Wednesday, August 06, 2008

Hundreds Gather for Big-Screen Debut in "Wonderland"


Casting director Ilenka Jelowicki and her crew are looking for 250 extras for the forthcoming Tim Burton film Alice in Wonderland. Not surprisingly, hundreds of hopefuls gathered on Wednesday, August 6th, and endured hours in a long line and the pouring rain in Plymouth, England, long before Ms. Jelowicki and the casting agents began looking at potential cast members at 10:00 am at the New Continental Hotel.

25-year-old musician and actor Andrew Lessiter, a citizen of Plymouth, was the first to arrive for auditions -- at 2:00 am.

"I'm a real film buff and just to be involved in any way in a Tim Burton film would be a huge honor," said Lessiter.



Claire Trigger: "I'd make a good card, but I'd even lay on the floor
and play a dead rabbit if they asked me."


Hopeful people ranged from age 16 to well past 70, and ranged from school teachers, drama students, engineers, decorators, shop assistants, phlebotomists, and grandmothers, to name a few.

But despite their star-struck enthusiasm, Ilenka Jelowicki warned that it isn't all fun and games on a movie set. "When you get local people involved, they really give a lot of effort to the picture and their enthusiasm really counts," she said. "But it can be a long day being on set for 12 to 14 hours a day."



Nik Brookson arrived in Victorian era costume.


Plenty more hopefuls will arrive tomorrow for a chance to be in the phantasmagorical movie.

Filming begins in Plymouth next month.

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Friday, August 01, 2008

Casting and Location Scouts in Plymouth Next Week

While the film's title was not officially announced, it appears that a certain Disney cinematic adaptation of a certain Lewis Carroll novel will be at least partially filmed in a certain South West England city called Plymouth, a certain news agency called the BBC News stated. In addition to looking for prime Victorian era shooting locations, the casting director of Alice in Wonderland (crap!--wasn't meant to say that!), Ilenka Jelowicki, said that casting agents are looking for people to be extras in the fantasy film, which will apparently be directed by a certain Tim Burton.

Auditions will take place at the New Continental Hotel in Plymouth, on Wednesday, August 6th and Thursday, August 7th, between 10 am and 6 pm. Eventually, the casting agents will select 250 extras, who will be paid.


Ms. Jelowicki went into more detail: "We are looking for people above the age of 16 who have naturally coloured hair.

"We would prefer girls with long hair and men with natural styles. Extras will get to dress up in Victorian period costume, corsets and wigs and will have their make-up done.

"We would also like people whose work allows the flexibility of two weeks' worth of filming."


Locations for filming are being tightly kept under-wraps, but Plymouth clearly drew appeal to the filmmakers for its notable Victorian era look and aesthetics. Shooting will take place in the city in September for two weeks.

IMDb.com has announced that Alice will be released in theaters on March 5th, 2010.


In related news, websites across the Internet still can't stop yammering about a rumor that Johnny Depp will be playing the Mad Hatter, despite the fact that there is no official or credible source to take account for this claim. We will have to wait to see if this is true or not. However, we do know that Mia Wasikowska is in talks with Disney to play the lead role of Alice.

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Sunday, July 20, 2008

Burton v. Marie: Legal Battle

Director Tim Burton has been ordered to stand trial in a lawsuit by his ex-girlfriend Lisa Marie, who claims she's owed millions of dollars.

Los Angeles Superior Court Justice Teresa Sanchez-Gordon ruled on the morning of Friday, July 18th, 2008, that a trial is the best means to determine whether Burton verbally agreed to bankroll Marie for life in return for her acting in his films (which include Ed Wood, Mars Attacks!, Sleepy Hollow, and Planet of the Apes) and serving as his personal manager, as her suit contends, before allegedly duping her into a much smaller payout.

Burton had fought to have his lawsuit tossed. There has been no immediate comment from neither his publicist nor his lawyer.

While Marie turned up for the proceedings in California, Burton participated on the phone, since he is in London, busy working on his upcoming Alice in Wonderland.


The article by Josh Grossberg continues as follows:

In his motion seeking dismissal, attorney Joseph Mannis argued that any sort of oral agreement was not applicable in this case, because Lisa Marie signed off on a $5.5 million settlement. Per the terms of that deal, Mannis argued, Lisa Marie relinquished all claims to Burton's assets and promised not to file a palimony suit.

But the model and actress, who appeared in small roles in many of Burton's films and whose real name is Lisa Marie Smith, claims she only received $2.7 million and was victimized by a conspiracy. She claims that Burton worked with her own advisers to shortchange her.

Burton filed a countersuit last September seeking a court declaration affirming she was obligated to live up to the prior deal.

One of the plaintiff's lawyers lashed out at the director's camp for a bullying tactic in which they threatened to take futher legal action against her if she fought Burton's petition to dismiss the case.

"They said that if we had the temerity to file papers in opposition to their motion for some reason that they would file a malicious prosecution action not only against Lisa Marie but also against me," cocounsel Judd Burstein told E! News. "It's going to be very interesting what the jury thinks of that kind of hubris."

Burstein added his camp was "very pleased" by the judge's ruling.

"It's not unexpected to us. Nice to know that just because you're a big celebrity you can't get your way by cheating and bullying."

The attorney also said that a chance for an amicable agreement was past.

"We've had some [settlement] talks, but it's not going anywhere," Burstein said. "We want our day in court, and it will be a very bad day for Tim Burton."

That day is now scheduled for August 11th.

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Tuesday, May 20, 2008

"Sweeney Todd" Region 2 DVD Now Available

The Region 2 DVD of Sweeney Todd: The Demon Barber of Fleet Street is now available in the UK. The following special features are on the two-disc set:

- Behind the scenes featuring: Tim Burton, Johnny Depp and Helena Bonham Carter

- Musical Mayhem: Sondheim's Sweeney Todd (featurette)

- Sweeney Todd is Alive: The Real History of the Demon Barber (featurette)

- Sweeney's London (featurette)

- Recreating Fleet Street (featurette)

- Grand Guignol: A Theatrical Tradition (featurette)

- Sketchbook (a look at the creation of sketches of the story)


It should be noted that there is no Tim Burton audio commentary track, despite rumors suggesting that there might have been.

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Sunday, May 18, 2008

"Music from the Films of Tim Burton" CD

Filmscoremonthly.com has posted information about a new re-recording by Silva Screen Records...



The article says the following:

"'Music from the Films of Tim Burton'

Tim Burton’s career as a director has provided some of the most original and distinctive films in cinema history.

His long working relationship with the musical genius of Danny Elfman is the main subject of this collection of the very best music from his films.

With a collaboration lasting over 25 years, Danny Elfman’s quirky music has more than matched the strange screen worlds of Tim Burton.

Highlights include Breakfast Machine from Pee-wee’s Big Adventure, Main Title/Ice Dance from Edward Scissorhands, Mars Attacks! and Beetlejuice.

Also includes selections from Burton’s most recent film Sweeney Todd, composed by Stephen Sondheim."

The tracklisting is as follows:

1. Main Titles – Sweeney Todd
2. No Place Like London – Sweeney Todd
3. A Little Priest – Sweeney Todd
4. Johanna – Sweeney Todd
5. Christmas Eve Montage – The Nightmare Before Christmas
6. The Piano Duet/Victor’s Piano Solo – Corpse Bride
7. End Titles – Sleepy Hollow
8. Themes - Batman
9. End Titles – Batman Returns
10. Main Title/Ice Dance – Edward Scissorhands
11. Finale – Charlie and the Chocolate Factory
12. Beetlejuice - Beetlejuice
13. Breakfast Machine – Pee-wee’s Big Adventure
14. Main Title – Ed Wood
15. Mars Attacks! – Mars Attacks


This CD is not composed of the same versions of the music by Danny Elfman, Howard Shore (Ed Wood), and Stephen Sondheim, that we're familiar with. Instead, these are new recordings of those pieces, played by the City of Prague Philharmonic.

The CD will be available in the UK on June 16th, 2008, and in the US on July 7th, 2008.


Catalogue No. SILCD1261
Format: CD
Barcode: 73857 2126124
Label: SILVA SCREEN
Street Date: 16/06/2008

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Sunday, April 27, 2008

Zanuck on "Alice"

No big news at the moment, but producer Richard D. Zanuck has confirmed that Tim Burton's upcoming Alice in Wonderland will begin shooting in London this May. Burton is currently involved in pre-production of the fanciful film.

The producer, who has collaborated with Burton on each of his live-action films since Planet of the Apes in 2001, also promised that there will be "a lot of animation" in the movie.

Alice, which is being made with Walt Disney Pictures, will use a combination of computer-generated animation and live-action.

No casting decisions have been declared at the moment, but since filming is due to begin very shortly, we may find out who will be in the movie soon enough.

Stay tuned for more information!

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Friday, April 11, 2008

"Edward Scissorhands" Ballet Tour Information


In case you missed it before, Matthew Bourne's ballet adaptation of Edward Scissorhands may be coming to a continent near you.

Information on the global tour of the ballet was released on whatsonstage.com. According to the website, the show will return to Sadler's Wells in London for a seven-week season this Christmas.

"As part of a new international tour, the dance drama will run at Sadler’s Wells, where it broke box office records during its first season in late 2005, from 2 December 2008 to 29 November 2009," said whatsonstage.com.

The ballet features music by Terry Davies based on Danny Elfman’s film score.

"Prior to London, Edward Scissorhands will also visit Birmingham, Salford and Wimbledon. And, before and after the UK, it will tour Australia for nine weeks, spend four weeks in Paris and visit Athens and Antwerp."

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Sunday, April 06, 2008

"Sweeney Todd" Region 2 DVD and Blu-Ray

Play.com has released information and cover art for the Region 2 Two-Disc DVD and the Blu-Ray DVD version of Sweeney Todd: The Demon Barber of Fleet Street.

While the two-disc DVD version doesn't have as many bonus features and its U.S. counterpart, it does appear to have a commentary track by Tim Burton, as well as a Sketchbook (both special features were not on the Region 1 DVD version in North America).


Region 2 Two-Disc Edition Special Features:

  • Play.com Exclusive Cover (This exclusive cover can be found beneath the cardboard slipcase)
  • Commentary By Tim Burton
  • Musical Mayhem: Sondheim's Sweeney Todd
  • Sweeney Todd Is Alive: The Real History Of The Demon Barber
  • Sweeney's London
  • Recreating Fleet Street
  • Grand Guinol: A Theatrical Tradition
  • Sketchbook

The Two-Disc Region 2 DVD



The Play.com exclusive cover for the two-disc DVD case.



The DVD website also provided the special feature information and cover art for the Blu-Ray version of the film. Play.com is also offering an exclusive 16-page booklet offering "A Look Behind the Scenes":

Blu-Ray Special Features

  • Play.com Exclusive Behind The Scenes 16 Page Booklet
  • Commentary By Tim Burton
  • Musical Mayhem: Sondheim's Sweeney Todd
  • Sweeney Todd Is Alive: The Real History Of The Demon Barber
  • Sweeney's London
  • Recreating Fleet Street
  • Grand Guinol: A Theatrical Tradition
  • Sketchbook


The Play.com exclusive booklet:



The Blu-Ray DVD works in any Blu-Ray DVD player, without the restraints of region specification. Both versions will be available to purchase in the UK on May 19th, 2008. You can also pre-order them now on the links at the beginning of this article.

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Monday, February 11, 2008

BAFTAs Results

Sweeney Todd: The Demon Barber of Fleet Street managed to receive two BAFTA nominations this year, but ultimately failed to win. The biography La Mome beat out Todd in both Best Costume Design (Colleen Atwood was nominated) and Best Makeup/Hair.

You can read more on the BAFTAs results here.

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Tuesday, January 29, 2008

"Sweeney Todd" Slashes Box Office Competition in UK

ContactMusic.com reports that Sweeney Todd: The Demon Barber of Fleet Street had a smashing opening weekend in movie theaters in the United Kingdom. The film came out as number one at the box office, defeating competition. The film earned about £4,512,42 (about $8,960,807.42 in American dollars) in the UK during its opening weekend.


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Saturday, January 26, 2008

Tim Burton's Home

Tim Burton recently mentioned the curious fact that his parents, for some reason or another, walled-up the windows in the little suburban house he lived in during his childhood in Burbank, California.

"I had two windows that looked out to the lawn. For some reason my parents walled them up and gave me this little slit window that I had to climb up on my desk to see out of. To this day I never asked them why," said the filmmaker in the Australian newspaper The Age.

Helena Bonham Carter offered information on the home she shares with her partner (and possibly her future husband, as Burton revealed recently), and with their two children: four-year-old Billy Ray Burton and their one-month-old daughter, whose name has yet to be officially released (though rumors online state it's Indiana Rose Burton). The pair have two separate, ajoining houses in North London.

"His side is messier and decorated with props from the films. My side is cutesy, Beatrix Potter, which is fine for him to visit but there's no way he could live in it. He thinks his side is James Bond," said Helena.

Billy's bedroom is in Tim's house.

Helena said: "I have the kitchen and a fire so we'll watch TV in my place.

"There is no normality in life. Having two houses means that we can get out of each other's hair - which, let's face it, we've both got a lot of!"

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Wednesday, January 23, 2008

Yet Another "Todd" Interview

Yup, another Sweeney Todd related interview from the UK. Tim Burton, Johnny Depp, and Timothy Spall discuss musicals and the violence in the movie.

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Burton and Depp on "Culture Show"

With Sweeney Todd making its UK debut on Friday, there is still plenty of advertising and promotions going around. Johnny Depp and Tim Burton discuss their latest collaboration in this video from "Culture Show." Depp recalls Iggy Pop and Anthony Newley inspired his voice for Todd and Peter Lorre helped him with the acting.

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"Sweeney Todd" London Press Conference Video

You can now watch the London Press Conference of Sweeney Todd online. Tim Burton, Johnny Depp, Helena Bonham Carter, Alan Rickman, and Timothy Spall take questions and poke fun at one another a bit. Beware of SPOILERS!

Part One:



Part Two:

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Tuesday, January 22, 2008

"The South Bank Show": Tim Burton Episode

Think you've seen everything there is to see and know everything there is to know about Tim Burton? Think again. "The South Bank Show," an award-winning television arts magazine show from Britain, has come out with a new episode featuring the director with rare footage, information, and interviews (with Tim, Danny Elfman, Rich Heinrichs, Helena Bonham Carter, Johnny Depp, and many others) you may never have seen before. From his youngest years and earliest ventures into film (including his student movie "Houdini" and his 2D animated short, "Stalk of the Celery Monster") to the present day, the episode encompasses a great deal of the filmmaker's works.

Little Tim on a pony. Shocking.



Tim Burton in "Houdini."


"Stalk of the Celery Monster"



A young Rich Heinrichs and Tim Burton being interviewed, with puppets from Vincent (1982) between them.


Sketch of Mrs. Lovett and Todd by Burton for Sweeney Todd

Watch the episode on YouTube (in multiple segments) or on Stage6 (which is in one piece. You can also download the video from the Stage6 link). Video courtesy of John Erik Taylor.

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BAFTA Nominees Announced

Sweeney Todd: The Demon Barber of Fleet Street has been nominated for two BAFTA awards: Best Make Up & Hair (Ivana Primorac and Peter Owen), and Best Costume Design (Colleen Atwood). The results from the British Academy of Film and Television Arts will be announced on February 10th, 2008.

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Wednesday, January 16, 2008

Burton and Bonham Carter to Tie the Knot?


After nearly seven years, five films, and two children, Tim Burton announced that he might be ready to become officially married to his partner, Helena Bonham Carter.

"Helena and I feel so married we never got around to doing it, but I'm thinking about it.

"I'm a late bloomer."

The couple, residing in England, recently had their second child, a daughter, born in December 2007. The newest addition to the Burton-Bonham Carter family apparently has yet to be officially named, despite earlier rumors.

Burton, now 49 years old, was briefly married before to artist Lena Gieske. After that, he had a long-term relationship with model Lisa Marie. Helena Bonham Carter, 41, dated Kenneth Branagh before her relationship with director Burton.

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Friday, January 11, 2008

Coverage of UK Premiere of "Sweeney Todd"

Sweeney Todd: The Demon Barber of Fleet Street had its United Kingdom premiere in Leicester Square last night on Thursday, January 10th, 2008. Director Tim Burton and much of the cast (including Alan Rickman, Jayne Wisener, and Timothy Spall) were present for fans from all over, some from as far away as Russia and Japan. Star Johnny Depp spoke of his experience tackling the difficult singing in the musical horror film, based on the staged musical by Stephen Sondheim. "It was a challenge to see if I could do it. You've got to try something once and I gave it a shot," he said. Depp spent over an hour talking with fans from far and wide (the actor has been called the "best autograph giver", who likes to get to know his fans while signing for them).


Johnny Depp signing autographs.


While singing is one aspect of the film that has generated a lot of talk, the amount of blood and violence is another ever-present feature of the movie. Tim Burton defended that hyper-stylized gore effects in the movie.
"By having more blood, it actually made it a bit less graphic, because sometimes when you don't show stuff it has a tendency to be more real and disturbing," he said. Burton has also said that it befits the film to be bloody, since it's been violent ever since the story began as an urban legend during the 1840s.


Helena Bonham Carter

Burton's partner Helena Bonham Carter, who plays Mrs. Lovett in the film, had no issue with the gore, and she was ecstatic to be a part of the movie.
"It's one of the best written roles for women ever. I loved it from the age of 13. I think I've always wanted to be Mrs. Lovett," the actress said.


Alan Rickman

Alan Rickman, who plays the sinister Judge Turpin in Sweeney Todd, also shared a large group of fans as well as concerns about singing.
"It was less singing and more careering from one note to another," he claimed. But Burton and Sondheim both had a preference for casting actors who could sing instead of casting singers who could act.


19-year-old Jayne Wisener plays Johanna in Sweeney Todd


Sweeney Todd will be released in cinemas throughout the United Kingdom on January 25th, 2008.


From left to right: Alan Rickman, Tim Burton, Helena Bonham Carter, Johnny Depp, and Timothy Spall (who plays Turpin's right-hand man, Beadle Bamford)

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Wednesday, January 09, 2008

Burton Fed Up with "Ridiculous" Paparazzi

Tim Burton has slammed a north London newspaper, calling their rumors and paparazzi critiques "ridiculous." The director insists that the Camden News Journal has been making inaccurate stories about him and partner Helena Bonham Carter wanting to make bizarre developments to their home, which they share with their two children. He says, "There was an article that Helena and I were trying to get permission to build a fantasy land in our garden, some kind of amazing gypsy caravan. Our garden is about the size of this sitting area. And the paper showed a picture of an area that looked like what a homeless person would stay in." Burton also criticized the media for singling out him and Bonham Carter as "odd" and poking fun at Helena's fashion sense. The director adds, "Every other week there's a breaking story under the headline: 'Bonham Carter Dressed Like Shit.' So it's like we've got this reputation for being the spooky neighbourhood weirdos."

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UK Premiere for "Sweeney Todd"

For those on the other side of the pond, the United Kingdom premiere of Sweeney Todd: The Demon Barber of Fleet Street will be on January 10th, 2008, in Westminster. It will be shown at the Odeon Cinema in Leicester Square. Click this link for more details!

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Monday, January 07, 2008

The Visual Effects of "Sweeney Todd"

Tara DiLullo Bennett from VFXWorld interviewed Gary Brozenich of The Moving Picture Co. (MPC) in London on how the visual effects team of Sweeney Todd: The Demon Barber of Fleet Street helped bring Tim Burton's vision to life. Here is an excerpt (more can be read on the link provided -- BEWARE OF SPOILERS!):

Tara DiLullo Bennett: MPC has long worked with Tim Burton on previous projects, so was it just a given that your team came to work on Sweeney Todd?

Gary Brozenich: MPC has a long working relationship with Tim, including Big Fish, Corpse Bride, Charlie and the Chocolate Factory and his Killers video. Chas Jarrett was the production vfx supervisor (on Todd) and he and I had a long working relationship at MPC, where he was a sup for many years. I think it was the combination of those relationships that made Tim comfortable that we could deliver what he needed for Todd.

TDB: How was it working with Tim on this project?

GB: As we are image-makers by trade, it is always great to work with a strong visual director. Tim is also very familiar with the medium and us as a company, which always helps. Also, the whole team was very excited about the project. We all saw it as a great chance to work with him on this outrageously black story, which posed such a great creative fit to his visual style. Tim also gave us a lot of room to participate in the visual development of the environments we created, but his "big picture" view of the film, how it all cut, its overall look and mood was very strongly guided by him.

TDB: What does he ask of a vfx house and, in return, how involved is he in your process since he's all about the visuals?

GB: There was some working and reworking of shot layouts and some concepts at various stages, but the visual feel of the film was clear from the start. As we were never intending to do very obvious FX work, we needed to fit in with the tone and beat of it all, no matter how comprehensive our content in the shot. In that way, [Production Designer] Dante Ferretti's subtly stylized set designs were the obvious present and clear guide [for us].

TDB: Most people will just focus on the practical effects in Sweeney because of the gore and blood, but Burton always adds a digital level to all his films. So what was his plan in merging the two for this adaptation?

GB: We did augment some of the blood work in the film and cleaned up a few bits of rigging, but the vast majority of it was in camera. It looks great! The special effects team did a great job and spent a long time prepping, and it really paid off. There were a few shots where Tim wanted more ability to add grace and control to the forms made by spilled blood and we were able to help there.


Digital Effects Supervisor Gary Brozenich (inset)

TDB: Was Tim's goal to only have seamless, invisible vfx? If not, what were the key elements and sequences you had to plan and create?

GB: There are always moments, particularly in period films, where you know that a scene would not be possible without vfx content. But there are a lot of moments in Sweeney Todd that I hope the audience has no idea they are looking at a CG environment. In that sense, we were aiming for seamless work. The imagery is also very much about Tim's visual style, which can push some boundaries of reality, so seamless, also, meant not jarring with the visual style of the whole of the film. Our primarily concern was the creation of digital sets and environments. The whole production was shot on stages, which ranged from full on builds that only required a top up where the build hit the lights, to a set extension where the street required views beyond the limits of the stage. In some cases, the actors were shot on entirely green stages and we created the entirety of their surroundings. In one case, two of the principles walk down some stairs, through a gate, across a street and stop for a chat in front of a pub. The only practical element is the dressed floor that they're walking on, and the other performers on stage. They even brush up against the CG pub as they walk by.

TDB: Did the break in production [due to the illness of Johnny Depp's daughter] affect your team's work at all? Did you get breathing room or were you just asked to do more to fill the gap with productive time?

GB: The break was positive for us in the creative sense that it gave us more time to prep work for Tim. The shoot schedule was very full on and the original post period was very tight. This made access to TB's time hard to achieve. So, in a way, it did both things. It gave us some creative breathing room and made for very productive time as we headed into post as a result.

TDB: How much time from bid to picture lock did you have to create your pieces?

GB: The whole show lasted about 10 months internally, 11 if you count a few test shots. Post was about four to five months. Some shots/environments required up to six months of work, others were done in weeks.

TDB: How many artists were on the project?

GB: The team was between 50 to 70 artists throughout the shoot and post period.

TDB: When all is said and done, what sequence or element is your favorite in the film?

GB: Eek, my favorite? It's the truly invisible effects shots and sequences that I like best. They are also usually the hardest. There's a few shots mixed into sequences we did that I know no one will question their realistic integrity. They're my personal favorites.


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From Stage to Screen: Bringing a Musical to the Cinema

Bringing a staged musical to the big screen is not an easy task, especially for a production as ambitious (and beloved) as the one Tim Burton brought to cinemas: Sweeney Todd: The Demon Barber of Fleet Street. The Times Online observes this in interviews with Tim Burton and Stephen Sondheim.

Shooting at London's Pinewood Studios was one step that allowed the making of the movie version of the Stephen Sondheim musical easier for Tim Burton (“Here, I’m more able to focus on the movie,” Burton says. “There [in Hollywood], you just feel this vibe of the business around you”). But even after over twenty years of filmmaking, Burton acknowledged how ambitious this film would be. “I’d never really done something like this,” he says. “I’d always had music in movies, but never full-blown. It’s very operatic, and almost everybody in the cast is not a professional singer. Even seasoned Broadway people are saying how difficult it is.”

Stephen Sondheim, age 77, is perhaps best known for his musical Sweeney Todd, which premiered in 1979 and is based on the urban legend of a murderous barber that lived during the nineteenth century in London. But (perhaps luckily) he is less remembered for earlier attempts at bringing his other staged musicals to movie theaters. Still, Sondheim admires film greatly, but interestingly is not typically a fan of movie musicals. “The one form of movies that I never particularly enjoyed was the movie-musical,” Sondheim cautions. “I liked the sort of fluffy musicals before the second world war, the Astaire/Rogers things, but movie-musicals that told stories have always struck me as ponderous.” It’s all down to the gulf between “stage time” and “film time”, he explains, the movie medium being unable to accommodate someone simply standing and singing for several minutes. “Take 'Tonight' from West Side Story. It’s a close-up of him, then a close-up of her, then a two-shot, then a shot of the fire escape. There’s nothing to do. You have to waste the time." (Sondheim wrote the lyrics for West Side Story).


Stephen Sondheim

Tim Burton also was never much of a fan of movie musicals, or even staged ones, for that matter. The director remembered when he first saw the show in 1980. At the time, he was a student at CalArts. “I wasn’t into theatre,” he recalls. “I’d never heard of Sondheim. I just sort of stumbled on it and it really affected me. The first time on stage I saw them singing Johanna, and with the throat, you know, the blood, I thought, ‘This is a unique juxtaposition of music and image.’” It seemed, he adds, “like a great movie score. It would lend itself to one of those old horror movies." Burton's description was not far off; Sondheim's score was at least partially a tribute to the film music of Bernard Herrmann, a film composer who is perhaps best known for his collaboration with director Alfred Hitchcock (and, coincidentally, Herrmann is the biggest influence and hero of contemporary film composer Danny Elfman, who scored nearly every single Tim Burton feature film, with the exceptions of Ed Wood and Sweeney Todd).

Twelve years later, in 1992, Burton was regarded as one of Hollywood's A-list directors (after the successes of such unique blockbusters as Batman and Edward Scissorhands). The young filmmaker approached Sondheim about adapting the musical to the screen. “Then I never heard from him again,” Sondheim mutters. The Sweeney Todd film idea was passed around to other directors for more than a decade, but never grew beyond that concept. Years later, Burton was a year into pre-production for a biography on Robert Ripley, called Ripley's Believe It or Not!, which was to star Jim Carrey in the title role. The project fell through, however. Luckily, Sweeney Todd fell back into Burton's lap. “In some ways, I think the timing was more right,” he muses. “Because, having someone like Johnny, it’s like 10 years or more of life experience, which kind of informs this version.”

Sondheim's consent came with the conditions that he retained complete creative control on what stayed, what was taken out, and what changes and decisions would be made to the project's casting and score (the promise was upheld). But he was cautious of casting Johnny Depp as the lead. After hearing a homemade demo of Depp singing "My Friends" from the musical, Sondheim was convinced. “The fact that he came from a musical background, a rock band, even though he was not a lead singer, I knew he was musical,” Sondheim insists. “I also knew that he was intelligent enough not to allow himself to play this part unless he could handle it vocally.”


Tim Burton and Johnny Depp on the set of Sweeney Todd

Making the transformation from stage to screen needs to look as seamless as possible. As a result, lots of changes need to be made. For one, time must be considered; a staged musical is often longer than the average movie. “I do not believe that anything is written in marble. I want the story to move ahead,” he says. “The thing with Tim is that he understands that. Where the songs did not either suggest or need a camera, ‘Let’s cut’, Tim would say to me, or [the writer] John Logan, and I’d look at it and see if I could elide it or rewrite so it had film motion to it.”

Will hardcore fans of Broadway and Stephen Sondheim still be critical of the film re imagining of Sweeney Todd? Yes. But Burton is not disturbed by this. “I always say: this is a movie. If you want to see the Broadway show, go look at the Broadway show. It’s a different thing.”

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Helena Bonham Carter: "Sweeney Todd," Motherhood, Acting, and More!

The Observer has published a lengthy and highly informative interview with Helena Bonham Carter. In the article, the 41-year-old actress discusses her roles in Tim Burton's films, her relationship with the director, her family life, her professional life, and much more.

Helena Bonham Carter recalls one of the first conversations she had with Tim Burton, long before she and Burton got together, about her home place, Hampstead. The director had stayed there while shooting Sleepy Hollow and told the actress that it was the only place in the world where he felt that he truly belonged. Since then, the pair have become a happy, unmarried couple, with a home in Hampstead, England, and four-year-old Billy and a brand-new baby girl, just born this past December. Bonham Carter states that she is very happy with her relationship and family with Mr. Burton. "I think it's to do with our hair - the lack of comb, the lack of hair care," the actress stated.

Of course, Burton was curious about his next project at the time, Planet of the Apes, and Bonham Carter remembers that the very first thing the filmmaker told her was: "I can really see you in an ape mask." Bonham Carter continued, "'He said: 'Don't be offended, but you're the first person I thought of.' Then he explained himself, which was much more intuitive. He said: 'I just got the feeling you like to change what you look like.' And I said: 'You're absolutely right.'"

Helena Bonham Carter as Ari the chimp in Planet of the Apes (2001)

Bonham Carter explained that she wanted to be in Planet of the Apes for two main reasons: partly because of the ape suit ('I always like to do the thing you're never going to be able to do again'), and also because she wanted to be able to work with the acclaimed filmmaker. "I was excited to work with Tim Burton, even though the script was absolutely crap," she says. "But it wasn't a case of: 'I want to work with him because I'm going to have two children with him, and he's going to be my husband!'"

After Planet of the Apes, Helena Bonham Carter worked with Tim Burton on Big Fish (playing a witch), Charlie and the Chocolate Factory (playing Charlie's poverty-stricken mother), lending her voice for the animated film Corpse Bride (playing the dearly departed bride), and most recently the love-sick, somewhat-maniacal Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street.

Bonham Carter states that the horror/musical is "not feel-good," but she adored playing the part of Mrs. Lovett in the cinematic adaptation of the Stephen Sondheim musical. Bonham Carter is a self-described "musical whore." "I've always loved musicals," she says. "Tim thought I was making Billy gay because that's all I'd sing to him." She even claims that singing for Sweeney Todd may have got her pregnant. "It was all the oxygen. And my pelvic floor has never been so fit. I've got great hopes that after this baby it's going to bounce straight back" (Bonham Carter was pregnant with her and Burton's second child while this interview was being made).


A very pregnant Helena Bonham Carter


But the actress asserted that, contrary to accusations, she does not get the parts in her partner's films simply because of their relationship. "I really do have to be righter than right before Tim lets me do a part," she says. "Sexual favours don't get me anything" (nor does it for frequent Burton collaborator Johnny Depp, she said). This was especially the case for Sweeney Todd. Composer Stephen Sondheim, not Tim Burton, ultimately had the final say on whether or not she would play Mrs. Lovett. Luckily, after Bonham Carter auditioned for the Broadway legend, she passed Sondheim's test. She describes getting the part as "the most absolutely amazing thing. I just could not believe it. Nor could Tim, actually. He burst into tears. And I burst into tears."

As happy as Bonham Carter and Burton are in their relationship, she admits that their relationship, like any other, has its rockier moments, and not surprisingly when work is the issue. "There are certain stresses that come with working together," says Bonham Carter, particularly alluding to their experiences on shooting Sweeney Todd. "There's no pretence with us, you see. No 'Let's adopt our formal selves'."

What sort of thing is she talking about? "Well, he was all: (growls) 'How difficult is it to come through the door and cover that spot!' And I'd be (whines): 'I've got wool in my head because I'm fucking pregnant, and there's blood everywhere and I didn't see it, all right?' And all I get is: 'Action!'"

Johnny Depp and Helena Bonham Carter (as Mrs. Lovett) in Sweeney Todd (2007)

But when things got tricky, Johnny Depp was able to step in and act as relationship counselor for the director and actress. Helena said, "Johnny was very helpful because me and Tim would sometimes have little domestics and he was very diplomatic." She continued, saying, "Johnny was very thoughtful because I was pregnant and when you are pregnant, for the first three months it's difficult to concentrate on anything - all your energy goes into the baby. Sometimes he was off-camera and when I had completely forgotten what Tim had told me, Johnny would just sign language, 'Look over there!' or whatever it was I needed to do, so that was particularly helpful!"

On feeding one another's creativity, Bonham Carter stated what she thought of the title of "muse." "I don't know if you could call me a muse," grins Bonham Carter. "Most muses are silent."

But despite minor mishaps during shooting, and despite how much she relished playing Mrs. Lovett, Helena Bonham Carter is absorbed and fully ecstatic with her role as a mother. The actress enthusiastically described motherhood as "the ultimate creativity," and said she'd love to do it again and again. "I'd really like six of them!" Does Bonham Carter feel that having her children in her late thirties and onward makes them all the more precious? "Yes," she says. "Because you really want them by then, don't you? You've made the decision. You don't resent the time, or any loss of freedom. You're just so very happy to have them around."



Tim Burton and Helena Bonham Carter


Bonham Carter reflected on whether or not Tim Burton was equally excited about becoming a parent. "Totally. He's very childlike anyway. He's never let go of his inner child. Or his outer child!" As for Helena?: "It does make you grow up, doesn't it?' she says. 'But it makes you grow down, too. It brings back the child in you."

The actress stated that she does not like to look at herself in the films she acts in ("It's not false modesty... It's torture!"), but she still loves that career. Her being in touch with her childlike sensibilities is what attracted her to acting in the first place. She says acting is "taken way too seriously - it's all just dress-up and make-believe." The actress also said that there should be a role of play in acting. "That and transforming. You know - getting away as far away from yourself as possible." But why would she need to get 'far away' from herself? "Because," smiles Bonham Carter, "that's what makes me feel liberated."

You can read much more on Helena Bonham Carter's career, film roles (including Harry Potter, Fight Club, and more), her family, her personal history, her fashion sense, and much more in the article from The Observer.

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Friday, January 04, 2008

Depp Says Burton Dragged Him Through Manure

Johnny Depp recently recalled one of the worst movie-making experiences in his life in an article. The 44-year-old actor remembered when he and collaborator Tim Burton were shooting the film Sleepy Hollow in 1999 and Burton made Depp hold onto a carriage while "curry"-fueled horses pulled him through the stinking mire.

Depp said, "One morning when we were filming 'Sleepy Hollow', Tim called me to the set, pointed to two large horses strapped to a carriage and said, 'This is what we are going to be doing today.' I was to hold on to the carriage behind the horses, being dragged along through the muck."

"The horses must have fed on curry. I've never smelt anything like that."

Being dragged through feces was just one of many traumatizing feats Depp had to pull working with Tim Burton. Johnny Depp faced another terrifying challenge when they worked on their latest film, Sweeney Todd: The Demon Barber of Fleet Street. The actor would have to sing extremely difficult songs while acting as the menacing title role. But Depp felt more confident after taking singing lessons from his partner, French singer Vanessa Paradis.

But Tim Burton insists Johnny "exceeded all expectations" with his vocal performance as the murderous London barber.

He said, "I always had every confidence in him and he needn't have worried at all.

"His performance was wonderful and exceeded all of my expectations. He is a great actor."


Johnny Depp and Tim Burton in West Hollywood, California, on December 5th, 2007.
(AP Photo/Kevork Djansezian, file)

You can see Tim Burton and Johnny Depp discussing these issues with one another and so much more concerning their careers in AOL's Unscripted interview with the two collaborators.

There is also a version of this episode on YouTube.com, in three parts:

Part One

Part Two


Part Three

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Monday, December 31, 2007

John August: Hinting at Unknown Future Burton Films?

On his official website, screenwriter and Burton collaborator John August wrote in his blog that, contrary to claims made on such websites as IMDb.com (which have now been changed), he will not be writing the screenplay for Burton's upcoming stop-motion adaptation of the director's short film, Frankenweenie. August wrote the following on his blog:


"I had a meeting with Disney Animation about a year ago, in which they pitched the idea of doing a feature version of Tim’s Frankenweenie short film. They even had production art for it. Then, separately, I had a conversation with Tim about doing another stop-motion animation project like Corpse Bride.

"But they’re not the same thing. And as far as I know, I won’t be working on either one. (That said, I didn’t think I was working on Corpse Bride until I was halfway on a plane to London, so never say never.)"


John August first worked with Tim Burton when he wrote the screenplay for 2003's Big Fish. Directly after that fanciful odyssey, August wrote the screenplay for Burton's Charlie and the Chocolate Factory and the final draft for Corpse Bride, both released in 2005. August also helped composer Danny Elfman adapt and write the whimsical lyrics for both Charlie and Corpse Bride.

August's blog entry is made even more interesting in the following excerpt:

"To further confuse matters, there’s a different and as-yet-unannounced Tim Burton project (live action) which I almost certainly will be writing post-strike. And yes, I’d love to tell you what it is. But I can’t."

This project can't be Burton's upcoming Alice's Adventures in Wonderland, which will also be made at Walt Disney Pictures. Linda Woolverton already has the credit of writing the screenplay for that future literary adaptation. So John August seems to be hinting at possibly two unknown future Tim Burton films, one live-action, the other in stop-motion animation. What could these films be? We'll have to wait for future articles to appear...

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Friday, December 21, 2007

Attend the Tale of Sweeney Todd...

In case you haven't already noticed, Sweeney Todd: The Demon Barber of Fleet Street opens today in U.S. cinemas!



If you're not in the U.S., here are the current release dates for other countries:

CountryDate
Canada 21 December 2007
USA 21 December 2007
Japan 25 December 2007 (Yurakucho) (premiere)
Japan