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6 • Tim Burton
Table of Contents
Numbers' Collection, Tim Burton's Website
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BIOGRAPHY INTERVIEW
06
16
FILMOGRAPHY ANIMATION STORIES AWARDS
58 64
34
24
8 • Tim Burton
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Biography
10 • Tim Burton
Biography
I WAS A BIG MONSTER FAN.
Tim Burton was born in August 25, 1958 in southern California. His childhood wasn’t a particularly happy one. He hated growing up in a suburb, was never close with his parents, and other kids found him odd. “You feel kind of different and isolated and you don’t feel like you fit into your surroundings,” he recalls. “It was strange. Just because you like monster movies, people thought you were weird, I always felt it was an odd thing.” In fact, he related to the characters at the center of movies like Frankenstein.
The World of Stainboy, 2000
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12 • Tim Burton
“
Biography
YOU MIGHT BE ABLE TO TELL I WAS A BIG MONSTER FAN. I GREW UP WATCHING THE UNIVERSAL HORROR MOVIES, JAPANESE MONSTER MOVIES AND PRETTY MUCH ANY KIND OF MONSTER MOVIE.
”
His creative outlet and opportunity to escape
years of Disney animation,” he says winkingly.
into an alternative reality was drawing. Despite
Still, he feels that he owes a lot to the studio,
criticism of his style from certain teachers, at
because, rather than fire him, they eventually
some point, he says, he decided, “I’m just going
gave him “the opportunity to just draw and do
to draw the way I want to draw and not worry so
different things,” which was “kind of unheard
much about what other people think of it and
of,” and the work that he produced during
just enjoy doing it as a thing.” He was talented
that time -- including Vincent (1982) and then
enough that, after graduating from high school,
Frankenweenie (1984), two shorts that the
he won a scholarship to CalArts, the noted
studio didn’t know what to do with -- led to
visual and performing arts school established
the first major opportunity of his career: Paul
by Walt Disney in the early sixties as a sort of
Reubens, better known as “Pee Wee Herman,”
farm system for his animation studio. After just
saw them and fought for Burton, who had never
a year, though, at the age of 20, he dropped out
made a feature and/or live-action film, to direct
and went to work for Disney, “which seemed
Pee Wee’s Big Adventure (1985).
much more important to me at the time than getting a degree.”
Burton’s first three features – Pee Wee’s Big Adventure, Beetlejuice (1988) and
Burton had grown up in Burbank, where Disney
Batman(1989) – were all made while he was still
is based, but “even though it was close it felt like
in his twenties. All three were unconventional
a million miles away,” he says. A job there, was
studio movies that cost little and grossed a lot,
for an animator, the top of the mountain -- but,
even if they weren’t especially well-reviewed.
very quickly, he realized it was not the place for
“I mean, they were on the 10 worst movies of
him. “I wasn’t very good at their style of anima-
the year list,” he laughs. He takes that sort
tion,” he explains. Besides, “it wasn’t the golden
of thing in stride, noting, “I’ve had movies
Frankenweenie, 2012
• 13
14 • Tim Burton
• 15
“
I WAS NEVER INTERESTED IN WHAT EVERYBODY WAS INTERESTED IN. I WAS VERY INTERIORIZED, I ALWAYS FELT KIND OF SAD.
Collection of People, 1980-1990
”
16 • Tim Burton
Biography
that were critically well-received that didn’t
of his success: his regular collaborators,
make any money and movies that were terribly
including Depp (with whom he has made eight
critically-received and made lots of money, so
films), composer Danny Elfman (with whom he
there’s never been a real consistency. ” What did
has made 16), and, of course, actress Helena
bother him, though, was that their commercial
Bonham Carter (with whom he has made
success did not make it much easier for him to
seven), Burton’s girlfriend since 2001 and the
make more personal films.Edward Scissorhands
mother of their two children.
(1990), he says, “was one of the hardest movies to get made,” and Ed Wood (1994) wasn’t much easier, even though the former film had helped to turn Johnny Depp into a bona-fide star before he tried to make the latter. “Even though I was lucky enough to have success,” he sighs, “there’s something about me – I don’t know what it is – that makes them worry about me in some way or another.”
They also lack the ability to jump back-andforth between live-action and animation, as he does so frequently and seamlessly. Between November 22, 2009 to April 26, 2010, Burton was honored with a retrospective featuring his artwork and films at New York’s Museum of Modern Art. The event was instrumental in helping the institution attract a record-breaking level of attendance that year. It also rein-
Burton’s films shared a distinct visual lan-
troduced him to his own drawings, which had
guage and style, tend to deal in dark comedy
been “stuck in a drawer” for years, and inspired
and often address matters of life and death.
him to turn Frankenweenie – the short that he
Other filmmakers have tried to replicate the
made nearly 30 years ago, and that had led to
“Burtonesque” approach, to varying degrees of
him being fired by Disney – into a stop motion
success. But they don’t have – and never will
animated feature. The irony of ironies: Disney
have – access to several of the key ingredients
wanted to finance and distribute it.
“
Success Years
• 17
There’s something about me I don’t know what it is that makes them worry about me in some way or another.
”
Burton loves all forms of animation, he says,
important to feel like you live or understand the
but he seems to have a particular fondness for
character.” Few, if any, of his characters seem as
stop motion, the process of moving objects
similar to him as Victor, the young protagonist
in front of a camera ever so slightly countless
of Frankenweenie. Burton grew up feeling iso-
times for different shots that, when pieced
lated in the suburbs, with emotionally-distant
together, create the perception of movement.
parents and a beloved dog, bullied in school and
“There’s something very tactile about it,” he
probably a bit depressed, to the extent that he
says. “There’s a set and the lights, the char-
was largely “non-verbal” and spent some of his
acters are going in and out of shadows – you
free time hanging out in graveyards.
see that. That’s why I loved Ray Harryhausen’s work. You can see the hands on it, you know? You can feel an energy to it.”
Burton’s films are somewhat controversial, but the most common criticism of Frankenweenie, that it is too dark and disturbing for kids,
For this reason, he has employed it not only
the demographic to which it has been mar-
for Frankenweenie, but also for The Nightmare
keted – is one that baffles him. “Mainly, kids
Before Christmas, which he produced; James
are pretty cool. It may take a while for a film
and the Giant Peach, which he produced; Corpse
to break through, but usually they’re pretty
Bride, which he co-directed and produced; and
cool about getting what you’re trying to do,”
9, which he produced.
he says. Moreover, he emphasizes, grownup
Most of Burton’s films, live-action or stop motion, revolve around a character to which he feels a strong personal connection. When you’re spending a year or two on a film, he says, “It’s
issues have been a part of kids’ movies “from Snow White on,” pointing out that “there’s a huge specter of death that hangs over” The Lion King (1994), and noting that in 101 Dalmatians
18 • Tim Burton
Biography
(1996) “she’s talking about batting them over
Burton was previously Oscar-nominated
the head and drowning them.” Sure, it’s a
seven years ago for Corpse Bride and lost to
little unconventional to show -- spoiler alert
the awards juggernaut that was Wallace &
-- a dead dog brought back to life, as happens
Gromit in The Curse of the Were-Rabbit, but
in Frankenweenie, but Burton kept the dog’s
it’s well within the realm of possibility that
death off-screen and feels that, “In my mind,
he might emerge from this year’s wide-open
it’s one of the safer movies I’ve ever done.”
race as something that even he probably never
Over the course of a long career that is going
imagined possible.
as strong today as ever, Burton has learned that you can’t please all of the people all of the time and he doesn’t seem terribly interested in trying to do that. He has, however, managed to please a lot of the people a lot of the time, and inspired legions of loyal fans who worship him as he once worshipped Harryhausen. Moreover, he is now embraced by the animation community that once shunned him. Indeed, the animation branch of the Academy – the directing branch of which has never recognized him with so much as a nomination – nominated him for the best animated feature Oscar, for the second time, for Frankenweenie.
Blue Girl with Wine, c. 1997
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20 • Tim Burton
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Reference of Sketch goes here, 1975
22 • Tim Burton
It Came Out of Burbank… Interview with Tim Burton
The Visionaries Perception
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Q. Not only does “Frankenweenie” hark back
Q. That can be deeply disheartening at that age,
to the start of your career, it seems to refer to
to learn that you’re bad at something.
many of the features you’ve made since the
A. It’s the same with drawing. If you look at
original short. Is that by design?
children’s drawings, they’re all great. And then
A. If I really thought about it, that’s something
at a certain point, even when they’re about 7
I would probably not do. [Laughs.]. I don’t
or 8 or 9, they go, “Oh, I can’t draw.” Well, yes,
consciously make those points of: I did this,
you can. I went through that same thing, even
I’m going to put that in there as a reference to
when I started to go to CalArts, and a couple of
myself. Things that I grew up with stay with
teachers said: “Don’t worry about it. If you like
me. You start a certain way, and then you
to draw, just draw.” And that just liberated me.
spend your whole life trying to find a certain
My mother wasn’t an artist, but she made these
simplicity that you had. It’s less about staying
weird owls out of pine cones, or cat needlepoint
in childhood than keeping a certain spirit of
things. There’s an outlet for everyone, you know?
seeing things in a different way.
Q. Were horror films and B movies easily
Q. How much of your childhood are we seeing in
accessible when you were growing up?
Victor’s isolation?
A. They’d show monster movies on regular TV
A. I felt like an outcast. At the same time
then, which they wouldn’t show now. Some
I felt quite normal. I think a lot of kids feel
of them were pretty hard core, like “The Brain
alone and slightly isolated and in their own
That Wouldn’t Die,” or something where a guy
world. I don’t believe the feelings I had were
gets his arm ripped off and is bleeding down
unique. You can sit in a classroom and feel like
the wall. My parents were a bit freaked out.
no one understands you, and you’re Vincent
[Laughs.] But better that I’m watching TV than
Price in “House of Usher.”
them having to watch me or deal with me.
I would imagine, if you talk to every single
Q. There are emotions and experiences in
kid, most of them probably felt similarly. But
“Frankenweenie” that audiences don’t often
I felt very tortured as a teenager. That’s where
associate with Disney features.
“Edward Scissorhands” came from. I was proba-
A. People get worried and they go, “Oh my
bly clinically depressed and didn’t know it.
God, the dog gets hit by a car.” It’s funny how
Q. Were you encouraged to try sports? A. My dad was a professional baseball player. He got injured early in his career, so he didn’t fulfill that dream of his. He ended up working for the sports department of the city of Burbank. I did some sports. It was a bit frustrating. I wasn’t the greatest sports person.
people are afraid of their emotions. I remember the original short was supposed to go out with “Pinocchio,” and they got all freaked out about it, like kids would be running, screaming, from the theater.
24 • Tim Burton
Interviews
Q. Do you find poetic justice in the fact that, after all that, Disney is the studio that’s releasing “Frankenweenie”? A. I feel like I’ve been through a revolving door over the years, and from my first time there as an animator to “Frankenweenie” to “Nightmare” and “Ed Wood,” it’s always been the same reaction: “Come back,” and then “Hmmm, I don’t know.” After I stopped working on “The Fox and the Hound” and trying to be a Disney anima-
The Vampire’s Bite
tor — which was useless — they gave me the opportunity, for a year or two, to draw whatever I wanted. I felt quite grateful for it. At the same time I felt like Rapunzel, a princess trapped in a tower. I had everything I needed except the light of day. I felt they didn’t really want me, and luckily Warner Brothers and Paul Reubens and the producers of “Pee-wee” saw the movie and gave me a chance. Q. If “Pee-wee’s Big Adventure” and “Beetlejuice” hadn’t been hits, would that have been the end of your filmmaking career? A. I always felt bad for people whose first movie is a gigantic hit. [Laughs.] They were movies that were under the radar in a certain way. They’re both low-budget in terms of studio movies. Both were moderate hits, and were on some of the “10 worst movies of the year” lists. I learned quite early on: don’t get too excited, don’t get too complacent, don’t get too egotistical. Q. When you see, 23 years after “Batman,” the extent to which superhero movies have become the backbone of Hollywood, do you feel a sense of pride or ownership? A. No, not ownership. At the time it felt like the first attempt at a darker version of a comic book. Now it looks like a lighthearted romp. So I do feel strange for getting such a bad rap on some level, and nobody mentions, oh, maybe it helped start something. Batman, 1989
WANTING PEOPLE TO LIKE YOU IS NICE, BUT I’M CONFIDENT THAT THERE’S ALWAYS GOING TO BE LOTS THAT DON’T, I’LL ALWAYS BE ABLE TO HANG ON TO THAT • 25
The Nightmare Before Christmas, 1993
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Burtonesque! Burtonesque! Burton's films shared a distinct visual language and style, tend to deal in dark comedy and often address matters of life and death. Other filmmakers have tried to replicate the "Burtonesque" approach, to varying degrees of success. But they don't have access to several of the key ingredients of his success. They also lack the ability to jump back-and-forth between live-action and animation, as he does so frequently and seamlessly.
Q. Is it a danger when you have a style that’s so distinctive it becomes boilerplate and imitated? A. It does bother me a bit. People thought I made “Coraline.” Henry [Selick, who directed “Coraline” and “The Nightmare Before Christmas"] is a great filmmaker, but when they say something, they should have to say the person’s name. “From the producer of " — well, there’s eight producers. It’s slightly misleading. Not slightly, it’s very misleading, and that’s not fair to the consumer. Have the courage to go out under your own name. But I don’t have any control over that, and it’s not going to make me change. I can’t change my personality. Sometimes I wish I could, but I can’t.
28 • Tim Burton
Untitled (Edward Scissorhands), 1990
Interviews
The Visionaries Perception
Among the Living on Screen
• 29
Q. You don’t have a formal repertory company, but there seem to be certain actors you come back to. A. [Sighs.] I don’t want to respond to criticism I hear. People that go, “Oh, he’s using her again,”
Q. When you worked with Johnny Depp for the
or “He’s using him again.” I’ve enjoyed pretty
first time, on “Edward Scissorhands,” what was
much everybody I’ve worked with. But it’s good
it that connected you to him?
to mix it up. If somebody’s right for the part —
A. Here was a guy who was perceived as this
I’ve worked with them? Fine. Haven’t? Fine.
thing — this Tiger Beat teen idol. But just
Q. Having a life with Helena Bonham Carter, do
meeting him, I could tell, without knowing the
you have to be more careful about how you use
guy, he wasn’t that as a person. Very simply,
her in your films?
he fit the profile of the character. We were
A. The great thing about her is that, long before
in Florida in 90-degree heat, and he couldn’t
I met her, she had a full career. She’s also willing
use his hands, and he was wearing a leather
to do things that aren’t necessarily glamorous
outfit and covered head to toe with makeup.
or attractive [Laughs], and I admire her for that.
I was impressed by his strength and stamina.
We’ve learned how to leave things at home,
I remember Jack Nicholson showed me this
make it more of a sanctuary. But I probably take
book about mask acting and how it unleashes
a slight, extra moment to think about it. On
something else in a person. I’ve always been
“Sweeney Todd” it was quite rough. Nobody was
impressed by anybody that was willing to do
a singer, so I looked at lots of people. Everybody
that. Because a lot of actors don’t want to cover
had to audition for it; she did as well. That one
[theatrical voice] “the instrument.”
was a struggle, because I felt like, jeez, there’s
Q. Has your relationship with Johnny changed
a lot of great singers, and it’s going to look like
as your careers have evolved?
I gave this one to my girlfriend. She really went
A. There’s always been a shorthand. He’s always
through an extra process.
been able to decipher my ramblings. To me he’s
Q. In your last couple of movies you’ve burned
more like a Boris Karloff-type actor, a character
her to a crisp, you’ve dumped her at the bottom
actor, than a leading man. The only thing that
of the ocean…
changes — and this is something I try not to
A. I know. But she’s getting it on other movies.
pay any attention to — is how the outside world
She’s being burned up alive a lot lately, or she’s
perceives it. [Snidely] “Oh, you’re working with
getting set on fire quite a lot. Again, I’ve set
Johnny again?” “Oh, how come you’re not work-
another trend.
ing with him this time?” You can’t win. I give up.
30 • Tim Burton
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Filmography
32 • Tim Burton
Untitled, 1990
Filmography
• 33
MOVIES ARE LIKE AN EXPENSIVE FORM OF THERAPY
34 • Tim Burton
Filmography
A lot of things you see as a child remain with you‌ you spend a lot of your life trying to recapture the experience. Very few people in Hollywood have been allowed to have as much freedom as Burton. He is a contradiction, a filmmaker who has a distinct and uncompromising style and yet remains grounded in the Hollywood studio system. Burton uses the strange actions of the characters to show the internal childishness of the outcast character. It is very important that these actions be out of place to show this. In spite of the charges thrown in his direction, Burton has managed to keep a continuity in his body of work, and is unquestionably an astounding and original visual artist.
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36 • Tim Burton
Filmography
T
H
Pee-Wee’s Big Adventure Year: 1985
Beetlejuice Year: 1988
Batman Year: 1989
Tim Burton’s full-length directo-
So much in Burton’s catalog can
Christopher Nolan might have
rial debut is also one of his best.
be traced back to Beetlejuice. The
perfected Batman on-screen with his
Pee-wee’s Big Adventure brings us
dynamic, possibly insane main char-
Dark Knight Trilogy, but Burton first
into the bizarre-o world of Pee-wee
acter, the darker take on the family
introduced a darker side of Bruce
Herman, the excitable, ageless pro-
lifestyle, the supernatural engaging
Wayne in 1989 with Batman. The
tagonist that’s hopelessly attached
with the physical world—all of these
film sees an over-the-top Joker in
to his bike. After it’s stolen in broad
have become staples in Burton’s
Jack Nicholson and Michael Keaton
daylight, we see Herman travel
work. It was after Mr. Mom and prior
doing justice to the role of Dark
across the U.S. to reclaim his baby.
to Batman that Michael Keaton
Knight. It’s got action, a compelling
And through the adventure and its
played Betelgeuse with high-inten-
story and plenty of comic relief with
ongoing discoveries (who knew The
sity and spastic slapstick nature,
Nicholson, not bad for a first swing
Alamo didn’t have a basement?)
he’s almost like a robot Chaplin
at the darker side of Batman.
we’re introduced to unforgettable
dipped in water. But Burton nailed
characters like Herman; his (sort-of)
his directorial themes with only his
love interest, Dottie; the horrifying
second film, combining the gothic
trucker ghost Large Marge; the
with the suburban that works like an
snotty, rich Francis and Herman’s
intro the rest of his career.
E
E
dog, Speck. Herman’s wacky world is fully realized through the eye of Burton, and this one stands alone as a film that kids and adults can both get a kick out of.
R
So much in Burton’s catalog can be traced back to Beetlejuice. The dynamic, possibly insane main character, the darker take on the family
L
A
lifestyle, the supernatural engaging with the physical world—all of these have become staples in Burton’s work. It was after Mr. Mom.
Y
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The Early Years
Y
E
A
Edward Scissorhands Year: 1990
Batman Return Year: 1992
Referred to by Burton himself as
Burton originally did not want to
The Nightmare Before Christmas Year: 1993
epitomizing his most personal work,
direct another Batman film because
Although Burton doesn’t get a
Edward Scissorhands has both
of his mixed emotions toward the
director credit on The Nightmare
reached cult status among its fans
previous film in 1989. Burton agreed
Before Christmas, its dark-yet-
and has endured for new generations
to return after they granted him
lighthearted aesthetic prove that
to discover and enjoy. The film is
more creative control and replaced
his hands are all over the project.
highlighted by elaborate makeup
Hamm with Daniel Waters. Batman
Burton wrote and produced the film,
and costume designs in addition to
Returns was released on June 19,
and his trademark collaborators like
superb performances. Perhaps more
1992. The film was nominated for
composer Danny Elfman and writer
importantly, Edward Scissorhands
Academy Awards for Best Visual
Michael McDowell seal the deal as
remains the archetypical Burton
Effects and Best Makeup, as well
a trademark Burton film. And with
film and will likely be the work to
as two BAFTA awards. Batman
characters like the unforgettable
which his films are compared for the
Returns ' budget was an estimated
Jack Skellington, Sally and Lock,
duration of his career.
$80 million, grossing $266,822,354
The Nightmare Before Christmas
worldwide but Warner Bros was
justifiably earns its rank on this list.
R
disappointed as it was still substantially less than the first film.
S Edward Scissorhands has both reached cult status among its fans and has endured for new generations to discover and enjoy.
38 • Tim Burton
Filmography
O Ed Wood Year: 1994
Batman Forver Year: 1995
Mars Attacks! Year: 1996
Burton’s style owes plenty to campy
Batman Forever is a 1995 American
An American comedy science fiction
b-movies of the 1950s, so it’s not
superhero film directed by Joel
film directed by Tim Burton and
surprising that one of his most
Schumacher and produced by Tim
written by Jonathan Gems. Based
critically beloved films was a biopic
Burton, based on the DC Comics
on the cult trading card series of
on Ed Wood, the director of what is
character Batman. It is the third
the same name, the film stars Jack
considered one of the worst films of
T
installment of the initial Batman
Nicholson, Glenn Close, Annette
all time, Plan 9 From Outer Space. Ed
film series, with Val Kilmer replacing
Bening, Pierce Brosnan, and Danny
Wood marked only the second time
Michael Keaton as Batman. Batman
DeVito. Mars Attacks! drew mixed
he worked with his muse Johnny
Forever's tone is significantly differ-
responses from critics. Time maga-
Depp, which allowed him to play
ent from the previous installments,
zine, gave a positive review. "You
a dynamically different character
becoming more family-friendly
have to admire everyone's chutzpah:
from Edward Scissorhands. This time
since Warner Bros. considered that
the breadth of Burton's (and writer
around, Depp is a terrible director
the previous film, Batman Returns
Jonathan Gems') movie references,
who crossdresses and wants to be like his hero, Orson Welles. By directing Ed Wood, Burton showed admiration and sympathy for the director rather than poking fun at him. It’s a move that showcased Wood as a determined individual with ambition and hopes to be great.
E
H
(1992), failed to outgross its pre-
which range from Kurosawa to
decessor due to parent complaints
Kubrick; and their refusal to offer us
about the film's violence and dark
a single likable character."
overtones. Schumacher eschewed the dark, dystopian atmosphere of Burton's films by drawing inspiration from the Batman comic book of the Dick Sprang era, as well as the 1960s television series. Keaton chose not to reprise the role due to Burton stepping down as director.
By directing Ed Wood, Burton showed admiration and sympathy for the director rather than poking fun at him. It’s a move that showcased Wood as a determined individual with ambition and hopes to be great.
R
• 39
Other Success
S
U
Planet of the Apes Year: 2001
Big Fish Year: 2003
When asked whether he would be
American fantasy drama based on
Charlie and the Chocolate Factory Year: 2005
interested in working on a follow-up,
the 1998 novel of the same name
It is the second film adaptation
director Tim Burton replied, "I'd
by Daniel Wallace. The film's theme
of the 1964 British book of the
rather jump out a window."Mark
of reconciliation between a dying
same name by Roald Dahl and stars
Wahlberg and Helena Bonham Carter
father and his son had special signif-
Johnny Depp as Willy Wonka and
would have returned if Burton had
icance for Burton, as his father had
Freddie Highmore as Charlie Bucket.
decided to make another Apes film.
died in 2000 and his mother in 2002,
The storyline concerns Charlie,
The film was nominated for two
a month before he signed on to
BAFTA Awards, one for Best Make-up
direct. Big Fish was shot on location
held by Rick Baker, the other for
in Alabama in a series of fairy tale
Best Costume Design. Music com-
vignettes evoking the tone of a
poser Danny Elfman was nominated
Southern Gothic fantasy. The film
for his work at the 43rd Grammy
received award nominations in mul-
Awards. Planet of the Apes won
tiple film categories, including four
Worst Remake at the 22nd Golden
Golden Globe Award nominations,
ment. As a result, forced perspective
Raspberry Awards.
seven nominations from the British
techniques, oversized props and
Academy of Film and Television Arts,
scale models were used to avoid
two Saturn Award nominations, and
computer-generated imagery.
C
an Oscar and a Grammy Award nomi-
S
nation for Danny Elfman's score.
The film's theme of reconciliation between a dying father and his son had special significance for
S
Burton, as his father had died in 2000 and his mother in 2002.
C
who takes a tour he has won, led by Wonka, through the most magnificent chocolate factory in the world. Tim Burton avoided using too many digital effects because he wanted the younger actors to feel as if they were working in a realistic environ-
E
40 • Tim Burton
Filmography
L
Corpse Bride Year: 2005
Alice in Wonderland Year: 2010
British-American stop-motion-ani-
Sweeney Todd: The Demon Barber of Fleet Street Year: 2007
mated fantasy film directed by Mike
Having been struck by the cinematic
author Lewis Carroll's 1865 fan-
Johnson and Tim Burton. The plot
qualities of Sondheim's musical
tasy novel Alice's Adventures in
is set in a fictional Victorian era
while still a student, Burton had
Wonderland and its 1871 sequel
village in Europe. Johnny Depp led
entertained the notion of a film ver-
Through the Looking-Glass. The
a cast as the voice of Victor, while
A
sion since the early 1980s. However,
film grossed over $1.02 billion
Helena Bonham Carter voiced Emily,
it was not until 2006 that he had the
worldwide, being Burton's most
the title character. Corpse Bride is
opportunity to realize this ambition,
successful film to date, but received
the third stop-motion feature film
when DreamWorks announced his
mixed reviews; although praised
produced by Burton and the first
appointment as replacement for
for its visual style, special effects
directed by him. This is also the first
director Sam Mendes, who had been
and Johnny Depp's performance,
stop-motion feature from Burton
working on such an adaptation.
the film was criticized for its lack of
that was distributed by Warner
It stars Johnny Depp as Sweeney
narrative, coherence, poor loyalty to
Bros. Pictures. It was dedicated to Joe Ranft who died during production. The film was nominated for the 78th Academy Awards for Best Animated Feature, but lost to Wallace & Gromit: The Curse of the Were-Rabbit.
E
Todd/Benjamin Barker and Helena
the source material and overuse of
Bonham Carter as Mrs. Lovett.
CGI. At the 83rd Academy Awards,
The film won a number of awards,
Alice in Wonderland won for Best Art
including the Golden Globe Award
Direction and Best Costume Design,
for Best Motion Picture – Musical or
and was also nominated for Best
Comedy, the Golden Globe Award for
Visual Effects.
Best Actor – Motion Picture Musical or Comedy and the Academy Award for Best Art Direction.
Corpse Bride is the third stop-motion feature film produced by Burton and the first directed by him.
T
T
The story is inspired by the English
S
Latest Works
W
Frankenweenie Year: 2012
Big Eyes Year: 2014
It is a remake of Burton's 1984
The film focuses on American artist
short film of the same name and is a
Margaret Keane (Adams), whose
parody of and a homage to the 1931
work was fraudulently claimed in the
film Frankenstein based on Mary
1950s and 1960s by her then-hus-
Shelley's book of the same name.
band, Walter Keane (Waltz), and
The voice cast includes four actors
their heated divorce trial after
who worked with Burton on previous
Margaret accused Walter of stealing
films. Frankenweenie is in black and
credit for her paintings. The film
white. It is also the fourth stop-mo-
had its world premiere in New York
tion film produced by Burton and
City on December 15, 2014. It was
the first of those four that is not a
released theatrically on December
musical. The film won the Saturn
25, 2014, in the United States by
Award for Best Animated Film and
The Weinstein Company. The film
was nominated for an Academy
was met with positive reviews and
Award; a Golden Globe; a BAFTA; and
was nominated for three Golden
an Annie Award for Best Film in each
Globe Awards, with Adams winning
respective animated category.
Best Actress. Adams was also nom-
R
The film focuses on American artist Margaret Keane, whose work was fraudulently claimed in the 1950s and 1960s by her then-husband, Walter Keane, and their heated divorce trial.
S
O
inated for a BAFTA Award for Best Actress for her performance
K
in the film.
• 41
42 • Tim Burton
The Nightmare Before Christmas, 1993
• 43
Focus on Animation
44 • Tim Burton
Animation
There is an energy with stop-motion that you can’t even describe. It’s got to do with giving things life. I guess that’s why I wanted to get into animation originally. To give life to something that doesn’t have it is cool, and even more so in three dimensions, because, at least for me, it feels even more real. With the large Marge thing or the dinosaur – any time we could throw in some stop-motion, the better. We could have had a lot more if they’d let us. It’s a funky old art form stop-motion, and even though new technology was used at times in Nightmare, basically it’s artists doing it and painting sets and making things. There’s something very gratifying about that, something I love and never want to forget. It’s the handmade aspect of things, part of an energy that you can’t explain. It’s like when you look at a Van Gogh painting.
• 45
46 • Tim Burton
Animation
1979
• 47
Stalk of the Celery Monster
Stalk of the Celery Monster is a 1979 short animated film written, directed and animated entirely in pencil by Tim Burton during his time as a student with the California Institute of the Arts. It was shot on 8 mm film and for much time it was considered to be lost, until fragments of it were shown in 2006 on Spanish television. Currently, the excerpts of the film are archived at the Library of Congress. The film caused such a stir among his class that it attracted the attention of the Walt Disney Animation Studios, who offered young Burton an animator's apprenticeship at their studio. The only fragments remaining of the film today depict a dentist named Dr. Maxwell Payne making bloody experiments with his patients. He tries a woman, and after that the monster of the title shows up, roaring, he starts, with the monster making the experiments with an old 30's laboratory. In the following clip, the woman leaves, as Dr. Maxwell Payne searches for another victim.
48 • Tim Burton
Animation
1982
• 49
Hansel & Gretel
Hansel and Gretel is a TV special that was made in 1982 for Disney. It only aired once on October 31, 1983 at 10:30pm. The only other times it was shown was as part of the Tim Burton retrospective at the Museum of Modern Art in New York City, and the Tim Burton L'Exposition at the Cinémathèque Française in Paris as part of a traveling exhibit. The story features an all-Japanese cast as the eponymous characters: a poor toymaker, his son and daughter (Hansel and Gretel), and his wicked new wife. The evil, greedy stepmother, who overtly despises her stepchildren, leads them out into the woods, which is a labyrinth from which the children are unable to find their way out on their own. They find themselves deserted in the woods, with no direction home. They have no choice but to sleep in the woods, and in the morning, the toy transforms into a robot and leads them to a giant house made of gingerbread and candy. A hook-nosed witch who lives there lures them inside with the promise of sweets. When Hansel and Gretel lie in the two beds, they are immediately kidnapped by the beds. The Witch is defeated and the children escape the house, which completely melts. The toy reappears and leads them back home to their happy father.
50 • Tim Burton
Animation
While still at Disney, Burton was given the opportunity to direct Vincent, a six minute short based on a children's story he had written. The film is a humorous look at a suburban boy named Vincent who reads Edgar Allen Poe and identifies with horror film star Vincent Price. Price said later that the film "was the most gratifying thing that ever happened.
shadow that lies floating on the floor, Shall be
It was immortality – better than a star on
lifted… Nevermore!" Thus, in a humorous way,
Hollywood Boulevard" Though critics found
the boy Vincent shares with the protagonist
similarities between Vincent and The Cabinet of
of the poem--the student trying to forget his
Dr. Caligari, Burton says the film "just happens
lost Lenore--what Poe himself described as the
to be shot in black and white, and there's a
"human thirst for self torture… the luxury of
Vincent Price/Gothic kind of thing that makes
sorrow," as he melodramatically indulges his
it feel that way, I think it probably has more to
dark fantasies. Vincent is for Burton the same
do with being inspired by Dr. Seuss. The rhythm
sort of indulgence, a chance to represent him-
of his stuff spoke to me very clearly. Dr. Seuss's
self on the screen as the tortured boy/outsider/
books were perfect: right number of words, the
artist. He characterizes Vincent as an artist by
right rhythm, great subversive stories." Burton
associating him with both the easel and the
paid homage to Dr. Seuss by writing his story in
quill pen. Isolated and misunderstood in the
rhyming couplets.
grand tradition of the romantic artist, Vincent
Vincent visualizes his nightmarish fantasies: his aunt dipped in wax, his beautiful wife buried
engages the darker side of life via the screen personae of Vincent Price.
alive, and his dog Abacrombie transformed
The film is also an early stylistic benchmark for
into a horrible zombie. But at every turn he
Burton, whose collaboration with Heinrichs
is reminded by his mother that, "You're not
established a pattern of combining 2D and 3D
Vincent Price, you're Vincent Malloy. You're
animation within a single film. The melding of
not tormented, you're just a young boy." The
these two modes of animation is found through-
film ends with a tongue-in-cheek citation of
out the film, and endures as a stylistic signa-
Poe's "The Raven": "And my soul from out that
ture in Burton's later work.
1984
• 51
Vincent
52 • Tim Burton
Animation
Black and white also reinforces the binary juxtapositions throughout the film: Burton effectively opposes light or high key scenes for Vincent's normal childhood with dark or low key scenes for his imagined torments. The films of Vincent Price spoke to me specifically for some reason. Growing up in suburbia, in an atmosphere that was perceived as nice and normal (but which I had other feelings about), those movies were a way to certain feelings, and I related them to the place I was growing up in.
Vincent
• 53
I remember when I was younger, I had these two
Throughout the film, Burton mainly uses match
windows in my room, nice windows that looked
cutting to visualize Vincent's identification
out on to the lawn, and for some reason my par-
with Vincent Price, which provides a series of
ents walled them up and gave me this little slit
trick transitions between Vincent-as-himself
window that I had to climb up on a desk to see
and Vincent-as-Vincent Price. As Vincent trans-
out of. To this day I've never asked them why;
forms between himself and Price, the filmic
I should ask them. So I likened it to that Poe
space fluctuates between spatial continuity
story where the person was walled in and buried
and discontinuity. In Burton's words, "the film
alive ["The Cask of Amontillado"]. Those were
just goes in and out of Vincent's own reality. It
my forms of connection to the world around me.
clicks in and out of reality so to speak."
It's a mysterious place Burbank.
54 • Tim Burton
Animation
And so begins Tim Burton’s fanciful tale of Pumpkin Kings, Oogie Boogies, and Sandy Claws, “The Nightmare Before Christmas.” Filled with terrifyingly beautiful sights and one hell of a catchy soundtrack, “The Nightmare Before Christmas” tells the simple story of Halloween Town’s most famous citizen, Jack Skellington, and his desire to bring the colorful joy of Christmas Town to the German-expressionistic gloom of his community of ghouls through some of the most remarkable stop-motion animation. Told in the same style of the animated holiday musicals Burton was essentially thumbing his nose at when he first conceived of the project during his time at Disney, such as the RankinBass productions “Frosty the Snowman,” and “Rudolph the Red Nosed Reindeer,” this unique fairy tale has become a revered holiday classic all its own and rightfully so. The film’s bone thin hero, Jack, is a classic Burton character in every way. Like many of Burton’s misfits and outcasts, Jack’s actions, such as kidnapping Santa Claus and hijacking his gift-giving route, may be questionable, his intentions are always sincere. And just like the characters in the films of holidays’ past, Jack’s plight is one that just about everyone can relate to and connect with. The film screams with Burton's unique vision in every single frame with the truly imaginative character designs and locales, which were yanked from off the pages of Burton’s original sketches and drawings. The images in this
1993
• 55
The Nightmare Before Christmas
56 • Tim Burton
Animation
Nightmare Before Christmas" is arguably more popular than ever, with the generations who grew up on it passing it down to their children like the spooky bedtime story it was always intended to be. film are alive with a vibrancy and enthusiasm rarely seen in films, animated or live action, all complemented by some of Danny Elfman’s best work as a film composer ever. The movie is an absolute masterwork of animation, songwriting, and above all else, storytelling.
Due to its insanely catchy Danny Elfman songs, undervalued direction by Henry Sellick (who went on to craft the even better and truly terrifying Coraline in 2009), and one-of-a-kind visual imagery, along with containing just enough fright and horror to make kids think
1993-1998 represented that five-year period
they’re getting away with something, "The
when no one was sure if the man who changed
Nightmare Before Christmas" has, over 20 years,
the industry with Batman was more than a
become exactly the kind of perennial holiday
temporary flavor of the month. Today "The
favorite that it was inspired by.
• 57
The Nightmare Before Christmas
“
IT WAS A LONG TIME AGO, LONGER NOW THAN IT SEEMS, IN A PLACE THAT PERHAPS YOU’VE SEEN IN YOUR DREAMS. FOR THE STORY YOU ARE ABOUT TO BE TOLD TOOK PLACE IN THE HOLIDAY WORLDS OF OLD. NOW, YOU’VE PROBABLY WONDERED WHERE HOLIDAYS COME FROM, IF YOU HAVEN’T I’D SAY IT’S TIME YOU BEGUN.
”
58 • Tim Burton
"The Girl Who Stares" "The Toxic Boy" "The Bowling Ball" "The Robot Boy" "The Match Girl" "Stainboy's Day Off"
2000
• 59
Stainboy In his 1997 book of drawings and verse, The
time. “I think (the Internet’s) the perfect forum
Melancholy Death of Oyster Boy & Other Stories,
to tell a sad little story like this one. Stainboy
Burton imagines a bizarre menagerie of misfits
is a character that doesn’t do much. He’s just
with names like Toxic Boy, the Pin Cushion
perfect for four-minute animations.”
Queen and the Boy with Nails in his Eyes.
Burton created a series of sketches, watercolors
Inspired by such childhood heroes as Dr.
and pastel-accented gray-on-gray washes
Seuss and Roald Dahl, Burton’s slim volume
and brought them, along with a script and
exquisitely conveys the pain of an adolescent
storyboards, to Flinch Studio for translation
outsider. Like his movies, the work manages to
into Macromedia Flash animation. Twenty-
be both childlike and sophisticated, blending
six episodes were planned, but only six were
the innocent with the macabre.
completed. “Stainboy was an experiment in
One of those adolescent outsiders is Stain Boy, a strange kind of superhero: He can’t fly around tall buildings, or outrun a speeding train, the only talent he seems to have is to leave a nasty stain.
developing revenue streams for the Web,” writes Alison McMahan in The Films of Tim Burton: Animating Live Action in Contemporary Hollywood, “but it did not succeed. The Stainboy character was resurrected briefly in late 2010, when Burton invited fans to compose a new Stainboy adventure in brief
Sometimes I know it bothers him,
installments via Twitter. Burton pieced together
that he can’t run or swim or fly,
a story using the best tweets.
and because of this one ability, his dry cleaning bill is sky-high. In 2000, Burton extended Stain Boy’s adventures (and compressed his name into one word) with The World of Stainboy, a series of short animations commissioned for the Internet by Shockwave.com. “For some stories you have to wait for the right medium,” Burton said at the
60 • Tim Burton
Animation
Taking a Jewish folk tale as its inspiration, the film tells the story of a touching romantic triangle between the nervous Victor, the downtrodden Victoria, and the Corpse Bride herself, Emily. Victoria’s parents only want her married so they can get to Victor’s money, while Victor himself doesn’t seem ready for marriage. When Victor goes into the woods to practice his vows and inadvertently proposes to the Corpse Bride, he finds himself whisked away with her to the land of the dead. Victor is terrified at first and just wants to escape, but the ghoulish-looking denizens are actually far more lively and loveable than the people in our world. The fast
there are plenty of amusing moments in the
moving plot finds Victor gradually overcoming
film, the biggest surprise is that it’s played
his fear and falling for the Corpse Bride, while
straight for the most part, with the puppet
Victoria, believing she has been abandoned,
characters given almost as much weight as flesh
is forced to marry the vile Barkis. The land of
and blood actors. There’s also some wonderfully
the living and the dead come together. The
romantic moments, such as when Victor and the
Corpse Bride finally finds peace and her murder
Corpse Bride play the piano together.
is avenged. The resolution of the love triangle may not please everyone, but the final scene manages to be genuinely moving.
The contrast between the grey, drab world of the living and the colorful land of the dead works superbly. The stop motion work is as
There’s nothing too surprising or deep about
great with only the tiniest of CG enhancements
the story, though it’s refreshing to see a love
to bring it into the 21st Century. The expres-
triangle where both women are decent and
sions on the characters are so life like it’s easy
arguably more capable than the hero. While
to forget you’re watching puppets.
2005
• 61
Corpse Bride
62 • Tim Burton
Frankenweenie is a feature-length treatment of one of the first things Burton ever made: a 1984 short originally rejected by Disney for being too "dark". Well, this is actually a sentimental kind of retro gothic lite, appearing under the Disney banner: very Tim Burton and also very Steven Spielberg, whose influence was at its most potent when the story was conceived: ET meets The Munsters. It's a stop-motion model animation, filmed throughout in Twilight Zone monochrome and set in classic American suburbia during what could be the 1950s, though an odd reference to Pluto being downgraded from full planet status appears to put it within the last decade. A smart kid with a sleek dark hair and a deathly pallor whose name just happens to be Victor Frankenstein worries his mum and dad by being entirely uninterested in healthy outdoor pursuits. (Weirdly, however, everyone in town has the same unhealthy look, so much so that you might suspect the point of the story is going to be that they are all zombies). Anyway, Victor just stays in his room, making Super 8 home movies with toys, models and starring the one creature he loves more than all the world: his dog, presciently and ironically named Sparky. When poor Sparky is accidentally killed, grief-ridden Victor digs up the doggy corpse in the dead of night, wires it up to the electric currents from a thunderstorm and, behold, the creature lives: Frankenweenie! Frankenweenie the lovable undead pooch is a comment on our perennial regressive desire to remain kids, and it touches, glancingly, on the idea that we are most daring and brilliantly creative in our earliest youth, before buttoned-up adulthood constrains us.
Animation
2012
• 63
Frankenweenie
64 • Tim Burton
“
”
ONE PERSON'S CRAZINESS IS ANOTHER PERSON'S REALITY
The Last of Its Kind, 1994
• 65
66 • Tim Burton
Untitled (Ramone), 1980-1990
BE WHO YOU ARE AND SAY WHAT YOU FEEL, BECAUSE THOSE WHO MIND DON'T MATTER AND THOSE WHO MATTER DON'T MIND • 67
68 • Tim Burton
• 69
Awards
70 • Tim Burton
Awards
Award Winning Movies (per year)
Corpse Bride Venice Film Festival Future Film Festival Digital Award British Animation Awards Best Feature
Edward Scissorhands Hugo Awards Best Dramatic Presentation
Vincent
Beetlejuice
Ottawa International Animation Festival Audience Award
Daytime Emmy Awards Outstanding Animated Program
1984
1990
Sant Jordi Awards Best Foreign Film (Mejor PelĂcula Extranjera)
1991
Charlie and the Chocolate Factory SFX Awards, UK Best Director, 2nd place
2005
• 71
Award Winning Movies
Sweeney Todd National Board of Review, USA Best Director
Frankenweenie
Houston Film Critics Society Awards Best Director
Los Angeles Film Critics Association Awards Best Animation
Dallas-Fort Worth Film Critics Association Awards Best Director, 3rd place
2007
Alice in Wonderland CinEuphoria Awards Top Ten of the Year Audience Award
2011
Awards Circuit Community Awards Best Animated Feature Film 2nd place
2012
Frankenweenie Italian Online Movie Awards (IOMA) Best Animated Feature Film (Miglior film d'animazione)
2013
72 • Tim Burton
Awards
Nominations (per movie)
1990 Chicago Film Critics Association Awards CFCA Award, Best Director Hugo Awards Best Dramatic Presentation
1993
1989 Hugo Awards Best Dramatic Presentation
1995
Academy of Science Fiction, Fantasy & Horror Films, USA Saturn Award for Best Director
Cannes Film Festival Palme d'Or Chicago Film Critics Association Awards CFCA Award, Best Director
Hugo Awards Best Dramatic Presentation
1996
Academy of Science Fiction, Fantasy & Horror Films, USA Saturn Award for Best Director
Italian National Syndicate of Film Journalists Silver Ribbon Best Foreign Director (Regista del Miglior Film Straniero)
Hugo Awards Best Dramatic Presentation
Argentinean Film Critics Association Awards Silver Condor, Best Foreign Film (Mejor PelĂcula Extranjera)
Beetlejuice
Batman
The Nightmare Before Christmas
Ed Wood
1990
1994
• 73
Nominations
2004 BAFTA Awards David Lean Award for Direction Broadcast Film Critics Association Awards Critics Choice Award, Best Director
1997 Academy of Science Fiction, Fantasy & Horror Films, USA Saturn Award for Best Director Hugo Awards Best Dramatic Presentation Online Film & Television Association OFTA Film Award, Best Sci-Fi/Fantasy/ Horror Picture
Chicago Film Critics Association Awards CFCA Award, Best Director
2000 Academy of Science Fiction, Fantasy & Horror Films, USA Saturn Award for Best Director
David di Donatello Awards David, Best Foreign Film (Miglior Film Straniero)
2005
2005 BAFTA Awards BAFTA Children's Award, Best Feature Film
Satellite Awards Best Motion Picture Animated or Mixed Media
Italian National Syndicate of Film Journalists Silver Ribbon Best Foreign Director (Regista del Miglior Film Straniero)
Argentinean Film Critics Association Awards Silver Condor, Best Foreign Film, Not in the Spanish Language
Amanda Awards, Norway Best Foreign Feature Film (Ă…rets utenlandske kinofilm)
Mars Attack
Sleepy Hallow
Big fish
Charlie and the Chocolate Factory
2006
74 • Tim Burton
Awards
2007 Awards Circuit Community Awards Best Director Detroit Film Critic Society, US Best Director
2006 Annie Awards Directing in an Animated Feature Production Argentinean Film Critics Association Awards Silver Condor, Best Foreign Film, Not in the Spanish Language
St. Louis Film Critics Association, US Best Director
Academy of Science Fiction, Fantasy & Horror Films, USA Saturn Award for Best Director
St. Louis Film Critics Association, US Best Animated Feature Film
Golden Globes, USA Best Director Motion Picture Broadcast Film Critics Association Awards Critics Choice Award, Best Director
Online Film & Television Association Best Animated Picture
Italian National Syndicate of Film
Batman
Alliance of Women Film Journalists EDA Award Best Animated Feature Film
2008
Italian National Syndicate of Film Journalists Silver Ribbon, Best Foreign Director
PGA Awards Outstanding Producer of Animated Theatrical Motion Pictures
2012
Journalists Silver Ribbon, Best Non-European Director
Academy Awards, USA Best Animated Feature BAFTA Awards Best Animated Film
2010 Italian National Syndicate of Film Journalists Silver Ribbon Best 3D Film Director
Online Film & Television Association Best Animated Picture
Empire Awards, UK Best Director
Scream Awards Best Director
PGA Awards Outstanding Producer of Animated Theatrical Motion Pictures
Sweeny Todd
Alice in Wonderland
Frankenweenie
2009
• 75
Personal Awards 1990 ShoWest Convention Director of the year
2007 Venice Film Festival Career Golden Lion
2008 Amsterdam Fantastic Film Festival Career Achievement Award
2010 Order of Arts and Letters, France For his services to the film industry. Officer of the Order of Arts and Letters Annie Awards Winsor McCay Award
2011 International Film Music Critics Award Best Archival Release of an Existing Score
2012 Moscow International Film Festival Special Prize For outstanding contribution to the world cinema British Film Institute Awards BFI Fellowship
2014 Tokyo International Film Festival Samurai Award
76 • Tim Burton
Staring Girl,(The Melancholy Death of Oyster Boy and Other Stories), 1982-1984
• 77
Stories
78 • Tim Burton
Stories
The Melancholy Death of Oyster Boy & Other Stories
The Melancholy Death of Oyster Boy & Other
Stick Boy and Match Girl in Love
Stories is a 1997 poetry book written and
Voodoo Girl
illustrated by Burton. The poems, which are full of black humor, tell stories of hybrid kids,
Robot Boy
spontaneous transformers, and women who
Staring Girl
have babies to win over men.
The Boy with Nails in His Eyes
Some characters of the book would later
The Girl with Many Eyes
appear in the Flash series Stainboy.
Stain Boy The Melancholy Death of Oyster Boy Stain Boy's Special Christmas The Girl Who Turned into a Bed Roy, the Toxic Boy James Stick Boy's Festive Season Brie Boy Mummy Boy Junk Girl The Pin Cushion Queen Melonhead Sue Jimmy, the Hideous Penguin Boy Char Boy Anchor Baby Oyster Boy Steps Out
The Melancholy Death of Oyster Boy & Other Stories
Untitled (The Melancholy Death of Oyster Boy and Other Stories), 1982-1984
• 79
80 • Tim Burton
Stories
The Pin Cushion Queen
Staring Girl
Life isn't easy
I once knew a girl
for the Pin Cushion Queen.
who would just stand there and stare.
When she sits on her throne
At anyone or anything,
pins push through her spleen.
she seemed no to care. She'd stare at the ground, She'd stare at the sky. She'd stare at you for hours, and you'd never know why. But after winning the local staring contest, she finally gave her eyes a well-deserved rest.
The Melancholy Death of Oyster Boy & Other Stories
Stain Boy's Special Christmas
The Boy with Nails in His Eyes
For Christmas, Stain Boy got a new uniform.
The Boy with Nails in His Eyes
It was clean and well pressed,
put up his aluminium tree.
comfy and warm.
It looked pretty strange
But in a few short minutes,
because he couldn't really see.
(no longer than ten) those wet, greasy stains started forming again.
• 81
82 • Tim Burton
DON'T WORRY ABOUT HOW YOU SHOULD DRAW IT. JUST DRAW IT THE WAY YOU SEE IT. Untitled (Cartoons Series), 1980-1986
• 83
84 • Tim Burton
Index
Index
A Alice in Wonderland 42, 73 B Batman 38, 74 Beetlejuice 14, 26, 38 Big Eyes 43 Big Fish 41, 75 C Charlie and the Chocolate Factory 41, 72 Corpse Bride 42, 63, 72 E Edward Scissorhands 39, 72 Ed Wood 40, 74 F Frankenweenie 14, 18, 19, 20, 25, 26, 43, 64, 73 H Hansel & Gretel 51 M Mars Attacks! 40, 75 O Oyster Boy 80 P Pee-Wee’s Big Adventure 38 Planet of the Apes 41 S Sleepy Hallow 75 Stainboy 61 Stalk of the Celery Monster 49 Sweeney Todd 42, 73 T The Melancholy Death of Oyster Boy & Stories 80 The Nightmare Before Christmas 39, 57 V Vincent 53, 72
• 85
86 • Tim Burton
• 87