Burton and Depp on "Jonathan Ross"

Tim Burton and Johnny Depp were both on Friday Night with Jonathan Ross on February 26th, 2010:

Part 1:



Part 2:



Part 3:



Part 4:



Part 5:

Zanuck on "Wonderland," "Dark Shadows"

FilmShaft's Martyn Conterio has an exclusive interview with legendary producer Richard D. Zanuck. Zanuck, who has produced all of Tim Burton's live-action features since 2001, talked about Alice in Wonderland, the upcoming adaptation of Dark Shadows, and more. Here's the entire interview:

MC: How did you get involved with this project?

RZ: I’ve produced the last five Tim Burton movies and so I’m part of that team. When Disney approached Tim about doing this, that was about three years ago, I came on board. I’m a very hands-on producer…I’m there every day and I’ve been on this from the very beginning.

Did you know Alice in Wonderland well before you took on the film?

I can’t pinpoint when I first read the books or may have even been read to me as a young person or maybe as a student. I can’t remember exactly when, but when we decided to make the movie I went back and read them and I was amazed that most of the characters were very familiar to me. It was like they’d been implanted in my subconscious because I felt I knew all these characters and know the setting and all of that…it all came back to life. And that’s an example of why this book has endured throughout one hundred and thirty-five years because we’re all familiar with it. It’s permeated culture.

The production wasn’t a typical Hollywood endeavour – it was all green-screen. Had you experienced anything like that before?

No, nor had Tim. We started the picture with live action down in Plymouth. We shot ten days there for the beginning and end of the picture…you know, before she goes down the rabbit hole and after she comes out. We went back to Los Angeles, at Culver Studios, to do all of the green-screen. It was only forty days of shooting, actually, but almost two years of computer generated animation work, there’s some mo-cap work. It was very tricky technically. I think it’s the first time that all three elements: computer generated, mo-cap and live actors all worked into the same scenes. Also Alice’s size goes from six inches to seven feet tall and her regular size and so the actors playing with her had to be adjusted. Matt Lucas had to work on stilts! It was very tricky, especially when they weren’t together. The eye lines had to match up. We had all kinds of charts where everybody’s size was measured very carefully.

Did you ever think while making it, “Is this going to work?”

I always felt it would work because Tim’s a genius and nobody has that imagination. He hadn’t done anything this complicated before we had Ken Ralston who has won four Academy Awards and nominated a dozen times. He actually started and helped invent a lot of the process. I think his best work is with Alice. He was supervising even the green-screen stuff. Between he and Tim, he would imagine it, but it was Ken and about four hundred people behind him on computers putting what Tim imagined – frame by frame – onto the film. It was very labour intensive and tricky to co-ordinate all that. Tim had a good team behind him…he’s an artist…a real artist.

Tell me how you cast Mia Wasikowska as Alice?

Alice was a part that everybody wanted to play, regardless of their age. We had stars who were totally wrong…everybody thought they should play Alice. So we had a whole slue of volunteers. Tim and myself, from the very beginning, wanted to go with a fresh face. We didn’t want a Hollywood starlet or somebody that would we’d seen before. We went on a massive campaign with the casting people in Australia, casting was done in this country and in the United States. Throughout the world really…and kept narrowing and narrowing it down and finally brought twenty people to the UK. We tested them and got that down to eight. Mia was one of them. She came over three times in total. We did a full scale, studio screen test with our crew and the wardrobe people…make-up…a complete test and Mia came out on top.

Have you any more plans to work with Burton since you’re on a roll?

Yes, I’m going to be doing Dark Shadows with Johnny (Depp) and Tim later towards the end of the year. He’s got to do another Pirates movie. But we’re shooting over here (London) even though the movie is set in Portland, Maine. We’ve got the stages at Pinewood lined up.

Obviously you’re a legendary film producer…

That sounds like age…(laughs)

You’ve made classic after classic, do you find films easier to make now than back then?

It depends on what kind of film you’re talking about. My wife and I made Driving Miss Daisy and that was a very difficult movie to get financed. An old Jewish lady and a black chauffeur…nobody was interested in that subject. We spent more time on bended knee…over a year of begging people. If you have a picture like Alice in Wonderland which is a famous title, add Tim Burton, Johnny Depp, 3D, Disney – which is a big selling point…it’s a slam dunk! You don’t have to beg people to do that kind of film. It all depends on what story you’re doing to tell. The bigger, wide canvas ones are easier than the small ones. But they’re much, much more expensive to make…but that’s how it is.

Out of all your films, do you have a personal favourite?

I probably do…but you’d have to kill me to get it out of me (laughs). I hate to use the phrase, “they’re all my children” because it’s so over-used, but it’s true. Each one is an experience and a very unique experience and different. The box office can be different too…so maybe my favourite one is considered a failure. I made Steven Spielberg’s first two pictures – Sugarland Express and Jaws. I must say Sugerland Express and that whole experience of working with Steven on his first film is one I’d have to rank very highly in terms of gratification.

Richard Zanuck, thank you.

Thank you.

"Dark Shadows" on Track for 2011

The official "Dark Shadows" newsletter had this to report:

The "Dark Shadows" feature film finally is heading toward production later this year. It will star longtime DS fan Johnny Depp as "Barnabas." Director Tim Burton has completed the extended post-production of his most recent collaboration with Johnny, Disney's live-action/animated movie adaptation of "Alice In Wonderland." Johnny is starting to film "The Tourist" with Angelina Jolie. Variety 11-6: "Depp would play an American tourist drawn into a web of intrigue by a female Interpol agent (Jolie) who is attempting to locate a criminal who was once her lover." In the meantime, the DS script is being worked on and plans are on target for an expected 2011 release.

"Dark Shadows" Remains in Dark

For several months, Tim Burton and Johnny Depp have been attached to a feature-length adaptation of the TV drama series Dark Shadows. But producer Graham King says we may need to wait a little longer. According to CHUD, King said that they're still waiting for a script. King didn't say much else, but it's possible that matters concerning Dark Shadows will become clear once Alice in Wonderland is completed.

A Little More on "Dark Shadows"

Producer Graham King spoke with Shock Till You Drop's Perri Nemiroff on the current status of Dark Shadows and a bit of its development:

Can you talk a little about Dark Shadows?

King: [Laughs] I said to someone last week in L.A., I said, "You know, I think, you know the script's being rewritten – I know that the studios are hoping to move it next fall," suddenly it's on the internet everywhere I said the movie's going next October. Waiting for a script. I know Johnny wants to do it and Tim wants to do it and just has to get the script.

How'd you get introduced to the idea in the first place? Will you maintain the show's original tone in the film?

King: Through Johnny's company [Infinitum Nihil]. You know, I have a deal with Johnny's company and Johnny was really interested in it and we have a great great relationship. I didn't know of Dark Shadows. We didn't have it in the U.K., so I went out and got a bunch of DVDs. I started watching this thing and I said, yeah, I'd love to be involved. I'd love to come in and produce that. To answer your question, I think we have to wait to see.

There are over 1,200 episodes. Will you include a little of as many as possible or make an origin story?

King: I'll know as soon as I get the script.

So you're not dictating how this will come together?

John August is writing it. Yeah, again, this is me and more notes and I think when Johnny and Tim – I've never made a movie with Johnny and Tim - but when they make a movie, they've got it down pretty much what they want and you don't really get involved in that process.

"Dark Shadows" Begins Production Fall 2010

Tim Burton is keeping plenty busy as of late. Producer Graham King has announced that he'll begin production on Dark Shadows, his next live-action feature, in the fall next year:

We're actually going to shoot that film next September/October with Tim Burton and Johnny [Depp].

We've been working on the script a lot, even though he's working on Alice. We've been given a script. John August wrote the first screenplay. We're making some changes, but the film's going to be in production, as I say, September or October of next year.

Depp was a huge fan of the original TV series, and will be playing the lead role of the vampire Barnabas Collins.

Producer Abbate Tells Few "Frankenweenie" Secrets

Animation veteran Allison Abbate gave a few bits of information on the stop-motion adaptation of Frankenweenie, which she is producing.

Abbate told HitFix.com that production will commence in early 2010, likely in the spring. The production time frame is "two years", said the producer, and will hopefully be released around or before Halloween 2011.

Previous reports stated that the film would be shot in stereoscopic 3D. But Abbate now says that that idea is actually still up in the air. Executive producer and Disney veteran Don Hahn and others have stated that the film will also be shot in black and white, but Abbate was more hesitant. "Maybe," she said. "That's one of the ideas that is being put up. I think it would be really cool." It might be a hard sell for a Disney animated film. But neither the 3D nor black and white possibilities have been entirely ruled out yet.


A still from the live-action short film Frankenweenie from 1984.

Abbate remained secretive, noting that Tim Burton is working on several films. "He's got to get through 'Alice [in Wonderland' first]," she said, and Burton will also be directing a cinematic version of Dark Shadows.

But the producer did confirm that the film will be entirely stop-motion animated. (Although a few CG or traditional cel animated elements as seen in Corpse Bride are possible, we're guessing.)

Abbate is also a producer on the stop-motion The Fantastic Mr. Fox, directed by Wes Anderson and based on the Roald Dahl book of the same name, as well as Brad Bird's The Iron Giant and Tim Burton's Corpse Bride in the past. She was also an artistic coordinator on The Nightmare Before Christmas, her first assignment on a Tim Burton film.

Frankenweenie will be shot at Three Mills Studio in London, CinemaBlend.com reports, just like The Fantastic Mr. Fox. Anderson's stop-motion film was also made on a similar two-year time frame.

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."

LA Times Interviews Tim Burton

Photo: Tim Burton at "9" panel. Credit: Getty Images

Gina McIntyre of the Los Angeles Times gives us a thorough interview with filmmaker Tim Burton from Comic-Con, part of their "Hero Complex" series. (This interview was originally split in parts one and two.) Burton discusses 9 and producing the unique animated feature with fellow visionary director Timur Bekmembetov, how challenging and different Alice in Wonderland is from his previous works, Dark Shadows, his next project, in relation to the recent vampire craze, and much, much more:


G.M.: What's your Comic-Con experience been like so far?

T.B.: I haven't been here in many years. I came here as a student in the '70s and haven't been back since. It's quite amazing how big it's gotten. It's shocking really. It's such a positive energy, there's a lot of passionate people, so it's a bit daunting to show something but that's why you make movies. That's what's great about the environment here. People are very passionate about the environment here and that's again why you make movies so it's exciting to be around that energy. I love seeing people dressed up. It's surreal and amazing and beautiful. I just remember last time I was there, it was some booths and stuff, but the builds that they have, it's incredible.

G.M.: You mentioned during the Focus Features' panel on 9 that you felt you shared a certain sensibility with the film's director, Shane Acker. I can't imagine that's something you experience too often.

T.B.: I don't. Also, too it was different enough from mine, but I felt a connection to it. Having gone through this process myself trying to get films made and done and how much of a problem it is to have that happen, I thought I could help him with that, I thought I could help protect him from the forces of evil and let him focus on making his film.



G.M.: What specifically did you do to help him get the film made?

T.B.: I suggested the screenwriter [Pamela Pettler] who I'd worked with before. What I tried to do, I've been an animator, it's a very strange job. It requires a lot of focus and sometimes you can just get so focused on something, so I felt very lucky to not be in there every day and just be able to look at things and have a fresh perspective. Animation takes so long it's hard to have a fresh view of it especially when it's so in your head. It was luck for me and for [producer] Timur [Bekmembetov] that we could [provide] more of an overview, look at things from a fresh perspective and just kind of help that way. I didn't want to be one of those guys, I liked what he did, so there was no wanting to put my own stamp of approval on it. He could use us however he wanted, and he's very open, which is great. There was no weird ego kind of thing going on. I always felt that real artists don't have that kind of insecurity when it comes to taking suggestions or listening to somebody else's point of view. He was very open to it. That made it very easy to be involved. It was always for the benefit of the film. He took the notes he felt good with. But that's the way you want it. Otherwise, you shouldn't get involved with something if you're going to have to put your own stamp on to it.


Fellow 9 producer Timur Bekmambetov

G.M.: Did you know Timur before this?

T.B.: No. I'd seen his films. It's great to meet somebody like that. It just brought a whole other perspective too. It was a real international film in the sense. We were first looking to do it in Luxembourg and ended up in Toronto, Paris, London, all over the world.

G.M.: You've said that we're at an interesting creative point in animation right now. Does a project like this still need a name like yours behind it to help get it made?

T.B.: I don't think so. The technology has gotten to the point where people can actually do this, they don't need a studio to get involved. It also helps doing it for a budget where there's not that pressure that you get when you have a bigger budget film. The fact is the studio was fine on this. The kinds of fights I've had in the past on things didn't really manifest themselves on this. I think it helps that we did it and then went to a studio as well, so it was a different situation. I've been through it, Timur's made films, Jim Lemley, the other producer... I think it allowed Shane to just focus on the film, which I think is a benefit.

G.M.: Do you still have to have those kinds of arguments?

T.B.: Oh, yeah. Absolutely. At this point, I expected it to go away, but you'd be surprised. There's not a film that goes by where some major issue [doesn't arise]. I like to be a confrontational person. The movie industry it's a very negative aspect of it. They'll only listen if you go completely ballistic, and you just [want to say], 'Can't we not get to that place where you've got to go nuts?' Some are better than others, but you still have these issues because there's so much involved in making the film. It's not going to go easy. If there were no problems, just making the film is enough of a deal.

G.M.: How challenging has it been for you on 'Alice in Wonderland' since you're marrying several technologies to give the film its unique look? But also, how liberating has it been to utilize these new tools?

T.B.: I don't feel liberated yet, no, only because it's a very strange process and I like what I like. That's why I like stop-motion. On a live-action, you've got actors, you've got sets and that's what I like. This is almost the opposite of that. You've got a lot of pieces and not until very late in the game do you see a finished shot. I think I've yet to see a finished shot. It's quite a scary, daunting process. It's exciting but it's the opposite of what I'm used to. You see a piece of a shot and it's like a puzzle. You're trying to hope and make sure it gets to the right place but you're only seeing one piece at a time.



G.M.: Did the process change how you worked with the actors?

T.B.: No. Because it's such a long, big process, the key with that is to try to keep that as energetic as quick and moving as possible because otherwise you just get bogged down in technology. We just didn't worry about the technology to begin with and just started to shoot so the actors could keep their energy and their focus. With these kinds of things you're acting against an animated character or something that's not there, so there's a lot of that kind of stuff.

G.M.: The sets and the costumes that Disney has on display here are just beautiful.

T.B.: We had some reality to hang onto there a little bit. It helps, believe me. This is the first time I've dealt with a lot of green screen and it drives you nuts. After a while you start to get kind of jittery and crazy. It's a weird phenomenon. I'd never really experienced it to this degree. The thing is, you can't really deal with Method actors in that scenario. They're in trouble. That was part of the thing, you're going to be working in a void and you're going to be dealing with people who aren't there and you try to suss that out before you work with somebody. You can kind of tell when you meet somebody if they're going to go for it and I like those people anyway. I worked with some new people that I hadn't worked with and they were all great.

G.M.: There's so much 'Alice' material. How did you go through and select what to include in the film.

T.B.: Linda [Woolverton] the screenwriter, that was the thing I thought she did well and it was a hard thing to do. As books, [the story], it's very episodic, this story, that story. She ended up kind of using a lot of the vibe of the Jabberwocky poem, the weird language, that figures into it. You can't have every character but we tried to keep the few iconic ones, the Hatter, of course, and the Cheshire Cat and the White Rabbit and the March Hare and Red Queen, White Queen, that fit within the story that Linda wrote. Obviously there are a lot of characters that aren't in it. It was more important to take that material and try to make it a movie. Every other version I've ever seen I've never really connected to because it's always just a series of weird events. She's passively wandering through, [meeting] this weird character, that weird character. It's fine in the books, but the movies always felt like there wasn't anything underneath them. That's what we tried to do. Instead of the Hatter just being weird, is get some kind of underneath him, some kind of character underneath him. That's the goal is to give the Alice material a little more weight to it.


Tim Burton on the set of Alice in Wonderland with Mia Wasikowska

G.M.: That notion of making her less passive is very interesting. Was that something that you talked about with actress Mia Wasikowska?

T.B.: What I liked about her is she's not a big demonstrative actor. She's got that old soul quality, somebody you can see has an internal life and intelligence and a gravity to her and kind of a slightly disturbed quality, which fits into the material. You've got to believe that she's got an internal life. That's what a lot of these stories are, characters kind of working out their issues or problems. You like to find somebody and they don't have to say anything or do anything, but you look at them and you know there's something going on, they have some kind of gravity.

G.M.: Was that a difficult quality to find in a young actress?

T.B.: I met lots of good actresses but [Mia] just had something different about her that I liked. She's very quiet. It's not even something that you can put into words. I like those kinds of things were you can't necessarily identify it in a verbal or specific way. It's more of a feeling.

G.M.: How long is the post-production process, one year?

T.B.: Well, it comes out in March, so that's when it will end. It will go all the way up to that. It's the kind of project, most of these that use this kind of technology take probably a couple of years longer than we have. I don't mean that as an excuse. In some ways there's something kind of good about just having to do it, but in reality I wish there were more shots done than where we are at this moment. It's been daunting. If you saw how much was missing, you'd be nervous, too. [laughs]

G.M.: Would you do something this technically complex again?

T.B.: Right now it's hard for me to say. Usually you talk about a film, even at the end it's hard, I don't like it. But at this stage all I can think about is how much I've got to do. It's hard to say. I don't really know what the outcome's going to be. Any film you do, you just kind of finish and you wish you could spend a little bit more time on this or that. I don't yet know how much at the end of this I will have felt that I've compromised or not. It's a hard call to know. I don't even think I'm that much of a perfectionist, but it's hard to let go of anything. It's tricky. This one could be pretty rough way I don't know.


An image from the original "Dark Shadows" television series

G.M.: You've talked about doing "Dark Shadows" next. Is that still the plan?

T.B.: I think so, yes. That's the plan. There was something very weird about that, it had the weirdest vibe to it. I'm sort of intrigued about that vibe. It's early days on it, but I'm excited about it.

G.M.: We seem to be in the midst of vampire-mania, what with "Twilight" and "True Blood" and other projects. What do you make of that?

T.B.: It happens. You look at the history of film and whether it's vampires or witches or wizards or whatever, it's like any great fable or fairytale, it's got a power to it. I think that's why people keep going back to it. There's something symbolic about it that touches people in different ways. It's symbolic for something, I'm sure with everybody it's slightly different but it's still powerful. All great stories, there are about five different variations. I grew up on monster movies and it wasn't until later that I realized it's all the same story basically, but the monsters are great and they're all different and it makes it feel like it's all different. The monsters have more personality than the actors around them a lot of times.

"Alice" (and more) at Comic-Con

Some more bits of information on the recent Comic-Con events concerning Tim Burton's Alice in Wonderland:

Screen Crave provided these little updates from Thursday's Disney 3D panel:

11:58: Tim Burton is about to come out for his first panel!

12:00: [Moderator Patton] Oswald asked [Burton] why he made Alice: his answer "because of the hardcore realistic setting" and then when asked about the clips he responded with "it looks like a freak show doesn’t it?"


Moderator Patton Oswalt and Tim Burton at the Disney 3D Panel

12:01: Tim jokes that they skinned Carrot Top for The Mad Hatter's wig. Depp enjoys having a part in the costumes (as always). As for the cat, it's creepy, which Tim says "confirms his hatred of cat" and says that Stephen Fry does the voice.

About to see clip! BRB!

12:05: Safest way to do PCP, watch his film Alice. It was a short clip. Only 30 seconds or so. Going to play it again...

12:07: Just got to see a clip twice that is "ONLY FOR COM-CON"… As they say in the clip; Alice – "This is impossible." Mad Hatter – "Only if you think it is." Absolutely beautiful images of [Tweedledee] and [Tweedledum]. The Mad Hatter is completely mad. The Cheshire cat is completely creepy.

12:10: Just got the first fan boy. Was so excited to ask a question and share his story he didn’t [let?] Burton talk.

12:11: "How did you work with actors to get them into character?" "Kept it as lively as possible and as fast as possible. green screen starts to freak you out after a while, you don't know who you are or where you are. You just try to keep moving and grooving."

12:12: His favorite films. Bits of all of them but Edward Scissorhands and Ed Wood are special.

12:14: "What was the most difficult thing to do in this movie?"

12:15: WAIT!!!! Johnny Depp is here...


Johnny Depp and Tim Burton

12:17: Johnny Depp came out, got a HUGE standing ovation, said “Tim Burton!” everyone cheered and he left.


DreadCentral.com also reported that Tim Burton confirmed his next film after Alice in Wonderland: a feature adaptation of the Dan Curtis television drama Dark Shadows. Johnny Depp will star as Barnabas Collins. (No word on the feature-length animated version of Frankenweenie, that we know of...)



Johnny Depp makes a surprise appearance at Comic-Con

Depp on "Wonderland," "Dark Shadows"

Steve "Frosty" Weintraub of Collider.com recently interview Johnny Depp (yes, THE Johnny Depp) and got some words out of the actor regarding his upcoming collaborations with friend Tim Burton: Alice in Wonderland and the big-screen adaptation of Dark Shadows. (Depp also discusses "Pirates 4" briefly in the interview.)

With enthusiasm, Depp confirmed that he will likely become Barnabas Collins. "Dark Shadows is happening," Depp said. "Tim is working on Alice in Wonderland which is obviously quite a large piece of work there. So when Tim is done with Alice and we get the script, which is very, very close, in order we'll probably attack it next year. It's exciting, very exciting. It's like a lifelong dream for me. I loved the show when I was a kid. I was obsessed with Barnabas Collins. I have photographs of me holding Barnabas Collins posters when I was five or six. I’m very excited to do it."



An image from the original television drama, "Dark Shadows." Depp hinted that tackling a feature-length adaptation of the show with Tim Burton might begin as soon as next year.

Johnny Depp also offered some information on Wonderland, just in time for the official debut of some of the film's characters and concept art:

Question: What kind of research did you for your role in Alice in Wonderland? Did you use the book or bring something outside of that to the character?

Depp: Well, certainly the book. The book is the basis for everything. There are little mysteries, little clues in the book that I found fascinating that were keys to at least my understanding of the Mad Hatter, like him saying, 'I'm investigating that begin with the letter M.' That was huge for me because when you do a little digging you realize you’re talking about a hatter, a man who made hats and if you go back and look at some of the historical hatters there’s that term that this guy or that guy is as mad as a hatter. There was a reason for that and the reason for that was mercury poisoning. So I found out what the M was and why they went nuts. So that became a huge thing. Then it was just kind of what I saw and what I thought the guy should look like. I made my little weird drawings and water colors and brought them to Tim [Burton] and he brought me his weird little drawings and water colors and they were not dissimilar [laughs]. You could've put them right together and they were pretty darn close. There’s a lot of color and brightness and then de-saturation in The Hatter. He’s like a mood ring I suppose.



Question: What's so special about your relationship with Tim? Is that he lets you do whatever you’d like as an actor?

Depp: Well, the most special thing is that he very luckily has given me about seven jobs. That's the most amazing thing. I’m looking forward to the eighth and ninth. There’s no real definition other than there is some kind of connection, some sort of understanding that Tim and I have that is at most times unspoken. Most people when they hear Tim give me direction or we’re talking about the character or something on the set, people are baffled. Completely befuddled and they don’t know what we’re talking about. A guy actually came to me one time after watching Tim and I talk for ten minutes and said, 'I didn't understand a word that you guys were saying.' So, yeah. I don't know. It's just one of those things that you don’t question, but I sure love him.

"Dark Shadows" Update

The big-screen adaptation of Dark Shadows might be a bit delayed -- but that might be a good indication that Johnny Depp and possibly Tim Burton, who are both quite busy right now with several projects, will be making the movie.

Sam Sarkar, Infinitum’s director of development, confirmed that Depp would star in the movie. And Burton directing?: "I can neither confirm nor deny that,” he said. “But I know it’s out there in the ether."

Another (albeit anonymous) insider in Hollywood had this to say: "It is our intention to still start the movie in the fall. We're trying to work it out, and Tim Burton is Johnny's first and only choice to direct."

So while the shoot might be postponed, the project is very active in pre-production currently.

More information to come in the future!

Zanuck Talks "Alice," "Dark Shadows"

Producer Richard D. Zanuck has recently talked about Tim Burton's current film, Alice in Wonderland, as well as a possible future project for the director: a big-screen adaptation of the TV series Dark Shadows.

In one interview, Zanuck discussed Burton's decision to shoot Alice in 2D and eventually convert it to 3D in post-production. Director James Cameron, who is also involved with the new 3D movement in cinema, criticized this decision, saying "It doesn't make sense to shoot in 2-D and convert to 3D."


Zanuck: I'm making a very interesting film now, called Alice in Wonderland with Tim Burton. And we're shooting it in Culver City, and we're almost through with our part of it, which is shooting the live actors but they'll be animated. It's the first picture that will combine motion capture, with live actors and animation, all in the same frame. It'll be quite amazing.

What can you say about Tim Burton's vision for that?

Zanuck: It's everything you could imagine. You put Tim Burton in a world where his vision can run wild and you'll get the result that we're getting. I mean, when she goes into the rabbit hole. It's a dream actually. Her dream. And if it's anything that comes from her mind, and we're very faithful to the Lewis Carrol book. But it's Tim Burton being able to really crank up his wild imagination. In kind of a dark way too, as the original material was dark and scary.

James Cameron said that he didn't understand why you would shoot it in 2-D and convert to 3-D. Why not shoot it in 3-D?

Zanuck: The 3-D cameras are very clumsy quite frankly, compared to 2-D cameras. And it would have cost a lot more, we would have had more crew involved. I didn't see what Cameron said but, I was convinced, and so is Tim, seeing test after test of pictures that have been released in 3-D, shot in 2-D and you can't tell the difference. I would defy Jim Cameron to see the tests I saw and point out which was 2-D and which was 3-D.


In a second article, Zanuck talked about an upcoming project of his: Dark Shadows, which may be another Tim Burton-Johnny Depp collaboration.

In a brief video interview (click this link to view it), Zanuck states that filming may begin as soon as next summer in London. He also discusses Depp's obsession with the soap opera when he was a schoolboy.

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

Burton + Depp + August = "Dark Shadows"?

IESB.net has stated that director Peter Segal recently said that John August has written a screenplay adaptation for the TV series Dark Shadows -- and that Tim Burton is attached to direct it and Johnny Depp is (supposedly) to star in it.

Dark Shadows was a television series which ran from 1966 to 1971. It was a popular gothic soap opera, featuring vampires, werewolves, and other ghoulish creatures.

An image from the original series Dark Shadows.

This could be the secret project that John August wrote on his website late last year.

John August wrote the screenplays of Tim Burton's Big Fish, Charlie and the Chocolate Factory, and Corpse Bride.

Rumors of Burton and Depp teaming up for a big-screen version of Shadows came up on the Internet months ago. And this more official claim seems to encourage those beliefs. But just because Burton is attached to direct the film, it doesn't mean that he necessarily will. Months ago, Warner Bros. had Burton attached to helm an adaptation of the fantasy novel The Spook's Apprentice. But eventually, Burton moved to other projects (his upcoming Frankenweenie and Alice and Wonderland at Disney), and Kevin Lima is now currently signed on to direct Apprentice.

We'll have to wait and see what the future holds for Burton, Depp, and this planned Dark Shadows movie.