As I read through this interview, it’s clear that Tim Burton‘s journey mirrors his unique, eccentric, and imaginative world he’s created over the years. His nostalgic reminiscence of Disney’s transition from an artist-centric studio to a corporate behemoth reflects a broader shift in the film industry, where the focus has moved towards bigger franchises and less on nurturing individual creative visions.
Among the numerous accolades and acknowledgments amassed throughout his over 40-year-long career, Tim Burton was never anticipating a star on the Hollywood Walk of Fame. Yet, his response to this news mirrors the whimsical, dark aesthetic that has propelled his 20 films to nearly $4.5 billion in global box office earnings and transformed an often misunderstood filmmaker into a household name.
Burton recalls, “At first, I assumed they were grave markers before I understood what they actually were,” Burton says to EbMaster. “Growing up in California, everything is flat tombstones, so that’s why I made the mistake. However, it didn’t take me long to figure out that Desi Arnaz and John Wayne weren’t buried beneath Hollywood Boulevard.”
Tim Burton, renowned for his unique directorial work on films such as “Sleepy Hollow,” “Corpse Bride,” “Dark Shadows,” and “Frankenweenie,” has a deep understanding of both the living and the deceased. Actor Michael Keaton recalls their first encounter on “Beetlejuice” highlighted not only Burton’s distinctive character but also their creative synergy. As Keaton explains, although the concept was challenging to convey, Burton’s enthusiasm and determination were evident. “That collaborative process, led by Tim’s vision, was one of the most enjoyable and rewarding experiences I’ve ever had,” Keaton says. “He is a creative genius who perceives the world in an unusual way, yet when everything falls into place, it is nothing short of brilliant.”
In the lead-up to their next collaboration, “Beetlejuice Beetlejuice,” Keaton highlights Tim Burton’s distinctive storytelling style as the key factor behind his success in Hollywood. “It’s a well-earned recognition of Tim’s one-of-a-kind artistic vision and his significant impact on the film industry,” he expresses.
“When he selected me for Batman, even though others had their reservations, it demonstrated his dedication to his concept – this was simply one instance of his artistic integrity. Being awarded a star is proof of the impact he’s made on film and the innovative ideas he’s brought to life on screen.”
Prior to the September 3rd Walk of Fame event, Burton sat down for an interview with EbMaster, discussing his career as a filmmaker and storyteller. This journey spanned from “Pee-Wee’s Big Adventure” to “Beetlejuice Beetlejuice,” and beyond.
When you started making films, did you self-consciously feel like an outsider?
I spent my formative years in an unusual era at Disney, where I was far from an accomplished animator. Yet, the diverse tasks I was given allowed me to discover my path in a most unconventional manner. Upon embarking on my first full-length film, I had dabbled in a few short projects, yet I was naive about the industry, so I hadn’t even grasped the concept of fear.
How naturally did your aesthetic emerge as a filmmaker?
Everything had a deeply personal touch for me. Regardless of whether they were created by me or not, I always managed to find some personal significance in them. This was the driving force behind my actions.
“Batman” was a remarkable sea change for superhero movies. How much were your natural impulses on that challenged by studio pressures?
Back then, I happened to be fortunate since the term “franchise” wasn’t around yet. This allowed “Batman” to seem somewhat innovative during its time. It diverged from what one might expect a superhero movie to look like, thus we didn’t encounter that kind of studio feedback. Being in England, it was even more distant. As a result, we were able to concentrate on the film without worrying about those factors that are now considered before production even begins.
You have always possessed this wonderful ability to combine ideas that felt risky, but in their execution never felt unsafe.
I’ve always had a sense that I wasn’t abusing the company funds when working with studios, if you catch my drift. It felt almost innocent because I wasn’t truly a professional filmmaker, so I simply did things in my own way. It seemed like that was why they wanted me. This has always been a peculiar dilemma, where they want you but not quite the real you. However, at the start and to some extent even now, I believe they didn’t fully grasp what I was doing, so they couldn’t really criticize it.
“Batman Returns” was the first film where you were totally free from budget or studio interference. How much did you actively want to push the envelope? How much were its idiosyncrasies an organic expression of your creativity?
For my part, I hadn’t been keen on a sequel initially. However, my fascination with characters like Penguin and Catwoman rekindled my enthusiasm for the project. This is when discussions about expanding into a franchise began, and it was then that the studio started questioning details such as “What causes the black substance coming out of the Penguin’s mouth?” This marked the first time I felt a chilly breeze of such industry-related matters.
Your unmade “Superman” adaptation starring Nicolas Cage has reached mythical status. What lessons from those projects have you been able to apply to the ones you actually got made?
Making a movie is always an unexpected adventure, reminiscent of “Jason and the Argonauts.” Each project has its unique challenges that everyone must navigate to bring it to fruition. Unfortunately, I’ve experienced the heartbreak of movies falling through after years of work, which can be quite distressing. To cope, I concentrate on projects that resonate with me deeply and try to filter out any distractions or unnecessary noise.
At a time when Sam Raimi and others are coming back to the genre, could you be persuaded to take on a superhero movie again?
Currently, my answer is a firm ‘no’. However, I always approach matters from various perspectives, so I wouldn’t rule out anything entirely. At this point in time, it’s not an option that particularly appeals to me.
“Ed Wood” felt like a perfect harmony of the subject matter and filmmaker. Though it’s a comedy, did you consider that your first more serious film?
In my perspective, I found myself profoundly resonating with the character’s journey as an artist, straddling the fine line between unbridled enthusiasm and harsh reality – akin to crafting “Star Wars” while unwittingly creating “Plan 9 From Outer Space.” The dynamic between him and Bela Lugosi stirred memories reminiscent of my connection with Vincent Price. Various aspects of it struck me intensely, though not autobiographical, they touched me deeply.
You cultivated a pretty strong ensemble of collaborators early in your career to work with multiple times. How easy has it been to identify people with whom you share a creative affinity?
I truly enjoy collaborating with individuals repeatedly, uncovering new facets of their personalities. And even those I’ve worked with just once, the encounters were rich and rewarding, so I feel quite fortunate. The only exception was Jack Palance during “Batman,” who had one moment where he seemed inclined to give me a good fight!
I feel like he wanted to beat up a lot of people.
At first, I was a novice, I felt apprehensive, there were times when I wasn’t sure of the right steps, which made me anxious. However, fortunately, things turned out alright in the end.
“Batman Returns,” “Ed Wood” and “Mars Attacks” all deconstruct Hollywood conventions. Was that an idea you were actively contemplating at that time?
Following “Ed Wood,” I found myself transforming into Ed Wood. At that point in time, I was in an unusual state – everything seemed off-kilter. It was quite paradoxical in America, and it was during a peculiar period when tanks were stationed outside the Capitol building; we were able to perform tasks in filmmaking that are no longer possible today. For me, it was a unique and rewarding experience. To put it simply, embracing the role of Ed Wood wasn’t such a bad thing at all.
Aside from Ed Wood, when you started your career, were there people on the margins of the film industry you immediately identified with?
Many individuals may have influenced me over the years, yet it was Ray Harryhausen who truly captivated me ever since my childhood. His unique form of animation, imbued with a deep emotional resonance, stood out like no other. Consequently, I have always regarded him as a true artist and a profound source of inspiration.
“Sleepy Hollow” was a landmark marriage between your sensibility and material that did not originate with you. Was there ever a degree ever of calculation with any of those choices, like “Sweeney Todd” or “Alice in Wonderland?”
Absolutely not. When I saw “Sweeney Todd” on stage, I remember remarking that it was the only musical I’d ever enjoyed, and felt a sense of horror film-like emotions. Despite it being a Stephen Sondheim production, I’ve always approached it as if it were my own creation.
“Big Fish” has this lovely maturity. Were you trying to exercise a muscle with that film that you perhaps hadn’t before?
About a year ago, my father passed away. Our relationship wasn’t particularly close, but his death struck me deeply. Shortly after the incident, I found solace in reading. If I had received that movie earlier, I believe I wouldn’t have survived. Over time, life experiences shape and mold us, providing greater understanding and wisdom that can influence our creative decisions.
At what point did you recognize that “Burtonesque” was a style that people sought?
In a cinematic sense, your words evoke a sense of unease, reminiscent of the chilling atmosphere in “Invasion of the Body Snatchers.” I’ve never quite identified with that persona, much like how a vampire avoids mirrors to maintain the illusion of immortality. However, I must clarify that I don’t live without mirrors (a hearty laugh escapes me at the thought). The comparison doesn’t resonate with me personally, but it could be seen as a compliment by some and a diminishment by others, depending on the perspective of the one making the remark.
Whether it’s a compliment or a diminishment, if a studio is coming to you saying, “We want that Burton magic,” do you ever want to subvert that?
As I grow older, when people express desires, I sometimes find myself questioning their sincerity because in my past, they’ve said they wanted something, but then didn’t follow through. It’s an amusing aspect of life to observe. However, I’m no longer concerned about their wishes; instead, I’m concentrating on the activities that ignite my enthusiasm, and it feels great to be in this mindset.
Disney, the place that you started as an animator, has often become a home for film projects throughout your career. I read a quote that indicated that you didn’t think that you could or would be able to work with Disney again.
Over the years, I’ve had multiple stints at Disney. During my initial tenure as an animator and designer, the company was going through several transitions even then. Each new management brought in fresh ideas, making it feel like working for a different studio each time. Remarkably, my desk offered a unique view – out of the window, I could see the hospital where I was born and beyond that, Forest Lawn, the cemetery where my parents are buried. It seemed like a strange triangular connection that began long ago. My journey with Disney has been filled with highs and lows – from having my wisdom teeth extracted and bleeding in the halls of Disney, to struggling to draw foxes for various movies I’ve worked on there. Now, I feel like a teenager ready to leave home.
How much is that perception about Disney indicative of your view of the larger industry?
Looking back to the ’80s, there was an animation studio specifically tailored for artists. By 1986, I became the last artist in that building as all other artists were forced out and relocated to a warehouse in Glendale. Subsequently, the studio was taken over by executives. I’ve witnessed this transformation for quite some time now. And today, it seems like bigger franchises have replaced the smaller, more personal projects, which isn’t my preference, but such is life.
How has your experience been revisiting the world of “Beetlejuice”?
As a filmmaker who grew up watching Tim Burton’s “Big Fish,” I was initially hesitant to revisit the story because I hadn’t considered doing a sequel back then. However, as I approached middle age, curiosity about Lydia’s life and the fate of the Deetz family piqued my interest. I wanted to explore what happens to people after 35 years, where they go, and what their journey becomes. This personal connection made the project deeply emotional for me.
The five years between “Dumbo” and “Beetlejuice Beetlejuice” might mark the longest time you’ve gone between making films.
Around the COVID period, everything seemed unstable and uncertain. Instead of getting swept up in this turbulence, I focused on my personal emotions and tasks. Then, “Wednesday” entered my life, sparking my interest in creating again. We then traveled to Romania which felt like a creative wellness retreat. It was an extremely successful experience.
How much did that series rekindle your creativity? How eager are you to keep working?
To be honest, following “Dumbo,” I found myself unsure about my next steps. I considered retiring or pursuing other paths, but that career as an animator seemed to be at an end. (Laughs) But this project gave me a new lease on life. You see, in Hollywood, there’s often a focus on being responsible with the budget and other aspects of production, which can sometimes make you lose sight of yourself. This experience reminded me that it’s crucial to follow my own passions, as that’s when everyone will truly benefit.
Are people knocking on your door?
I’m in a secluded place with no one nearby to visit; thus, my door remains untouched. However, I’ve faced similar situations before. It’s interesting to note that Batman wasn’t initially approved until after Beetlejuice was released. So, while they claim to adore you now, let’s see if their affection holds up in the future.
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2024-08-22 18:19