Hitchcock would do it too. There’s the setup, the misdirect and then the delivery. Tim Burton knows it so well. He’s one of a kind. He’s a kindred spirit.”
MTV News asked the composer about his work so far on the project.
"It’s still very early, they’re not even done shooting. I just sent them some stuff so they can play with it while they’re editing," Elfman said about his progress on Shadows at the premiere of Real Steel, the score for which he also composed. "I think it’s just going to be fun. You can tell from Johnny Depp’s hairstyle right off the bat, it’s like, ‘Oh wow, that’s different.’ It’s [set in] the ‘70s, it’s going to be fun."
"I think this will be a little wilder than 'Edward Scissorhands,' but I don’t know. I really don’t know what to expect until it’s done."
Elfman also said that he and Burton had discussed the use of a smaller-scale orchestra, perhaps to emulate the music for the original TV series and classic motion pictures involving vampires and other gothic monsters. Elfman did something similar for his iconic music for The Nightmare Before Christmas. But Elfman stated that nothing has been set in stone yet.
"I think we might keep it small. That was Tim’s first thought to make it very small, but having said that maybe we’ll make it big. Things can change between now and then."
FearNet also asked Elfman if the film's score would include the theme from the original television series.
"We had this discussion with Batman," said Elfman, "[about] whether we wanted to incorporate the TV theme. And Tim said, ‘No, don't do that.' And on Planet of the Apes, once again, and Charlie and the Chocolate Factory; that was a big one – "Do we incorporate it in?" "No." So I'm just guessing that he's gonna say no again, that he's gonna want to develop his own language and dialogue for this."
"Having said that," Elfman laughed, "who knows? You may just hear a theramin!"
In the article, Tim Burton also spoke fondly of a childhood dog, and how it might have influenced his original short film and its new feature-length update.
“It’s such an unconditional relationship,” Burton recalls. “A lot of kids have that experience – I certainly had that experience with a first pet. You’ll probably never have it again in your life in that way, it’s so pure and memorable.”
“His name was Pepe — we lived in a Spanish neighborhood,” Burton recalls. “Our dog had this thing called distemper, and wasn’t supposed to live more than a couple of years. He lived much longer than that, which kind of fed into this Frankenstein mythology as well.”
What kind of dog was Pepe? “It was a mix, kind of a mutt, with a bit of terrier, and a bit of something else,” Burton says. “I don’t know what it was. It was kind of a mixture.”
Sparky, the main character of the film, may look a bit freakish once he gets his stitches, but the story is more simple and heartfelt than outlandishly macabre. “It just tries to keep that idea of a very, simple pure relationship,” Burton says. What’s more pure than the story of a kid and his first pet?
“Mix that with the Frankenstein myth,” Burton adds with a chuckle, “and it causes problems.” But the big beating heart in the story (apart from the re-animated one inside Frankenweenie’s chest) is the sad fact that we all outlive those four-legged pals from our childhood, and goodbye can be a painful thing. The idea of bringing a lost friend back to life? “It has its good side and repercussions,” Burton says. “Ultimately, we try to go with the slightly more positive aspects of keeping that [boy-and-his-dog] relationship going.”
Saturday, October 22, 2011
Next month, on November 24th, Macy's Thanksgiving Parade in New York City will feature a specially commissioned balloon designed by Tim Burton, writes Dave Itzkoff of The New York Times.
“It’s such a surprise to be asked, and it was great,” Mr. Burton said in a telephone interview from London. “It’s such a surreal thing that you don’t even believe what you’re hearing. Somebody’s trying to play a joke on you or something. It had that kind of feeling.”
Burton even wrote an origin for this character, named B. Boy. B. was created, Frankenstein’s monster-style, from the leftover balloons used in children’s parties at the Great Ormond Street Hospital in London. Forbidden from playing with other children because of his jagged teeth and crazy-quilt stitching, B. retreated to a basement lair, where he obsesses over Albert Lamorisse’s film “The Red Balloon” and dreams that he, too, will be able to fly someday.
“There’s always been something about balloons,” Mr. Burton said, by way of explaining his B. Boy character. “You see them deflated and you see them floating. There’s something quite beautiful and tragic and sad and buoyant and happy, all at the same time.”
Mr. Burton’s sketches of his B. Boy character, as seen from various angles.
“Maybe we’re stepping into the dark side here,” said Amy Kule, the parade’s executive producer, “but Tim’s balloon, although gothic, is really fun in spirit, and nobody should be worried that it’s going to be scary or should be part of a nighttime parade rather than a daytime parade. We’re pretty cognizant about what we put in the air, and this balloon deserves to be up there with all the others.”
Burton didn't think his style was particularly transgressive, either. “I’ve always felt like my stuff was never that weird or subversive, but that’s just me thinking that,” he said. “For me, it’s pretty natural. Maybe for others, it might not be so much.”
But will Burton appear at the parade itself on November 24th?
“I’ll probably be hiding somewhere, in a building,” he said. “That’s why I’m not an actor – I’m more a stay-behind-the-camera kind of a person. My marching-band days are over. I did that way back when, and I was pretty bad at it then, so leave it to the experts.”
You can read a bit more about the making of the balloon at the original article.
Saturday, October 15, 2011
During an interview with MTV News to promote The Rum Diary, Johnny Depp talked about his inspirations from classic vampire films that he used to craft his version of the character Barnabas Collins in Dark Shadows.
"The memory that I have of watching the show as a kid, Jonathan Frid and what he did with that character was the main inspiration, for sure," he said of the actor who originated the role of Barnabas. "But also the idea of, over the years, these vampire movies have come out and vampire TV shows and stuff like that, and you go, 'Well, nobody looks like a vampire, man. What happened?'
"I adored Dracula, still do. I adored [everyone] from Bela Lugosi to Christopher Lee. I adore Nosferatu, [played by] Max Schreck. I adore all those wonderful sort-of horror films. And it was an opportunity really, an opportunity to sort of go into what really doesn't exist [onscreen] so much anymore, which is classic monster makeup and a classic monster character," Depp explained. "So that was really the inspiration Tim and I talked about."
Christopher Lee will reportedly appear in Dark Shadows, which will be released May 11, 2012.
Tuesday, September 27, 2011
Helen O'Hara of Empire Online reports from the set of Dark Shadows, and brought back two new photos of the director and his cast making the new film.
Screenwriter Seth Grahame-Smith discusses the time period in which the film is set: "Tim and Johnny took a long time explaining exactly why it had to be 1972. 1969 was too early and 1973 was too late. 1972 is right at the time when the hippie movement and all its peace and love is dying out and being replaced by this me-me-me generation in the '70s who are all about showing their wealth and having everything."
Tim Burton with Michelle Pfeiffer (playing Elizabeth Collins Stoddard) and Jonny Lee Miller (playing Roger Collins).
Producer Richard D. Zanuck also talked about why the film will not be made or released in 3D: "We discussed this quite a bit. We didn't want to be categorised as another 3D extravaganza, because this isn't. We have action sequences, but mostly it's interaction between characters, and that's where the humour and the story come from."
You can learn more about the film in the new issue of Empire, which will be available in stores in the UK this Thursday.
Friday, September 23, 2011
(Click on the image to see it in full size.)
Flickr user Steven Kuhn has uploaded an image from the Tim Burton exhibition at LACMA in Los Angeles. The photo shows two stop-motion puppets of two new characters in Frankenweenie, "Edgar" and "Weird Girl." Like the rest of the animated cast, both characters have been directly designed by Tim Burton. Catherine O'Hara (Beetlejuice, The Nightmare Before Christmas) will provide the voices for both characters.
Thursday, September 22, 2011
(Click the image for an enlarged version.)
Entertainment Weekly has provided the first official image from Dark Shadows. The shot was staged by Tim Burton himself early in production.
The cast in the image, from left to right: Dr. Julia Hoffman (Helena Bonham Carter), Carolyn Stoddard (Chloë Moretz), Angelique Bouchard (Eva Green), David Collins (Gulliver McGrath), Victoria Winters (Bella Heathcote), Barnabas Collins (Johnny Depp), Mrs. Johnson (Ray Shirley), Willie Loomis (Jackie Earle Haley), Roger Collins (Jonny Lee Miller), and Elizabeth Collins Stoddard (Michelle Pfeiffer).
Read the article to hear more about the characters' backgrounds from Entertainment Weekly and screenwriter Seth Grahame-Smith.
Saturday, September 17, 2011
This year marks the 40th anniversary of Stanley Kubrick's classic, and still magnificent and disturbing, film, A Clockwork Orange. Tim Burton spoke with Gina McIntyre of the Los Angeles Times and recalled his memory of seeing that unforgettable film 40 years ago.
"It looms quite large," Burton said. "I remember I saw that movie at a drive-in on one of the first dates I ever had. It was a double bill of Clockwork Orange and Deliverance. My girlfriend got drunk, and I remember watching Clockwork Orange and her throwing up the backseat while I just sat there and watched the movie."
"I have a very strong memory of that," Burton said. "I’ll never forget it."
Wednesday, September 14, 2011
Sunday, September 11, 2011
Deadline reports that Michael C. Hall, star of TV's Dexter, is in negotiations to possibly play the lead role of Edward Bloom in the Broadway musical production of Big Fish. The part was originally considered for Hugh Jackman, according to the producers of the show.
Hall is no stranger to the stage. He has previously starred in productions of Cabaret and Chicago.
Saturday, September 10, 2011
Other projects that may be included in the deal are We Three Kings (an adaptation of Grahame-Smith's next revisionist novel about what the Three Wise Men were really up to on Christmas Eve), Bryantology (about a man who invents a religion based around himself as a tax loophole) and, most interestingly, Night of the Living, a stop-motion animated comedy about a town of monsters who find themselves besieged by an invasion of living humans, which Tim Burton himself might be producing with KatzSmith.
Wednesday, August 24, 2011
About.com has another video interview with Abbate and Hahn. In this video, the producers talk about how people (especially children) have responded to the black and white format of the animated film, why the film will be in 3-D, and more.
A small amount of footage of the animated film was shown to the D23 audience. While that footage has not been leaked, the response has been very positive. The Hollywood Reporter exclaimed that Frankenweenie "could be the coolest Tim Burton movie since the 1990s, maybe even since A Nightmare Before Christmas."
Sunday, August 21, 2011
Wednesday, July 27, 2011
Parker and Scott were extremely excited to share the news that they, along with both David Selby ("Quentin Collins") and Jonathan Frid (the leading vampire "Barnabas Collins") spent three days at Pinewood Studios during the filming of Tim Burton's upcoming Dark Shadows movie. The former cast members also spoke very highly of Johnny Depp, star of the new film and a longtime fan of the original TV series, who greatly admired the four actors being on set. The icing on the cake was Depp telling Frid in person, "None of this would be here if it wasn't for you."
Scott went on the clarify that the new film will not be concerned with being a straight homage for hardcore fans, but "so inclusive", and she believes Burton's vision is not reverential, just "a damn good movie." She and Parker also mentioned how Michelle Pfieffer and Helena Bonham Carter had become hooked on the series. Originally Bonham Carter wanted to play Angelique but now loves being Dr. Julia Hoffman - she's "eating it up!"
Jim Pierson officially confirmed that Danny Elfman will be the composer of the film's score. While the score will be original, Pierson stated that Elfman may also incorporate musical elements of Bob Cobert's original TV theme.
Wednesday, July 06, 2011
Thursday, June 09, 2011
Susan Stroman, the Tony award winning director and choreographer of "The Producers," will direct. The musical also has Andrew Lippa ("The Addams Family") writing the music and lyrics and John August is writing the book for the show. August also wrote the screenplay for the 2003 Tim Burton film.
Dan Jinks and Bruce Cohen, who produced Burton's film adaptation of Daniel Wallace's novel, will also be producing the Broadway musical.
“John August and Andrew Lippa have taken inspiration from Daniel Wallace’s book and Tim Burton’s movie and completely re-imagined this ambitious story for the stage,” Mr. Jinks said in a statement. Added Mr. Cohen: “Susan Stroman has the artistic vision and talent to bring this tale of reconciliation between a father and son to the stage.”
Cast members and the design team will be announced later.
Saturday, June 04, 2011
The video below features some of the interview, which was fully transcribed below:
Can you talk about the creature series, the untitled animation series, the number series; some of the more unfamiliar portions of the show?
A lot of these things came at a time when I was a student or working at Disney when I wasn’t really an animator, I just sort of had a lot of free time. There’s a period in my life when I wasn’t very social, and that’s how I spent my time, drawing and thinking of things, and it helped me. I think I was quite a depressed character at a certain point in life. This was kind of a catharsis for me, as a way to kind of explore and just get feelings out into the open nonverbally but just by doing things.
Is that something you commonly do to relax, just sit down and draw?
Yeah, it is. It’s a bit kind of like a Zen thing for me. It was a way for me to communicate with myself in a weird way, in a way to kind of explore things that I couldn’t quite intellectualize or verbalize. I found drawing was a way of finding a certain reality for me and exploring things. So yeah, it’s still important even if I’m busy doing other things.
When you were at Cal Arts, you felt you weren’t a good "life-drawer," but you had a revelation while sitting and drawing over at the Farmer’s Market.
I’ll never forget, it was like a mind-expanding moment. I was sitting at Farmer’s Market and we were there on a class trip, sketching. I was frustrated, and I just said, “Fuck it. I can’t do this so I’m just going to draw.” And at that moment, it just changed for me. Not that my drawings got any better, but it just did something that I truly felt like my mind expanded. It was like taking some kind of drug and it just did something. I’ll never forget it.
A character from “The Melancholy Death of Oyster Boy,” Stain Boy is said to have come out of your experience trying to get “Superman” made at Warner Bros. How does he reflect that experience and can you talk about the struggles between Jon Peters, you and the studio?
Any filmmaker that’s had that happen will tell you, it’s kind of a scarring. You don’t forget it. It’s kind of the worst thing that can happen to you because, as an artist you get excited -- your whole energy is based on your passion for doing something. And then when you’re going on and on and on, and that’s sort of taken away, it’s quite traumatic because you put your passion into it. If you didn’t care, you’d just move on. It’s happened a couple of times. It seems to happen more and more with people. You know, it’s a lot of money; it’s a big responsibility. And movies are a gamble. There’s no such thing as a sure thing. I’m always amazed that certain studio executives don’t realize that. I guess there’s some things that are a bit more sure than others, but at the same time, you got to rely on the filmmaker. I’ve always been grateful when the studios understand, "Well, you’re the one making it, we should support you." I’ve always had this image of like, "Okay, you’re the star athlete,’ and right before the race, they beat the shit out of you then say, “Okay, now go win the race.” It doesn’t make any sense.
I know you’re in the first week of “Dark Shadows.” How do you usually ease the cast and crew into a production?
It’s been hard to kind of come here because I’m just starting, and it’s a weird tone and it’s a lot of actors and, you know, we’re not starting with the simple stuff; we're sort of getting right in there. You like to kind of sneak up on it a little bit, but this one we just kind of slammed right into it.
It’s based on a soap opera. Will it have that soapy quality?
Yes, I don’t know. I’m early into it because it’s a funny tone, and that’s part of what the vibe of the show is, and there’s something about it that we want to get. But when you look at it, it’s pretty bad. I’m hoping that it will be -- it’s early days, let’s put it -- I’m very intrigued by the tone. It’s a real ethereal tone we’re trying to go for and I don’t know yet.
Can you talk about your first meeting with Johnny Depp and how your relationship has evolved over the years? I understand you used to have to fight to get him in movies, and now people are begging you to put him in movies.
It’s true, I mean I just had an immediate connection with him. I didn’t know him, but he just felt right for “Edward Scissorhands.” We’re friends and colleagues, and we’ve always taken the tack of not working together just to work together. It’s got to be the right part, the right movie, all of that sort of thing. There’s a good sort of non-communicative communication, you know. Because especially back then I was not a good verbal communicator, and he’s a bit similar, but there’s more of a psychic kind of connection, I would say, that sort of has remained. I like actors, too, that like to change, become different things. Those are the kinds of actors I find fun and exhilarating to work with.
Will “Dark Shadows” be in 3D?
I have no plans for that. I loved doing "Alice" in 3D. “Frankeweenie,” gonna do that in 3D. There’s people like, "Everything’s gonna be in 3D," or "I hate 3D!" I think people should have a choice. I don’t think it should be forced on anybody. At the same time, it’s great, some of it. It’s like "Yes or no!? 3D! Yes or no?!" It’s like, well, you know, come on, whatever, some yes, some no.
The 3D version of The Nightmare Before Christmas will be made viewable at home for the first time on August 30th. The new edition will be a three-disc combo pack and will include Blu-ray 3D, Blu-ray, DVD and Digital versions of the film. The SRP has been set at $49.99.
The special features of the new release are identical to the 2008 home entertainment release:
* What's This? Jack's Haunted Mansion Holiday Tour – Viewers choose the way they want to tour Disneyland's Holiday Haunted Mansion. "On Track" explores a tricked-out version of the Haunted Mansion, while "Off Track" reveals what went into creating all the creepy fun.
* Tim Burton's Original poem narrated by Christopher Lee – Tim Burton's poem that inspired the creation of the movie. Now, the original verse comes to creepy life as performed by legendary actor Christopher Lee.
* Film Commentary – commentary by producer and writer Tim Burton, director Henry Selick and composer Danny Elfman.
* Introduction To Frankenweenie! – A new un-cut version of the short film with an introduction by Tim Burton.
* Vincent- Tim Burton's short film from 1982.
* The Making of Tim Burton's The Nightmare Before Christmas - Go behind the scenes of the very first full-length stop motion animated movie with the filmmakers.
* The Worlds of Tim Burton's The Nightmare Before Christmas – Witness the creation of the film's richly imagined dreamscapes, including Halloween Town, Christmas Town and the Real World.
* Deleted Scenes
* Storyboard to Film Comparison
* Original Theatrical Trailers and Posters
Here are the technical details of the new release:
Video codec: MPEG-4 MVC
Video resolution: 1080p
Original aspect ratio: 1.85:1
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
Spanish: Dolby Digital 5.1
Portuguese: Dolby Digital 2.0
French: Dolby Digital 5.1
English SDH, French, Spanish
English SDH, French, Spanish
50GB Blu-ray Disc
Digital copy (on disc)
The 3D version should be available for pre-order on Amazon.com shortly.
The New York Times has provided two images from the 179-year-old Evergreen Plantation in Louisiana, shooting location for Abraham Lincoln: Vampire Hunter. The film is being directed by Timur Bekmambetov and produced by Tim Burton.
Benjamin Walker, left, with the director Timur Bekmambetov on the set of Abraham Lincoln: Vampire Hunter.
You can read more about the making of the film, which director Mr. Bekmambetov describes as a cross between D. W. Griffith's Abraham Lincoln and F. W. Murnau's Nosferatu, in the original article.
Disney has not put the project down yet, however. There is talk of the Harry Potter director David Yates being up for consideration to helm the movie. There is also speculation that Darren Aronofsky, director of such films as The Wrestler and Black Swan, might be attached to the film.
MTV News spoke with Angelina Jolie, who is still being considered to play the leading role of Maleficent, to get an update from her. Jolie said that she was not aware of Aronofsky being attached, but she has read the script (penned by Alice in Wonderland scribe Linda Woolverton) and enjoyed it.
On Maleficent, Jolie said, "I would love to [do it]. It's all new and being discussed, but I loved [Maleficent] when I was a little girl, she was my favorite."
Wednesday, June 01, 2011
Speakeasy: This exhibition is great on so many levels – but one of the biggest is your work is bringing in a whole new audience to someplace like LACMA.
Tim Burton: The biggest compliment I’ve gotten so far is from people that don’t usually go to museums. It makes people realize that anything is possible. I think that one the things that made it acceptable is it’s not something that was ever meant to really be…but I think the curators did a good job in sort of not making it to like it’s great artwork but this is somebody’s process. It’s great to me to inspire people – to keep drawing, even if they think they can’t do it – to show that you don’t have to be the greatest artist in the world – if you like it, that’s the important thing.
I enjoyed seeing the timeline of your life and career …starting from your school days at Cal Arts and then moving from room to room into your films.
I don’t know where they found all this stuff. [laughs] It makes it seem like I’m one of the most organized, archivists – but it’s like it’s really just stuffed into drawers. I didn’t even know that 90% of it existed.
Considering you’re a local boy (Burton was born and raised in Burbank) what’s it feel like to have this exhibition here?
It’s special – it also it helps that I don’t live here because otherwise I would’ve been much more freaked out probably. But I’m here for one day so it’s okay.
Seeing the work in its entirety – how does that feel?
I haven’t been in there today – I think I need to go in when no one’s around because I would feel extremely vulnerable. It was stuff for the most part that was private – it was only for studio people or projects but never meant for that kind of thing.
There’s always an element of comedy in the macabre in your work. Is that to make it less scary?
No I think it’s just the way I feel. I always found life to be a combination of funny and scary. I grew up watching horror movies and I never found them scary; I actually found them quite funny and beautiful. So for me, it’s capturing a certain emotional state that encapsulates all of that.
I can only imagine what your house looks like.
It’s filled with a bunch of junk, but it’s probably pretty close to what you’d imagine. [laughs] I’ll give you a quick story. When they closed down the Movieland Wax Museum I bought a couple of wax figures, including one of Sammy Davis, Jr. And one of my kids friends – we got a call from one of the parents, alarmed, saying that the kid had come home and said we had a dead black man on our sofa.
I take it he was reclining at that moment.
He was just lying on the sofa – I hadn’t put him up yet. And we have a lot of Oompa Loompa’s around; that scares a lot of the kids.
What’s your take on life after death?
Growing up in a middle class, suburban environment like Burbank it was sort of a taboo subject. One of the things growing up in Los Angeles, you’re quite ingrained in the Hispanic community where they have the Day of Dead ceremonies. I’ve always appreciated that approach – where it’s a much more positive attitude. All those folktales there’s a great spiritual aspect to them; I think that’s what great about those stories – it’s great to just emotionally explore those things. You know, it’s a part of life. Everybody’s gonna go – at least have some positive imagery.
Let’s talk eyeballs. There’s a lot of them in this exhibition.
I don’t know, Jack Skellington doesn’t have any eyeballs. That was a big sell job trying to pitch a movie where a character has no eyes. [laughs] Eyes are important, or…eye sockets.
Okay, now I have your token “Dark Shadows” question.
You mean, why? [laughs hysterically]
Sometime next year. Just starting shooting a few days ago.
So what do you do with your free time?
I’m always tinkering. But I also think it’s really important to just space out and look at trees or clouds – even if you’re busy…that’s why I’m kind of have a fear of technology – it’s nice to not be reached at every moment of the day. I don’t even know my home phone number – I like having space. My mind races all the time but you gotta try to create that moment otherwise you’ll burn out.
Tickets are on sale at LACMA's official website.
You can also view a couple of videos of Tim Burton's high school art teacher, Doris Adams, who he spoke fondly of and encouraged him to make his artwork and visions.
In conjunction with the visiting exhibition, the filmmaker also selected 50 pieces from LACMA's permanent collection. The artworks will be on display in LACMA's Ahmanson Building, Level 2, until November 13, 2011, in an exhibit called, "Burton Selects: From LACMA's Collection." Here are a few of the pieces Burton chose:
Odilon Redon, À Edgar Poe (L'oeil, comme un ballon bizarre se dirige vers l'infini), 1882, lithograph, Wallis Foundation Fund in memory of Hal B. Wallis (AC19184.108.40.206)
Otto Dix, Illusion Art, 1922, The Robert Gore Rifkind Center for German Expressionist Studies, © Otto Dix Estate / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
Hokkyo Sessai, Skeleton, mid- to late 19th century Netsuke, Stag antler with staining; sashi type, Raymond and Frances Bushell Collection (M.87.263.11)
Hugo Steiner-Prag, The way to horror, 1915-1916 Print, Lithograph on handmade paper, Image: 7 1/8 x 4 13/16 in. The Robert Gore Rifkind Center for German Expressionist Studies (M.82.287.68L)
Sunday, May 15, 2011
Dark Shadows will be released just a few months before the feature-length, stop-motion version of Frankenweenie arrives in cinemas on October 5th, 2012.
This will not be the first time two Tim Burton-directed features (one live-action, the other stop-motion) are released in theaters in one year. Charlie and the Chocolate Factory and Corpse Bride, both from Warner Bros., came out in July and September of 2005, respectively.
Thursday, May 05, 2011
Michael Sheen has stated that he will actually not be in Dark Shadows. "I'm not in Dark Shadows," said Sheen. "I get to watch it," he says, "which is wonderful." Sheen was in talks for a smaller role in the film, but nothing was confirmed.
In other news, Danny Elfman will officially be the composer of the upcoming adaptation of Frankenweenie, Film Music Reporter writes.
Wednesday, April 13, 2011
British actor Rufus Sewell has joined the cast of Abraham Lincoln: Vampire Hunter, says Variety. Sewell will play the lead villain role of the vampire Adam.
Abraham Lincoln: Vampire Hunter will be shot in stereoscopic 3D, and will be released in theaters on June 22nd, 2012.
Friday, April 01, 2011
On April 16th, 2011, Gallery Nucleus in Los Angeles will host a 20th anniversary tribute to Tim Burton's Edward Scissorhands. The art exhibition will "highlight the works of over 40 artists, including paintings, drawings, prints, sculptures, etc."
You can see a wide range of examples of just some of the artwork that will be on display at /Film, but here are a few notable pieces:
"The True Story" by acclaimed animator Uli Meyer
Robert Ricci's "Scissorheart"
Lorena Alvarez's "The Blossom Clearing"
Andrea Kalfa's "Ambrosia Salad"
Here is the official press release from the Gallery Nucleus:
Edward Scissorhands 20th Anniversary Tribute
April 16, 2011 - May 9, 2011
Opening Reception / Apr 16, 7:00PM - 11:00PM
In collaboration with Sebastien Mesnard, Gallery Nucleus will be showcasing a selection of original works from the Scissorhands 20th blog. The exhibit will highlight the works of over 40 artists, including paintings, drawings, prints, sculptures, etc. and unite enthusiasts and fans in celebrating the 20th anniversary of Tim Burton's classic love story and its unforgettable characters; Edward, Kim, Peg and a band of colorful suburbanites.
Opening Reception highlights include:
* Free refreshments and ambrosia served.
* 5 Free raffle tickets for those dressed in their best Scissorhands-inspired attire. (Tickets can be purchased for $2.00 each.)
* Raffle prizes includes original artwork, Anniversary Edition Edward Scissorhands DVD, Avon gifts, and Nucleus gift certificates.
* Gifts and samples provided by "Avon Lady" (Johanna Figueroa).
* This is an all ages event.
* Admission is free.
* All raffle tickets are also valid for Adventure Time merchandise. Raffle drawing at 10:30PM.
John Kenn Mortensen
Xander (Alex) Leighton
For more information and artwork, visit Scissorhands20th.blogspot.com and GalleryNucleus.com.
NME Movie News reports that Chloe Moretz (best known as "Hit Girl" from Kick-Ass) is in advanced talks with Warner Bros. to join Dark Shadows. Moretz would likely play the role of Carolyn, the daughter of Elizabeth Collins Stoddard, who will be played by Michelle Pfeiffer.
Wednesday, March 30, 2011
Writer Seth Grahame-Smith sat down with Collider.com for an extensive interview (click here for the full interview). The novelist and screenwriter talked about numerous projects, but here is the excerpt in which he discusses the adaptation of his own novel, Abraham Lincoln: Vampire Hunter, his script for Dark Shadows, and collaborating with Tim Burton and Johnny Depp.
As a writer, is there a difference for you, in writing a script for something like Abraham Lincoln, Vampire Hunter, where you didn’t know who would be cast in the roles, as opposed to something like Dark Shadows, where you know Johnny Depp is playing the character and that’s who you’re writing for?
GRAHAME-SMITH: Yeah, there is a difference, sure. The challenge with Lincoln was adapting my own book. I had to cannibalize and just give up all ownership of the book, in my mind. What makes a good book and what makes a good movie are totally different things. Someone told me that the best adaptations are merely inspired by the book, they’re not dictated by the book. That took awhile to learn. It took me awhile to get to the point where I could say, “Okay, maybe this movie does need a villain,” since there’s no villain in the book. And then, it was, “Who is that villain?” It was a huge learning experience for me. At the same time, working with Tim [Burton] and Johnny [Depp], I could meet with Johnny and sit down with him and hear him say these lines and talk to him about how he’s going to perform this character. That absolutely dictates the way that you write because you have a basis in which to imagine these words being said. It actually makes it easier and it makes it a little more fun to write in that situation. You’re like, “This is a Johnny Depp movie. This is a Tim Burton movie. I know what the pallette of that is and I can draw on it.”
Was there anything specific that you wanted to bring to Dark Shadows, both from your own sensibility and so that you made it familiar to fans?
GRAHAME-SMITH: My job on Dark Shadows was to make it fun and funny, first and foremost. It can still be dark and it can still even be gory and gothic at times, but it also needed to be fun and it needed to be an experience that people would enjoy having. I came at it from, “Let’s not be afraid to be funny. Let’s make Barnabas funny. Let’s see this movie through his eyes and really see a man who is trying to come to terms with what he is, where he is and when he is.” I think we really got there with the script. We’re still making some tweaks, and there are rehearsals coming up in a couple weeks and there will be some tweaks after that, but I think everybody is really excited, me included, about where we got. They’re filming Lincoln right now, which is exciting. And, they’re going to be filming Dark Shadows in May, which is also really exciting. It’s hard to believe. For me, thinking that these movies are going to be in theaters in a year or so, it’s just astonishing.
What’s it been like to collaborate with someone like Tim Burton, who is such a visual filmmaker?
GRAHAME-SMITH: It’s just another amazing experience, and a learning experience for me. Honestly, the last couple of years have been like going to film school all over again, times 100. It’s been amazing to watch the way that his mind works, and how he collaborates with Johnny, and how Johnny’s mind works. Also, getting to work with a producer like Richard Zanuck, who did Jaws, Planet of the Apes and The Sound of Music, is just incredible. It’s having living legends, all around you. It was intimidating at first because you’re walking in with these iconic people, but that goes away pretty quickly, and you get comfortable and realize that everybody is just a normal person.
In adapting your own material for Abraham Lincoln, were there things that you added to the script that you wished you’d have thought of for the novel?
GRAHAME-SMITH: Oh yeah, absolutely. The book deals with slavery, in a very delicate way. In retrospect, I should have had an African American point of view in the book. In the book, the slaves, until the very end of the book, are just victimized. That’s something that works, in terms of a book that’s purporting itself to be historically accurate, but at the same time, in a movie, you need all points of view. But, the real thing with Lincoln was that the book didn’t really have a cohesive central villain. The villain was all vampires and it was this thousands of years old movement that led them to the Civil War. You need an embodiment in a movie, much more than you do in a book. That’s something that we realized, along the process. We kept having all these conversations about making the threat more palpable, but what we were really saying was that we needed a person. So, as I’m writing my new book, which I’m doing now, the things that I’ve learned from the experience of doing these movies has just taught me so much about writing books. Not just because I want these books to go on to be movies and I want the process of adapting them to be easier, which is also true, but it just makes the stories richer, it makes them easier to tell and more fun to tell when you have people to say the things that you’re trying to get across. That’s definitely on my mind now.
Michael Sheen is also in talks to be in Dark Shadows, though it is unknown which role he will play. Sheen worked with Burton in Alice in Wonderland, supplying the voice of the White Rabbit.
Filming of Dark Shadows begins next month.