Watch Tim Burton on "The Charlie Rose Show"

In case you missed it, here is the superb interview with Tim Burton on The Charlie Rose Show, which premiered on Thursday, November 26th, 2009. This is most of the episode. It begins with the three curators from the Museum of Modern Art discussing Burton's art, then goes to the man of the hour himself. Rose describes Burton as the "perfect guest", as they enthusiastically talk about a plethora of topics including his most personal films, being a parent, children's artwork, his creative process, and much more:

An Interview with Tim Burton

An interview with Tim Burton from Wired, in which the filmmaker discusses the new generation of 3D cinema, original ideas vs. remakes, his creative process in creating characters, and anthropomorphic objects, among other topics:

Wired: How did you find a life’s worth of work to give to the MoMA?

Tim Burton: I’m not a very organized person. Luckily I had a bunch of stuff that had just been moved to England from a warehouse in America. I don’t really go through things very much, so it was interesting for me to go back through it all.

It was an interesting process. It helps ground you and gets you to remember what interested you to begin with. It’s you, but a different you. You can look at yourself objectively.

Wired: Not many directors have retrospectives of their artwork and illustrations. How did having a fine arts background influence your directorial visions?

Burton: The films I grew up loving were very visual. They were the kinds of things that get etched in your memory. To me, film is a very visual thing, so I’m very grateful for my animation background. It’s kind of everything. It’s art, it’s design, it’s film. At that time all I wanted to be was an animator, but through the backdoor you learn how to do everything else. When you make an animated film you have to act it out, design the layouts, shoot it, and edit it. It was a great overall experience.

Wired: What’s your creative process? Do you find yourself doodling and suddenly you’ve got a character for a movie?

Burton: The whole sketching and drawing process to me is the equivalent to how some people write notes. I’ve never really felt like a writer. It was always a visual thing for me. With Jack Skellington, for example, that was just a doodle I kept drawing over and over and over for no apparent reason.

Things can grow from an image that keeps coming up, like the Scissorhands image. They just come as ideas or thoughts, and sometimes they go on to something.

Edward Scissorhands came from a feeling that became a sketch of different forms over the years. It was an idea from when I was a teenager, so it had been in my mind for a long time.

Wired: A lot of your films are original ideas, but you have dabbled with remakes, such as Planet of the Apes and now Alice. Is it easier to get support from Hollywood to remake a film than to start something from scratch?

Burton: There’s a trend right now, where every TV show is remade, and there’s a certain idea of safety in certain properties. At the same time, they can be equally as dangerous. Something like Alice in Wonderland, with the opportunity to do it in 3-D and to experiment, it actually feels like a completely new property.

Wired: Is it more intimidating to take a story people are familiar with and make it your own?

Burton: The reason Alice in Wonderland isn’t as daunting as past productions is that every version I ever saw of Alice in Wonderland was of a girl walking around passively with a bunch of weird characters. It never really had any feeling or grounding to it. It felt like a new challenge to me. There isn’t a great version that I have to live up to.

Wired: Did you feel like Alice was the perfect story for you to debut a live-action movie in 3-D?

Burton: The element that intrigued me was Alice in Wonderland in 3-D. Nightmare Before Christmas was converted to 3-D, and it was really good. I was really amazed. It showed me that this was exactly the way Nightmare was meant to be seen. Now, 3-D just seems to really lend itself to the Alice story. The thing about Alice for me was not so much the literalness of the story, but the trippy nature of it and still trying to make that compelling.

Wired: How hard is it to continue working in more traditional special effects, like stop motion animation, when the rest of Hollywood is drinking the CG Kool-Aid?

Burton: I think stop motion has proven itself as a valuable art form, as has animation. A few years ago it was a dead medium, and while there’s still a lot of uncertainty, there’s enough diversity now. If people like the movie, it doesn’t matter what medium it’s in. It’s actually better now than it was a few years ago, when CG was really kicking in.

Wired: You love stop motion. What’s your fear of CG?

Burton: Take Nightmare Before Christmas, for example. I was offered to do it in drawing animation and I held out for stop motion, because that was the right medium for that project. It’s up to each project and what you’re technically trying to achieve that decides what medium should be used, whether it’s stop motion, animation, or CG.

Wired: From Pee-wee’s Big Adventure to Beetlejuice, furniture, inanimate objects tend to come to life in your films. Do you anthropomorphize objects on a daily basis?

Burton: Well, I’m lying in bed here with my coffee pot… That’s where you need free time to space out. People don’t do that enough in life. Those are the moments where a tree turns into a little character.

Wired: Are you excited about the retrospective?

Burton: It’s such a strange and surreal event to me. I haven’t quite grasped it. I might as well put my dirty laundry basket in there as well.

Burton's Balloon Boy

Tim Burton's "Balloon Boy" at the Museum of Modern Art in New York City:

(Marilynn K. Yee/The New York Times)

This 21-foot-tall object is one of seven pieces especially made by Burton for the exhibition.

There is also a deer-shaped topiary in front of the entrance of the Titus theaters, inspired by the film Edward Scissorhands.

"For me the fun is making stuff," Mr. Burton said in a telephone interview from Los Angeles, "the joy of seeing where your thoughts take you.” Burton said that the space that now holds the "Balloon Boy" was particularly inspiring when he made it in July. "I always have ideas but often no place to execute them," he explained.

"It's a different kind of immersion into Tim's world," said Rajendra Roy, chief curator of film at MoMA.

The New York Times gave more information:

Some of the new works have explicit references to his films... A diorama created for the show was inspired by his short film The World of Stainboy.

The entrance to the exhibition also bears Mr. Burton's unmistakable hand. Visitors will walk into a giant monster’s mouth, its sharp teeth visible overhead and its tongue a long red carpet leading to the main galleries. It was inspired by an unrealized film project, Trick or Treat, from 1980. Next comes a striped wall with motifs reminiscent of both Beetlejuice, Mr. Burton's 1988 tale of newly dead ghosts, and his 2005 adaptation of the Roald Dahl novel Charlie and the Chocolate Factory. Inside the show is a multimedia carousel hanging from the ceiling and revolving under black lights.

"I'm a fidgety person, so I doodle a lot," Mr. Burton said. "I don’t like to consider myself as an artist. It's too grand. I just like to make things."

Of everything in the show it is perhaps "Balloon Boy" that will make a lasting impression. But what if some child decides to prick it?

"I've got a whole Band-Aid kit ready to go," Mr. Burton replied instantly.

Tim Burton's Fashion Shoot

In recognition of his retrospective at the Museum of Modern Art, Tim Burton has designed some new looks for Harper's Bazaar Halloween photoshoot. The images include a few references to some of Burton's films and art (and Tim faces his fears wearing the body of a cartoon clown. He's also dressed as Sandy Claws). Photographs by Tim Walker:

Tim Burton Answers Your Questions

Remember when MTV News said they wanted the fans to submit questions for Tim Burton to answer in an exclusive video interview? Well, the video is finally online.

Burton talks about a huge variety of topics in the five clips below, including his "bromance" with Johnny Depp, his opinions on computer generated animation and stop-motion, and his upcoming movies Alice in Wonderland and Dark Shadows, among other topics.

Movie Trailers - Movies Blog

An except, while discussing his abstract dialogues with Johnny Depp:

"It's very nice to have someone that you can have a completely abstract conversation with and leave the room, feel like everything's fine, and then realize that if you pick it apart, you have absolutely no idea what either of you said."

Burton continued: "That's a sign of knowing somebody and connecting with somebody. I don't pretend to know [him]. If I don't know who I am — this sounds like a bad therapy session — but I don't pretend to know anybody else. That's what keeps it all cool."

Scream 2008 Recap

Spike TV's third annual Scream Awards took place this past Saturday in Los Angeles and were broadcast on TV on Tuesday.

At the 2008 event, Tim Burton was honored with the Scream Immortal Award, for his "unique interpretation of horror and fantasy."

Burton made a grand appearance to receive his award, complete with appropriate theme music. See a video of his entrance here.

Surprisingly, Winona Ryder, who played key roles in both Beetlejuice and Edward Scissorhands, presented the filmmaker with his award.

Burton's Sweeney Todd: The Demon Barber of Fleet Street was also honored. The film won two awards: Best Horror Movie and Best Actor in a Horror Movie or TV Show, thanks to Johnny Depp's hypnotic performance as the murderous barber.

Winona Ryder gives the Scream Immortal award to Tim Burton

All photos (AP Photo/Chris Pizzello)

Tim Burton on "Alice in Wonderland," "Dark Shadows," and More!

Tim Burton took some time from shooting Alice in Wonderland to chat on the phone with Geoff Boucher of the Los Angeles Times. In the detailed and lengthy interview, Burton talks about Alice in Wonderland, the possibility of making a cinematic version of Dark Shadows, Johnny Depp, the latest addition to the "Batman" series, The Dark Knight, his upcoming Spike TV award, and much more.

Here is much of the interview (you can read the full article in its original context here):

I got Tim Burton on the phone the other day while he was on the set of Alice in Wonderland and I had to admit right off the bat that I was surprised that, with the filming just underway, he was taking the time to chat. "Yeah, well, me too," he said in his droll deadpan, and I wasn't sure whether to laugh or apologize and hang up. Then he let me off the hook. "Actually," he said in a sunnier voice, "we're just about to get going so we'll see how things go. Good, I hope."

I'm guessing things will go quite well for the 50-year-old filmmaker, who seems like the ideal auteur to bring Lewis Carroll's surreal 1865 classic "Alice's Adventures in Wonderland" to the screen for a 21st century audience.

Young Aussie Mia Wasikowska will be Burton's Alice, while Johnny Depp is the inspired choice to play the Mad Hatter.

I told Burton that it seems as if Depp (who has other upcoming roles as an Old West hero, a pirate and a vampire) approaches his acting choices the same way a gleeful kid rummages through a trunk of dress-up clothes. The filmmaker let out a loud laugh. "It's true. Yeah we have a big dress-up clothes trunk here. We take it with us wherever we go."

More on a Depp and "Alice" in a moment, but first: This Saturday night Burton will be at the Scream 2008 Awards at the Greek Theatre in Los Angeles, an event that in just its third year has become a signature event in sci-fi, comics, fantasy and, yes, horror, which was is its original mandate but is now just part of its genre cocktail. Burton is getting something called the Immortal Award and the Scream people boldly say that Burton has "contributed more to the genres of fantasy, sci-fi and horror than any other filmmaker of his generation," and there's certainly an argument to made that they are completely right. Burton's film visuals -- a sort of cemetery cabaret ethos -- have put him on an short list (Alfred Hitchcock, Martin Scorsese, Quentin Tarantino and Woody Allen spring to mind) of filmmakers who have such distinctive on-screen traits that they become evocative brand names to even casual filmgoers.

Burton will be making quite the dramatic entrance on Saturday (which you can see yourself when the show airs on Spike TV on Oct. 21) but he has a reputation as a fairly shy fellow. I asked him if he was looking forward to the trophy night or dreading it.

"I haven't been to the event but I've seen a bit on TV and it looks quite fun, you know, which in itself is different from most of these kind of shows. It looks like a nice big Halloween party, which is always good. It seems like all the type of people that nobody liked in school all getting together for a nice big party. A prom for the kids that didn't go to prom."

I told Burton that, for the night, the venue should change its sign to read 'The Geek Theatre' and he laughed again. "That's very good! I like that. I can't use, that, I can't take credit for that." He said he had a better way to sum up the geek and Goth crowd that will attend: "We're all the people on the yearbook pages devoted to "the most likely to disappear before the semester ends and no one will notice..."

Burton was making "Batman" films when the cape genre was still viewed as a campy ghetto by serious Hollywood creators, so it must be interesting for him to watch the fringe entertainment move so squarely to the center of mainstream film and to finally do so with respectable reviews. "It is a different time now, yes. It's strange to me. At the time back in school when everybody tortured you, it didn't seem quite the same. It wasn't fashionable then. It didn't seem viable and vibrant and accepted at the time. But sometimes those things take a while."

With "Alice in Wonderland," the defining pop-culture version of the story for modern American audiences is the 1954 Disney animated adaptation with its little blond Alice in her blue dress with white pinafore. That film was met with acidic reviews by the literary world (especially in England) for its bland and blunted vision of the Carroll classic. Burton is not a fan of the film, either, and, as with "Charlie and the Chocolate Factory," it appears his mission is to reclaim a children's classic, resharpen its edges and remind everyone that sapping the weirdness out of a tale often renders it flat and forgettable.

"It's a funny project. The story is obviously a classic with iconic images and ideas and thoughts. But with all the movie versions, well, I've just never seen one that really had any impact to me. It's always just a series of weird events. Every character is strange and she's just kind of wandering through all of the encounters as just a sort of observer. The goal is to try to make it an engaging movie where you get some of the psychology and kind of bring a freshness but also keep the classic nature of 'Alice.' And, you know, getting to do it in 3-D fits the material quite well. So I'm excited about making it a new version but also have the elements that people expect when they think of the material."

I told Burton he's right, the Disney movie is a meandering tour of a funhouse without any gripping story arc. "Yeah, I know, it's just, 'Oh, this character's weird' and 'Oh, that character's weird.' I can't really recall a version where I felt really engaged by it. So that's the goal, just to try to give it a gravity that most film versions haven't had."

How easy was it to persuade Depp to conjure up yet another enigmatic oddball? "He loves doing that. That's never a problem. He doesn't like to be the same way twice. That's good, it always keeps it fresh and all. And he likes the material we have here and he gets it. It's nice to have people involved that are fans of the material and all."

Is there a plan yet on Dark Shadows, based on the vampire soap opera, also set to star Depp? "Oh I don't know. Take one at time, you know? It's something I'm interested in of course. Definitely. But I'm going to start shooting this one first!"

I asked Burton if it's more than a coincidence that over the past decade his live-action films have often revisited and reimagined existing works, be they literature (Charlie and the Chocolate Factory), musicals (Sweeney Todd: The Demon Barber of Fleet Street), movies (Planet of the Apes) or television shows (Dark Shadows).

"Hmm. That's interesting. I don't know. I think we're all a product of our upbringing, you know, in a sense. I wasn't a very literary person. I loved movies. What you grow up with is what influences you. Whether you were a reader and there's a lot of books that you sort of want to translate to film or if it's other things that took in. I was definitely of a generation where the things I grew up watching still have impact on me. There's something about exercising that aspect of your personality or working with something that's meant a lot to you. It's just another way of processing ideas and all. So it's not really a conscious decision. I don't open up old 'TV Guides' and sit there and think, 'Hmmmm, 'Sanford & Son', that's the the movie I want to do. I watched that when I was a child...' "

Burton said he is ramping up his bravery for the Saturday night event with its hot spotlight and crowd. "I don't do it very often so it's not something I'm very used to. I'm not comfortable in big public situations, but at the same time it's a very nice thing. It's a very nice thing to do. But while it is nice, it's not the thing you think about a lot. For me, it's the people that come up to you on the streets, the people that say something to you in person, something nice and thoughtful, that's so much more interesting than connecting with a sort of staged event. you know? The types of people you grew up with, the people that enjoy certain kinds of movies, there's a connection with people like that. I certainly feel that. I mean, when someone comes up to me on the street and they have one of my drawings as a tattoo on their body, a real tattoo... I mean, that's pretty amazing. That's happened to me a few times."

Then there was a question I had to ask: What did Burton think of The Dark Knight? After a bit of fumbling around for words, Burton said: "I haven't seen it yet. I'm just, you know, busy. I do want to see it. I've heard it's very good. And I'm sure it is very good. Mostly everybody that I know that has seen it has said that it's very good and I take their word for it."

I thought it would be good to change the subject. There was a recent anniversary DVD of Beetlejuice, so I asked Burton how he frames that film in his mind when he looks back on it as both a career and creative moment.

"With that movie, I just remember that back then it was the second film I did and I felt very strange making it because everyone was thinking, 'This movie really has no story and it doesn't move along like a Hollywood movie.' It just felt very funny and strange having the opportunity to make that. I just remember that feeling every day: 'Wow, they're letting me make this, which is really weird.' And it continues to this day, that dynamic. It's still weird."

Seemed like a good place to stop. I thanked for Burton for his time and mentioned that I'm hoping to visit the Alice set soon. "That's great, I'll see you out here! I'll be on the green screen. Just look for a load of green. Take care."

-- Geoff Boucher

CREDITS:

Johnny Depp and Tim Burton in a November 2007 photograph by Liz O. Baylen/Los Angeles Times.

Illustration by John Tenniel from "Alice's Adventures in Wonderland."

Michael Keaton as Batman from the 1989 Tim Burton film, image courtesy of Warner Bros.

Tim Burton in 2006 at Hollywood Forever Cemetery, photographed by Ricardo DeAratanha\Los Angeles Times.

Tim Burton in 2006 at the Hollwyood Wax museum, with a waxen Johnny Depp in the background, photographed by Ricardo DeAratanha\Los Angeles Times

Photo of Johnny Depp and Tim Burton on the set of "Sweeney Todd: The Demon Barber of Fleet Street" by Peter Mountain/Dreamworks-Warner Bros.

image from "The Nightmare Before Christmas" courtesy of Disney

New "Beetlejuice" DVD Available

Beetlejuice has returned on DVD and Blu-Ray to commemorate the film's 20th anniversary. Special features (which are far too sparse, unfortunately) include the music-only track featuring every note of Danny Elfman's score and three episodes of the animated TV series based on the comedic feature film.

"Sweeney Todd" Wins Two Saturn Awards

Sweeney Todd: The Demon Barber of Fleet Street took home two Saturn awards on Tuesday, June 24th.  The Academy of Science Fiction, Fantasy, & Horror Films honored Tim Burton's musical thriller with the awards for Best Horror Film and Best Costumes, recognizing Colleen Atwood's work on the film.

The film was also nominated for Best Direction (Tim Burton), Best Actor (Johnny Depp), Best Actress (Helena Bonham Carter), Best Supporting Actor (Alan Rickman), Best Writing (John Logan), and Best Make-Up (Peter Owen and Ivana Primorac).  

Frequent Burton collaborator Ve Neill (Beetlejuice, Edward Scissorhands, and make-up and hair stylist for Johnny Depp on Sweeney Todd, among other Burton films) was awarded with a Saturn award for her work on Pirates of the Caribbean: At World's End.  She shared the prize with Martin Samuel.

For a full list of the winners, click here.

Updates on New "Beetlejuice" DVDs

Warner Bros. has now stated the final bonus features on the upcoming Beetlejuice: 20th Anniversary Deluxe Edition DVD, as well as the cover art for the standard DVD and Blu-Ray versions.

In addition to three episodes from the Beetlejuice animated series, the DVD will include the theatrical trailer for Beetlejuice, the theatrical trailer for Pee-wee's Big Adventure, and a music-only audio track focusing on the score by Danny Elfman (like the previous DVD release 10 years ago). It will also be presented in a special lenticular cover.

Both the regular Region 1 DVD and Blu-Ray versions will be available on September 16th, 2008.

You can see larger versions of the cover art here.

New "Beetlejuice" DVD This September

The official poster for Beetlejuice.
No cover art for the new DVD release is available yet.

Is a new special edition DVD of Tim Burton's classic Beetlejuice coming out this September?! Yes and no. This won't be the Beetlejuice 20th anniversary DVD release of your dreams, with behind-the-scenes featurettes galore and an audio commentary track or two, from the looks of it.

Instead, this upcoming DVD, Warner Bros. has stated, will feature the 1988 macabre comedy in a newly restored and clear presentation. Also, it will include three episodes from the animated series based on the film, which was produced by Burton and David Geffen:

-"A-Ha" from Season One
-"Skeletons in the Closet" from Season Two
-"Spooky Boo-tique" from Season Two

The animated series.

The so-called "Beetlejuice (20th Anniversary Deluxe Edition)" will be released on standard DVD (for roughly $20) and high-definition Blu-Ray DVD ($35) in North America on September 16th, 2008.The Blu-Ray version will also include a sample CD of select tracks from the movie's score by Danny Elfman.

This upcoming DVD release is skimping on the extras for the most part. No confirmation on whether or not it will include the music-only audio track that the original, more primitive DVD release of Beetlejuice from 1998 featured (but most likely, there will not be).

Beetlejuice, released in 1988, was the second feature-length film directed by Burton. It stars Michael Keaton (Batman) in one of his craziest performances, as well as Geena Davis, Alec Baldwin, and Robert Goulet in a brief cameo. Other Burton collaborators in the film include Catherine O'hara and Glenn Shadix (who were both in The Nightmare Before Christmas), Winona Ryder (Edward Scissorhands), and Jeffrey Jones (Ed Wood, Sleepy Hollow), among others.

"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

Michael Keaton on Tim Burton at Film Festival

This Saturday, April 12th, Michael Keaton will attend the Sonoma Valley Film Festival in northern California, FilmStew.com stated.

Keaton is the director and co-star of a new drama, The Merry Gentlemen. In addition to a screening of his new film, Keaton will also be the recipient of a special career tribute, which will be followed by a screening of his well-known comedy, Beetlejuice, which was also his first film with Tim Burton.

A number of surprise special guests are expected at the show, the article stated, including, some suspect, Burton.

Keaton spoke about his collaborations with the director, saying, "I would work with Tim Burton again in a heartbeat," in a recent phone interview last week with the San Francisco Chronicle. "When you're around that kind of personality, it starts to burn little fires again, you get turned on. And that goes for a lot of people."

Michael Keaton at San Jose's Cinequest.
(John Medina/WireImage.com Photo)

There is no confirmation on whether Burton will attend or not.

Michael Keaton worked with Tim Burton on Beetlejuice in 1988, and then as the title Caped Crusader in Batman and Batman Returns.

Shrimp Glove Face Plant: MC Chris' Tribute to Beetlejuice

"Nerdcore" comic rapper mc chris (yes, it's supposed to be spelled in lower-case) has just released a tribute song to the ghost with the most.

mc chris, a.k.a Chris Ward, is probably better known for his roles on [adult swim] shows including Aqua Teen Hunger Force (as MC Pee-pants) and Sealab 2021. He has also written for Sealab and The Brak Show.

The song uses samples from Danny Elfman's classic theme from Beetlejuice.

You can read the lyrics, and learn about some of the more esoteric, enthusiastic nerdy references, in this link (unless you Burtonites could catch them for yourself, of course), and you can download the song for FREE as an Mp3 from mc chris' MySpace profile (under the title "secret song").

Listen to the song here:




im deathly pale bad breath bad teeth
hate the sand and the sun never see me at the beach
i'll stick with goth chicks transfixed on death
that wear black britches i insist on nice breasts

i sleep in a grave lived through the black plague
actually that's all my fault but dont wiki that k?
green hair downstairs boogers farts and phlegm
that's my stock in trade see me startin trends

black and white striped suit or a blood red tux
got jack on my hat in japan it's a must
i can change shapes do pranks and disguises
bioexorcist im the best in a crisis

parents wanted me to clean up like my brother
boss used to say i didnt work well with others
now im independent and my methods are effective
say my name three times if you want to get connected

beetlejuice beetlejuice one two three
i like a little lady name lydia deetz
her demeanor is depressed i confess that's sweet
dont try to deny she's my bride to be

hey kmart shoppers there's a sale on my services
im here to help there's no need for your nervousness
i'll eat what u wanna eat swallow what u say
relieve you of your living that are ruining your day

have you read the handbook for the recently deceased
it's too thick like my dick when i think of little deetz
she's the key to my release from this model existence
coffin lining's confining and i want out this instant

me and the dragster of doom we're the baddest of dudes
we hit the inferno room where the ladies get nude
but we're eternally screwed so i become a bridegroom
and get lovely lydia to lip synch an i do

i must move the maitlands out of my way
give'm zipperlips pitch a plate on their face
say hello to hammer hands say goodbye to goulet
and then off to fla where my review drew raves

shrimp glove face plant
we like cassettes not 8 track
clown face much like
the one you'll see in dark knight
being dead kinda sucks
the afterlife's no fun to us
im the name that people trust
the juice that comes from beetleguts

Rare "Ed Wood" Promo Found

A rare promotional video from 1994 advertising Tim Burton's Ed Wood was recently found and posted on YouTube.com by John Erik Taylor. The short video (a little under seven minutes long) was shown at sci-fi conventions before the film's release, and features behind-the-scenes footage and unseen interviews with the cast and crew. This promo wasn't on the Ed Wood DVD, so fans of the film and Tim Burton will find this to be a rare treat.

The promo features interviews with Tim Burton, Johnny Depp, Martin Landau (in a highly memorable and moving performance as an aging Bela Lugosi), Sarah Jessica Parker (as Dolores Fuller, Wood's girlfriend and actress), screenwriters Scott Alexander and Larry Karaszewski, and make-up artist Ve Neill (a frequent Burton collaborator who first worked with the director on Beetlejuice).

Here's the link to the video on YouTube.com (you can also watch it below).