"Alice" Unscripted Interview Bonus Clips

MovieFone has three bonus clips from the unscripted Alice in Wonderland interview, featuring Helena Bonham Carter, Anne Hathaway, and Mia Wasikowska.

Helena Bonham Carter on Johnny Depp's futterwaken:



Helena Bonham Carter on her favorite villain:



Anne Hathaway on women's roles:

Audio Interview with Danny Elfman

Film Music Magazine has an audio interview with Danny Elfman. The composer talks about how he has worked with his long-time collaborator Tim Burton, the score of their latest project, Alice in Wonderland, and more. You can hear the interview from the website or download it as an Mp3 here, but BEWARE OF SPOILERS!!

Interview with Crispin Glover

Gayle MacDonald of the Globe and Mail recently interviewed actor/filmmaker Crispin Glover. Glover -- who plays the Knave of Hearts, Ilosovic Stayne, in Alice in Wonderland -- discussed working with Tim Burton and the cast on Wonderland, dealing with the special effects and outrageous proportions, and his directorial debut:

Do you strive not to be a typical leading man – deliberately choosing parts and directors (like Stayne and Burton) that allow you to bring artistic expression to the role?

Much of my decision-making in the last decade has been in order to fund my own films. Luckily some of this has caused me to be in films that have done well financially and that has actually improved the sort of roles I am offered in higher budget films. When something comes along like playing a great role in a Tim Burton film it’s the best of both worlds – he is someone who has both a strong artistic expression and wants to let everyone he’s working with have a strong artistic impact. In doing that, the people that are working with him (including myself) want to fulfill what his vision as a filmmaker is.

This is the third time you've worked with Johnny Depp. What do you admire about the guy - personally and in his acting?

I have known Johnny Depp, I believe, since 1983 – and met him the day after he got his first acting job. It was a number of years before I acted with him. What I admire about his acting is that he’s been able to maintain a genuine eccentric interest in his choices, yet excel in financial successes.

In her role as The Red Queen, Helena Bonham Carter looks like a bulbous-headed freak. Was it hard to keep a straight face filming some of the scenes?

Working with Helena Bonham Carter was simply great. Her head was enlarged in the post-production process. She had the makeup as in the film, but a normal-sized head. She’s an excellent actress and laughing was the furthest thing from my mind – I was very concerned about supporting her fine performance and what came to mind for my character was to be diplomatic.

Which aspect of the special effects was most challenging for you as the Knave of Hearts?

I was wearing stilts in a green suit that was later made to look like I had an elongated body.

Your directorial debut was What Is It? – a film in which you appeared alongside a cast that consisted mostly of actors with Down Syndrome. What inspired the feature?

I always make it clear when I discuss my first feature film that it’s not about Down Syndrome but my psychological reaction to the corporate restraints that have happened in the last 20 to 30 years in filmmaking – specifically, anything that can possibly make an audience uncomfortable is necessarily excised or the film will not be corporately funded or distributed. This is damaging to the culture because it is the very moment when an audience member sits back in their chair, looks up at the screen and thinks: “Is this right, what I am watching? Is this wrong, what I am watching? Should I be here? Should the filmmaker have made this? What is it?” ... I would like for people to think for themselves.

Wasikowska Talks "Alice" with Jimmy Fallon

Mia Wasikowska was on Late Night with Jimmy Fallon on Thursday, March 4th to promote Alice in Wonderland. Here's the video:

D23 Interview with Tim Burton

Disney's D23 website has a very indepth interview with Tim Burton, talking about Alice in Wonderland. The director discusses working on the technology-heavy film, working with various actors, the appeal of the strange characters and world created by Lewis Carroll, and much more. Here's the entire interview:

What appeals to you about this story?
In any fairy tale land there is good and bad. What I liked about Underland is that everything is slightly off, even the good people. That, to me, is something different. It's so much a part of the culture. So whether you've read the story or not, you'll know certain images or have certain ideas about it. It's such a popular story. The reason we did something with it is that it's captured the imagination of people for a very long time.

Why do you think Alice in Wonderland is still popular, more than 140 years after its publication?
It somehow taps a subconscious thing. That's why all those great stories stay around because they tap into the things that people probably aren't even aware of on a conscious level. There's definitely something about those images. That's why there have been so many versions of it. As a movie, it's always been about a passive little girl wandering around a series of adventures with weird characters. There's never any kind of gravity to it. The attempt with this was to take the idea of those stories and shape them into something that's not literal from the book but keeps the spirit of it.

How old were you when you first read the books?
I was in school, maybe like 8 or 10 years old. I have a weird connection with the books. The house where I live in London was owned by Arthur Rackham [famous English book illustrator who created the iconic color plates for the 1907 edition of Alice's Adventures In Wonderland]. I live and work out of the studio where he did some amazing versions of Alice in Wonderland. So I felt there was a connection to the material and me. And that always helps, somehow.

When you were first approached to direct, what was your reaction?
They gave me a script and they said 3D. And even before I read it, I thought, that's intriguing, and what I liked about Linda's script was she made it a story, gave it a shape for a movie that's not necessarily the book. So all those elements seemed exciting to me. What I liked about this take on the story is Alice is at an age where you're between a kid and an adult, when you're crossing over as a person. A lot of young people with old souls aren't so popular in their own culture and their own time. Alice is somebody who doesn't quite fit into that Victorian structure and society. She's more internal.

Why did you decide to make this particular version of the story?
Well, there are so many stories. It's not like it's a new story. If you read the books, there are all of these weird little adventures. So I think the goal of Linda Woolverton, the writer, was just to have the story and use the characters. Look, there are so many things — there is always going to be a character that is somebody's favorite. Someone will miss the Lobster, or whatever. You have the Red Queen and the White Queen, the March Hare and the White Rabbit — there were iconic ones that we knew we had to have in there. But then, we thought, let's just let the story play and see.

Which characters in Alice appealed to you more?
I like them all. And that's the thing with these. I think this material suffered in the past because all of the characters are just weird. Okay, Hatter's weird. Cat's weird. Rabbit's weird. We tried to give each one their own particular quirks, so that they each have their own character.

Growing up, did you have a favorite children's book?
I was a Dr. Seuss fan. It was easy to read. I liked his drawings. But, the reason I wanted to do Alice is that it was a really interesting challenge. I didn't feel personally, like I might on another project, like, oh, there is one great version out there, so to try and do another one, might be a problem. But with Alice, there are some interesting ones, but I don't know if any are completely successful.

What was your approach to the film?
I was much more fascinated by the iconic images — I think people are always surprised when they go back and read the stories, because they don't have that Lord of the Rings sweeping narrative. They're absurdist, surreal. But those characters are in our dreams, our tales. Those things that stay in your brain. Why do all these musicians write songs about it? Illustrators are recalling it all the time. You see it in other imagery. It was key to try to make that world. The things that I felt were unique to Alice, they're unique because they're so different. Like the bizarre size changes? And where you have some animals that talk, some don't. It seems quite random in what Carroll did. But, at the same time, it's not. There's something very deep. Things that seem random maybe aren't? The goal is just to try and capture that.

What do you like about this version of the story?
What I like about this is that it's more of a personal journey. These are the things that are actually the most important in life. That moment where you make that important choice. Maybe it happens to everybody. Maybe it doesn't. Maybe it does a couple of different times in your life, where you learn something, you grow. You know, it's like you've got two sides of yourself in conflict. Emotionally conflicted. And then, when you make that personal growth, it's quite an amazing thing. Quite a strong thing. It's reconciling within yourself who you are, becoming the person you're going to be, a human being. It sounds light, but it's important.

Why couldn't you do a re-telling of the books?
The thing that fascinated me about Alice is that its iconic images have been absorbed by our culture. I probably knew more about Alice from listening to bands and songs — so much of the story's imagery comes into play. So, that's the thing that was always strong about Alice. It was never the plot points of the story, because they were absurdist tales — they didn't really have a certain narrative dynamic. I think that's why those other versions, to me, were always lacking, because there was this little girl observing things and saying, oh, that's weird. There was one weird character after another, without much of a context to it. So, we tried to ground each of the Alice in Wonderland characters. We tried to give them it a bit more depth, and to give her a story. There's such a mystique about Alice in Wonderland. I just felt that it would be more appropriate if we tried to be true to the spirit of what those characters were, and then, just give it all a bit more of a foundation.

Why did you make Alice 19?
That age just seems to me to be a crossroads. There, I think you're entering a culture where you're pressured into society, or getting married, or some other thing. And she just seems to me to be at that point where you're at an emotional crossroads. I just felt like Alice is an interesting character, because she's at that age, and she's got both a young person's and an old person's soul. There's a dynamic — at odds feeling both the young and the old, and then reconciling those two things. It just seemed like the classic structure of fantasy — go back to The Wizard of Oz. Or any of a number of fairy or folk tales — these adventures are always to work out the character's emotional problems. That's why I've always been intrigued by the poetry and the purpose of such stories — myths and things. They mean something. And, so, her adventures are her coming to terms with who she is and gaining her personal strength. Those are the journeys that are made in these stories, but they're quite private, too. It seemed like the right age to explore that dynamic of somebody, at a moment of change.

What is Johnny Depp's approach to playing such a vivid character as The Mad Hatter?
It is an iconic character and it's been portrayed in animation, in live-action. I think Johnny tried to find grounding with the character, something you can feel, as opposed to him just being 'mad.' With a lot of versions, it's just a one-note character, and his goal was to bring out a human side to the strangeness of the character. I've worked with him for many years, and he always tries to do something like that, and this time was no exception.

Do you consider Johnny Depp as a muse?
Nah, he's just a piece of meat [LAUGHS]. All these actors were great, because they weren't dealing with a lot of stuff — sets, props, other actors. So, a lot of it had to be inside of each person's mind. You can't really work with method actors too much on a movie like this. You need people to go out on a limb and just go for it, without a lot of material. So, yeah, Johnny's good at that. And I was lucky with these other actors, that they kind of went for it, too. And, you know, for me, too, I think it was really hard, because I'd never really done a movie like this. And it's quite eye-opening. It's a whole different process. I would think for an actor, it's really challenging.

How close do you work with Johnny in creating his characters?
Well, I'll do a little sketch, he'll do a little sketch. We'll talk. It always is different. With him, we use references, but they're never specific references. Because he never wants to feel like he's doing just one thing. So, we use a lot of abstract references. But I'm always excited to see what's gonna come out it.

Do you let him go as far as he can and then reel him back in?
Yeah, but he's pretty good. You never wanna go so far that you're missing some emotional beats. So, we've tried to make the Hatter mad, of course, but also give him a certain emotional quality under the surface. Johnny's pretty good about trying to find the reality of something unreal.

Can you talk about why you chose Mia Wasikowska for Alice?
She has both a young quality and an old quality. Very grounded — some people are just all over the place. But some people, they have that old soul quality. And that's what we felt was important for this Alice. But, at the same time, to be young — there are people with old souls who are also naïve at the same time. There's a certain slight passiveness to Alice that's always in the material. So we wanted to give her more of a quiet strength, which Mia has herself — just as a person. I just liked her quality. I always like it when I sense people have that old-soul quality to them. Because you're witnessing this whole thing through her eyes, it needed somebody who can subtly portray that.

How did Mia, as a relatively new actress, handle the role?
Well, she's great. This'll probably be the most abstract movie that she will ever do, let's hope. Like I said, it was new for me. In dealing with all the green screen and obstacles she had to deal with, she took it all in stride. She always was trying to remember the character and just go back to that place within herself. That was helpful, because it could be a nightmarish process. It goes against all of your instincts, I would imagine, as an actor — you have nothing to work with. The guy standing there with a green stick is not really that inspiring, you know.

You go way back with Crispin Glover [who plays the Knave of Hearts in Alice in Wonderland], right?
I first met him in the early '80s. He's a very unique individual. He's a real Renaissance man. There are not many people who do movies and then do their own films and do their own art and live their own lives in the way that he does. But he's great. He's got such a pleasant visual presence.

Your cast is full of British character actors, performers who can disappear into the character.
I love working with people like Matt Lucas, who do characters, because I think they're great actors. They're fun to watch. Matt did one character then slipped into another; that to me is the sign of a good actor, and it was really great to work with him. Also, it was important to me to have a real, heavy British flavor. There are lots of people I've always admired. I wanted to try and make the animated voices not overly animated, so they all felt like they were in the same world. I didn't want them to feel like live-action characters in a completely animated world, so I tried to make the live-action a bit more extreme, and then with the animation, I tried to bring it back. I was lucky enough to get really great actors who — if they had done it as humans would have been great — brought the animated characters up to the level of the live-action.

How did you get your actors into character?
Well, it's difficult when you don't have a lot of sets and you are dealing with a lot of technology. I tried to keep it as lively as possible and as fast as possible, so that they could interact with each other as much as possible. So speed and energy were important. You just try to keep moving and grooving.

How did the actors in Alice in Wonderland approach the dialogue?
The kind of actors I like to work with bring something to it — like if there was a line or something from the book that they want to be in the script. If an actor connects to something or feels passionate about something, that's always nice, and you might get something better from them — it's something meaningful that they can grasp.

Is it Underland or Wonderland? What does it look like in this film?
It is Underland and has always been Underland, but according to the film version, when Alice visited as a child, she misheard the name and called it Wonderland. Everybody's got an image of Underland. I think in people's minds, it's always a very bright, cartoony place. We thought if Alice had had this adventure as a little girl and now she's going back, perhaps it's been a little bit depressed since she's left. It's got a slightly haunted quality to it.

Are you taking a unique approach to technology with this film?
Well, [senior visual effects supervisor] Ken Ralston's done this. I haven't done this before. It's a puzzle, and the movie doesn't materialize until the end. What's been the most difficult thing is, after production ends, you usually have a movie — you see the shots and then you spend six months to a year cutting it. This doesn't work that way. It's a very Alice in Wonderland-like process. It's a little backwards.

How did you incorporate available technology into this film?
Our approach to this was a bit more organic, in the sense that Ken Ralston and I discussed what we liked and didn't like about animation, live-action and other technologies. We had that conversation. We decided on a mix — we'll have real people, but also animate characters, and then manipulate them. So, we just tried to pick and choose what we used with each situation. That's the thing about technology. There are so many ways to use it.

How did you come up with the concept for the design of this world?
We looked at a lot of great artists on this one. In some ways, it ended up being more like an animated movie, in terms of the structure and how it got done. We had lots of designers. Everybody chipped in. It's been a really organic building process.

What inspired you most in terms of the visuals?
We didn't choose just one thing — there are so many different things. We looked at pictures of trees. We'd get some good concept work that we liked and then latch onto that. The goal at the end of it all was to be true to the essence of the story and make it feel new. Make it feel like it's a different thing. But yet, there's a reason why I like the Cheshire Cat or the Caterpillar or the Mad Hatter — those characters are in people's consciousness because they're strong images. It was key to do that justice.

Why did you choose to make the film in 3D?
Well, 3D is not a fad. It's here to stay. It doesn't mean that every movie's going to be made in 3D. But at the same time, Alice in 3D, just because of the material, it seemed to fit. So, instead of it just being a given, we tried to treat it as though it was a part of Wonderland. Matching the medium with the material.

Did you shoot in 3D or was it part of the process after filming had finished?
We didn't do it with the 3D cable. With the techniques we were using — the pure animation, live-action and manipulating that — shooting it traditionally gave us more freedom to get into the depth, the layers, that we wanted in the time that we were dealing with. And also, I can't really see the difference. I'm sure that there are people who say 'it's more pure this way or that way…' But this seemed like the right approach. After seeing the conversion job that was done on The Nightmare Before Christmas, I found no reason to do it any other way. We were trying to do it faster and at the end of the day, I didn't see any difference in quality.

Does using 3D affect the story?
In the old days you'd put the glasses on and walk out of the theatre with a splitting headache. And that's no longer the case, it's a much more pleasant experience. And I'm personally not out to make a gimmick, so I believe that it enhances the film. It puts you into that world. And with the Alice material — the growing and shrinking of characters for instance — and the special spaces and places that you're in, it just helps with the experience. Obviously, these films not only have to work in 3D, but they have to look good as a movie that you'd want to see. I think the gimmick element of 3D is falling by the wayside, and it's more about an experience that puts you into the film. When Nightmare was converted to 3D, I felt it was the way it should have been. You felt the texture of the puppets more, you actually felt like you were on the set. And I think that enhances the experience. This seemed like the right kind of story to do in 3D. I always try to say, 'Is it the right medium for this?' and not just do it because it's a gimmick or it's fashionable now, and it did feel like it was the right kind of material. So seeing it come to life in 3D supports the material. It gives you that kind of 'out-there' feeling that was a very crucial element to the film.

Where do you see the future of movies going, now that you have this mixture of 3D and live-action?
I was in animation several years ago. It was pronounced dead, and then they stopped doing hand drawn. So, the good news is that there are more forms for everything, which is great. There should be 3D, drawn animation, computer animation, stop-motion. It's all valid. It's all great. And it's better now than it's ever been. I was struggling for 10 years to get a stop-motion movie made. Now, you can do it — no problem.

Are you fascinated with special effects?
I'm not a special-effects-just-for-special-effects kind of filmmaker. I try not to treat it like that. Even with all the stuff in this movie, we always tried to go back to the simplicity of it being one person's journey. It's Alice's journey. And that's it. It's a very simple thing — and that's what we always tried to keep it.

Anne Hathaway Talks "Alice" with Jimmy Kimmel

Anne Hathaway was on Jimmy Kimmel Live on Tuesday night. Here's the video of her discussing her work in Alice in Wonderland, in two parts:

Part 1:



Part 2:

Carter, Hathaway, Wasikowska Interview Each Other

The talented women of Alice in Wonderland -- Mia Wasikowska (Alice), Helena Bonham Carter (The Red Queen), and Anne Hathaway (The White Queen) -- interviewed each other and had a fun time talking about their experiences on the film. The questions were submitted by fans. Here's the entire video interview from MovieFone:

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:

Interview: "Alice" Character Designer Michael Kutsche

Gerrick Kennedy of the Los Angeles Times has an interview with Alice in Wonderland character designer Michael Kutsche:

GK: “Alice in Wonderland” was your first experience working on a film. How did you fall into the world of Wonderland and Tim Burton?

MK: It was a huge leap for me because I’m from Germany. I’ve been a pretty successful illustrator but not in the field of movies, and I was doing illustrations for games -- like the packaging. Two years ago I put all the work that I did online [because] I never really took good care about making myself public. When you’re working full-time you’re not really thinking about other jobs. One day I was working in my studio in Berlin and I got this e-mail from Sony Imageworks that was like we have this movie project and we found your portfolio would you like to work on a movie? This was a big deal for me.

GK: But you didn’t know you were “auditioning” to work on Alice in Wonderland?

MK: They said there were a couple of illustrators -- kinda like a competition -- so would you please draw a caterpillar. Like think of “Pan's Labyrinth,” real actors with animated features. I did that in one day … I tried to do the best that I could. I got the job and finally met the vice president of Sony Imageworks [Debbie Denise]. She said what movie I’d be working on. She said it was Tim Burton and “Alice in Wonderland.” I was totally like fainting.

GK: What type of creative freedom did you have in your work? Burton has a very unique style. How did you adapt to that?

MK: I worked with visual effects supervisor Ken Ralston – this is the guy who did “Star Wars”! He said we were very early on in the production, we don’t have much direction, take some characters, get some ideas for it and go crazy. That’s what I did. In the beginning, I was a little over the top with it. A little too frightening.



GK:In your early sketches, the Cheshire Cat is more human-like and is slight and slinky, with hot pink stripes and an unsettling, toothy grin, and your Mad Hatter wore industrial goggles and had less whimsy...

MK: Because it’s a Disney production [some of that] didn’t really have that mass appeal. It would have shocked the kids. Tim Burton is a big fan of that book, and the original illustrator. Tim had his own drawings in his London office, so he wanted to have a little bit of a classic feel, so that the animals were more like animals with a twist instead of having a far-off fantasy. Sometimes he gave like a very quick sketch that was really helpful. I would take that and make it really detailed.

GK: With this being a reimagining, as opposed to a remake, how much of the original did you have in your mind as you did your designs?

MK: I was looking at the original drawings from John Tenniel and Arthur Rackham and I also looked at the clothing from that time to have the feel for this period so that it's rooted in some sort of reality. We gave those characters clothing from that time.

GK: Everyone, of course, is focused on the 3-D element of the film. Did knowing that it would be seen in 3-D have any influence on your designs?

MK: Not for this one. I would doubt, maybe in terms of environment. In terms of design itself, even if you look at it in 3-D the brain kinda recognizes it. It's more about the shape and the perspective.

GK: When did you first get into illustrating?

MK: I was always drawing, from kindergarten age. I didn’t really go to art school, I just self trained. At that time I always felt self-conscious that I don’t know too much, now I kinda find that’s what makes it a little more special. It’s not the taste of the professors or one of my [peers].



GK: You’re from Germany and a lot of the work on “Alice” was done in London. How did that work for you?

MK: I worked from home on “Alice” for half a year. I asked if it was a good idea to come to London. They put me on a plane, and took me to Tim’s office. They took me to the set so I could get a feel for the movie, and the production so that the characters aren’t disconnected. After awhile in Plymouth [where large portions of the film were shot] and in London, when the production moved to Culver City they moved me into a little trailer. They asked if I wanted to sit in the Sony building but I wanted to be as close to the set as possible. Of course I wanted to get a peek at what they were doing, so I had this little trailer in the backyard.

GK: People never see the step-by-step process of creative work, the process that went into it.

MK: Of course I read the script in the beginning, then they would send me an e-mail about a character that they needed urgently. I would start doing some sketches, scanning them and putting them in the computer and then making the color refinement. But I would also add some fur textures, little things so in the end it didn’t look like a painting on the computer. It had a more realistic feeling. When they decided on Alan Rickman to be the caterpillar I looked at photos of his face. It wasn’t Photoshopping photos of his face that wouldn’t work. So it had to be a design of its own, it kinda has the character of his eyes and the cheeks. Even if they didn’t cast characters, I always try to imagine who could it be, to try and get as much personality as possible. I think it’s crucial.



GK: You worked on a number of characters, also including the Red Queen and Knave of Hearts. Is there one that sticks out as your favorite?

MK: I think the caterpillar. But I also like the twins in a way, which that’s a design that Bobby Chiu did. As crazy as they are they kinda work together really well. I also think that because usually you have a big group of artists working on one character, because we only had like three people designing them (Kutsche, Chiu and Kei Acedera), they were really distinct. They didn’t get watered down. Like too many cooks [in the kitchen]. I think he was careful not to work with too many people.

Up next for the 32-year-old who said he didn’t “expect to stay in America this long” is character work on “Thor” and “John Carter of Mars,” slated for release in 2011 and 2012, respectively.

Richard Zanuck Video Interview: "Alice in Wonderland"

Producer Richard D. Zanuck takes questions on the making of Alice in Wonderland:

1. On working with Tim Burton
2. On Johnny Depp and Tim Burton
3. On Mia Wasikowska

Alice in Wonderland: Interview - Richard D. Zanuck - Watch more Videos at Vodpod.

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.

Interview with Johnny Depp

TeenHollywood has a thorough interview with Johnny Depp. Here's the entire article -- WARNING!: CONTAINS SOME SPOILERS!!:

TeenHollywood: Johnny, you and Tim Burton have done about seven films together. When he came to you with the part of the Mad Hatter, what was your reaction?

Johnny: Well, to be honest he could've said 'Alice' and I would've said [yes]. I would've done whatever character Tim wanted, but yeah, certainly the fact that it was The Mad Hatter was a bonus.

TeenHollywood: Because the Hatter was a fun acting challenge?

Johnny: It was because of the great challenge to try and find this guy and not to just sort of be a rubber ball-heaved into an empty room and watch it bounce all over the place. So (hard) to find that part of that character but also a little more history or gravity to the guy.

TeenHollywood: Yeah, there's kind of a tragic nature to the Mad Hatter's background in this that we've never seen before in an Alice in Wonderland film. Can you talk about that? He's very sympathetic.

Johnny: Well, there's the whole Hatter's dilemma really which is where the term 'mad as a hatter' came from; the amount of mercury that they used in the glue to make the hats and everything was damaging. So in terms of The Hatter, looking at him from that perspective, it's this guy who's, literally damaged goods. He's physically damaged. He's emotionally a little obtuse.

It was taking that and deciding what he should be as opposed to just this hyper and nutty guy. We should explore all sides of the personality at an extreme level. So he could go from one second being very highfalutin' and with a lot of levity and then straight into some kind of dangerous potential rage and then tragedy. So, yeah, it was interesting. Trying to map it out was really interesting.


TeenHollywood: Was there ever a time in your career where you felt like you were 'Johnny Depp in Wonderland'?

Johnny: My whole ride and experience on the ride since day one has been pretty surreal in this business and it defies logic, why I'm still here.

I'm still completely shocked that I still get jobs and still am around. But I guess more than anything it has been, yes, a kind of Wonderland. I've been very lucky.

TeenHollywood: Did you think that it was going to be that way when you started?

Johnny: No, not at all. I had no idea where anything was going but you can't. It's almost impossible to predict anything like that. I had no idea. I had hoped.

I felt like after I'd done Cry Baby with John Waters and Edward Scissorhands with Tim that they were going to cut me off right then. I felt at that point that I was on solid ground and I knew where I was going or where I wanted to go and I was sure that they would nix me out of the gate. But I'm luckily still here.



TeenHollywood: You and Tim have collaborated on so many projects. How did you see your relationship, both personal and professional, grow on this film? Tim said that each time he works with you that you surprise him. Do you feel the same way?

Johnny: Yeah, each time out of the gate with Tim the initial thing for me is to obviously come up with a character but then you start thinking that there's a certain amount of pressure where you go, 'Jesus, will this be the one where I disappoint him?'

I try really hard, especially early on, to just come up with something that's very different that he hasn't experienced before, that we haven't experienced together before and that I think will stimulate him and inspire him to make choices based on that character. So I basically try not to embarrass him.

TeenHollywood: You've created so many wonderful characters that we all remember. When you start to create someone new like the Mad Hatter do you have to look back at your own work and go, 'well, this might be too much like Edward Scissorhands and this might be too much Captain Jack'?

Do you have to look back at your own work and make sure that you don't repeat anything?

Johnny: Well, because I've used an English accent a number of times, it becomes a little bit of an obstacle course to go, 'Oh, that's teetering into Captain Jackville,' or 'This one is kind of teetering over into "Chocolate" or Wonka.' So you've got to really pay attention to the places that you've been. But that's also part of it. That's the great challenge, that you might get it wrong.

There's a very good possibility that you can fall flat on your face, but again, I think that's a healthy thing for an actor.

TeenHollywood: Of all the characters and all the movies that you've worked on with Tim which one of them has been your children's favorite?

Johnny: My children's favorite, and it's funny because they've seen it but they have a difficult time watching it because it's their dad and they make that connection, but it's Edward Scissorhands. That's by far my kid's favorite.

They just connect with the character and also they see something, their dad feeling that isolation, feeling that loneliness. He's a tragic character and so I think it's hard for them. They bawl when they see that movie.

TeenHollywood: If the next project was motion capture for you, would you don a suit like they did in 'Avatar'?

Johnny: (grinning) I don't know. What color is the suit?

TeenHollywood: Black.

Johnny: Black? It matches my eyes.(laughter). I suppose. Look, I'll put anything on. It doesn't matter to me, obviously. Look at me (more laughs). Yeah, no. I don't mind.

TeenHollywood: Regarding your happy dance in "Alice". One of the great earmarks of a happy dance is that it's unique to the person. Was this happy dance a part of your own personal repertoire?

Johnny: (laugh) Uh, no. Tim, he had a very curious vision for this happy dance.


TeenHollywood: Did you have to prepare and practice it in front of a mirror or something?

Johnny: No. I tend to avoid mirrors at all costs. But no, you had to treat that like a stunt. We had to treat it like a kind of a stunt.

TeenHollywood: When did the original 'Alice in Wonderland' book enter your life the first time and how did the story influence you?

Johnny: I do remember vaguely that I was maybe roughly five years old and reading versions of 'Alice in Wonderland', but the thing is the characters. Everyone always knows the characters and they're very well defined characters which I thought was fascinating. Even most people who haven't read the book, they definitely know the characters and can reference them.

Ironically this was maybe only a year prior to Tim calling me, and I had reread 'Alice in Wonderland' and 'Through the Looking Glass'. What I took away from it was all these very strange little cryptic nuggets that he had thrown in there. I was really intrigued by them and became fascinated with them because they were asking questions that couldn't be answered almost or made statements that he couldn't quite understand.

TeenHollywood: Like what?

Johnny: Like, 'I'm investigating things that begin with the letter M.' That took me through a whole stratosphere of possibilities and finally doing a little research finding that the M is mercury. Then 'why is a raven like a writing desk?' Those things just became so important to the character and you realize that the more you read it. If I read the book again today I'd find a hundred things that I missed last time. It's constantly changing.

"Alice in Wonderland" World Premiere Footage

Alice in Wonderland had its world premiere on Thursday, February 25th, at the Odeon theater in London's Leicester Square. Here's an hour's worth of footage:

Here's a link from AFP.

From ustream:

CBS Interviews Burton, Depp

Johnny Depp and Tim Burton discussed Alice in Wonderland with CBS:

Carter and Hathaway Interview

TeenHollywood has an interview with Helena Bonham Carter and Anne Hathaway. In it, they discuss playing feuding royal sisters in Alice in Wonderland, their female roles, how their children have responded to the film, and more. Here's the entire interview, but beware of minor SPOILERS!:

TeenHollywood: Helena, that's an adorable dress.

Helena: Thank you! I thought it was appropriate for Alice.

TeenHollywood: When people say you have a "big head" in this movie, they aren't speaking of your ego, right?

Helena: Well, I’m not as inflated (today). Maybe that’s why Tim gave me the job. I’m one of the few actresses who can blow up their head.

TeenHollywood: Is there music in the background? Can someone turn that off?

Helena: Funny. That’s my music. That’s what we do at home is we have the (film's) score going…




TeenHollywood: Talk about the challenges of acting all this against green screen. Seems more and more films are getting made that way now.

Helena: When you’re acting you kind of have to imagine anyway but the unsung heroes of (the movie) are these various green people dressed in leotards that fed us the lines off(stage). (For example) Michael Sheen (White Rabbit) wasn't there. I had a 12-inch drawing of a rabbit but, behind him was this green screen actor so that’s what we had to act opposite. I would have appreciated it if (Michael) had come in his bunny outfit once but he didn’t. (laughter). This actress (indicating Anne) is the one who had to do her own special effects. She didn’t have anything special done to her. We all had to act opposite tennis balls and bits of tape but you do that anyway. Actually tennis balls and bits of tape can be good actors; minimalists (Anne is laughing).

Anne: I would do anything if Tim wanted me to. I would have played a mushroom in this if that’s the way he saw me in it. I would have happily donned my green onesie and been up on stilts. I would have done anything to be in Wonderland but it’s kind of nice to be a real person as well. Being CGI'd or not? I have no preference, sorry I don’t.

Helena: Tim did digitize my waist. Did anyone notice that? They go on about my head but my waist is digitalized. (laughter). He told me that from the beginning, ‘don’t worry. Don’t go for the full pull-in with the corset every morning’ so I didn’t. Then halfway through says ‘you know? The waist is gonna cost too much so…’ So halfway through I suddenly went for the pull and then luckily, someone just told me ‘no we could do the waist’.

TeenHollywood: Anne, can you talk about your character the White Queen?



Anne: I’m so much more interested in what Helena has to say about it. One of the most fun parts about my character was this freedom that Tim gave me from the first conversation we had. He said ‘you know, in Wonderland, I don’t want anything to be all good or all bad so I don’t want it to be that the Red Queen is the bad one and you’re the nice, benevolent one who’s all good’. So, he said ‘have fun exploring the relationship between the two of them. They come from the same place’. So I thought ‘how fun if my character has a sort of hidden psychosis’..

Helena: It’s not all that hidden (we laugh).

Anne: Now it’s not. She is interested in knives and things like that and is kind of adorable on the outside and has tried very hard to become this good, almost over the top, positive creature but, underneath, she kind of has a murderous streak that comes out when she’s around weaponry. So, it wasn’t necessarily that they were opposites. They were just sisters who were different.

TeenHollywood: You have sympathy for the Red Queen at the end of this I think.


Helena: Oh, thank you.

TeenHollywood: Helena, I heard you had to spend hours in the make-up chair each day. What was the problem?



Helena: (laughing) You see the problem! Speak to my husband. No, it wasn’t that long. I just said hours for the sympathy effect but it was only two and a half hours.

But they put a bald cap on and get rid of my hairline then have to paint it and put my beauty make-up on, that took some time, then my huge wig. They didn’t blow my head up every morning. They did that on camera. I had this one camera, there are two cameras in the world that do this, they just blow your heads up. I had this huge camera dedicated to me, which was fine by me.

TeenHollywood: You weren't in the make-up chair longer than for your ape make-up for Planet of the Apes?

Helena: No, that was much longer. That was four hours. He (Tim) likes to put make-up on me, likes to deform me. I love it. I always like looking as different as I can.

TeenHollywood: Anne, when did you read the “Alice in Wonderland” books? Or “Jabberwocky” (a Lewis Carroll poem)?

Anne: When I was in fifth grade I had a teacher who made the entire class memorize “Jabberwocky” and perform it. So, I made Tim, during the battle sequence, let me recite the poem. And he looked at me, ‘you know it’s not going to be in the film’. And I said ‘I know but just for my own sense of completion, in my life, please let me do this’.

I didn’t read “Alice” until I was in college. I was really moved by it. She’s a very emotional character and I think a lot of people feel confused at 19, as to who they are, who they think they are, who they want to be. We struggle with a sense of identity then and other times in your life. I really read the book from that perspective; of a girl who is trying to find her identity which is great because that’s what the movie focuses on; which Alice are you? So, that was my experience.




TeenHollywood: Anne, you were quoted as saying you thought of the White Queen as a punk rock, Vegan pacifist. Can you explain?

Anne: The pacifist thing was in the script. My character had taken a vow of non-violence but it was also in the script that, when she talks about that she hits a bug so that gave me the idea that’s she’s taken this vow against her will, that she recognizes that her sister is sick and believes that a means to an end is cutting people’s heads off and that’s kind of her default setting and I’m just like ‘I don’t want her to be in charge so I have to be in charge’.

I like the idea that my character probably, left to her own devices, might not have wanted to be queen.

So, then I started to think about who she was when she was in her off-queen time and I realized she spends a lot of time in the kitchen and I made her a Vegan then I just imagined her in Mosh pits and not really punching anyone but fighting against these people really hard and then I thought ‘I like Blondie’ and she’s blonde so that was obvious but I still wanted her to have a regal thing so I watched a Greta Garbo movie. I watched a lot of her silent films. I thought nobody has ever moved on film the way she did. Her whole body looks like it’s breathing.

TeenHollywood: Helena, as a mom of young kids, what do you think is an appropriate age for them to see this film?


Helena: I don’t know what age. Tim always has a theory that it’s us who have got the problem. We impose fears on our kids and the kids are actually quite robust. So, it depends on your kid.

We haven’t shown it to Billy (age 6) yet because it wasn’t finished until a few days ago. When we were trying to find a nursery school for him, according to the Montesorri method, (kids) can’t tell the difference between reality and fantasy until age six. (The woman there) recommended no fairy tales so that’s why we didn’t send our son to Montesorri because telling Tim Burton that fairy tales are not a good idea is ….. ooooh (laughter).

TeenHollywood: What were your kids' reactions when they first saw you in costume?

Helena: My little daughter who was only one, just went ‘Mommie!’ (laughter). That’s what I look like at home but it was bizarre. But my son, slightly frailer and sensitive, he just didn’t want to look at me.

TeenHollywood: Helena, you’ve played everything from sex symbols to villains. Do you gravitate more to one than the other?

Helena: Thank you. Is this the sex symbol one; a frightening sex symbol? Actually somebody did approach me in the lift today because they found me attractive with a big head. No, the older I get, I only get villains at the moment but whatever is well-written and has a good somebody behind the camera who knows what they’re doing and a really good storyteller… I’ll act anything.

TeenHollywood: Anne, the film is really female empowering. Girls should dream the impossible, as Alice does, and make it so. Can you relate to that?

Anne: Yes. I think my life is an impossible dream. Acting made me curious about what actually is impossible and once you go after it, you find that a lot of things are very achievable. I think some things may seem impossible but you have to try.

"Alice in Wonderland" Press Junket

Jake Hamilton spoke with Tim Burton, Johnny Depp, Mia Wasikowska, Helena Bonham Carter, Anne Hathaway, Michael Sheen (the White Rabbit), and Matt Lucas (Tweedledee and Tweedledum) about Alice in Wonderland. Here's the press junket:

20 Years of Burton and Depp

Alice in Wonderland marks the seventh collaboration of director Tim Burton and actor Johnny Depp. Their first pairing was for Burton's iconic Edward Scissorhands -- 20 years ago.

MTV News asked the duo about their collaborations and friendship:

Movie Trailers - Movies Blog

"I think we always treat each thing as what the project is," Tim Burton explained, insisting that it isn't simply automatic that any movie he makes star Depp. "[Whether I cast Johnny depends on] what the character is."

"[Just] because you know somebody ... [we don't make movies] just to work with each other, but it has always been great," the filmmaker said of their solid track record. "You want to make sure each thing is on the same level, or better. We always just treat it as what the project is — no pressure either way."

When it came to Alice in Wonderland, Burton did call up Depp. But the actor didn't know exactly what to expect.

"To be honest, when he called I didn't know what character he wanted me to be," Depp admitted of the duo's initial Wonderland conversations. "For all I knew, I could have been Alice — which would have been fine also."

"You would have liked that," Burton teased.

"I was just prepared to do whatever he wanted, whatever character it was," Depp said of their recurring collaborative efforts and what keeps bringing them both back. "Each time out of the gate with Tim, you just try something a little different. You try something and try to keep him interested. You want to try to stimulate the atmosphere."

"Which is great, because that's what movies are all about," Burton explained. "It's fun and interesting to see how his character develops [as we shoot a movie]. How it feeds off of me and the rest of the crew. It's why you like to make movies."


Johnny Depp, age 46, also talked about how his children -- Lily Rose, 10, and Jack, age seven -- respond to Edward Scissorhands.

He said: "It's funny because they've seen it but they have a difficult time watching it because it's their dad and they make that connection, but it's Edward Scissorhands. That's by far my kids' favourite.

"They just connect with the character and also they see something, their dad feeling that isolation, feeling that loneliness. He's a tragic character and so I think it's hard for them.

"They bawl when they see that movie."

Burton, Depp on Mad Hatter, "Sweeney Todd" Hysterics

ET interviewed Tim Burton and Johnny Depp and talked Alice in Wonderland. You can see the video interview here.

With Alice in Wonderland, Burton and Depp have made seven films together -- yet Depp hasn't seen a single one of them. The actor said his kids are more likely to see Alice before him. Burton says of Depp, "From working with him for so many years, the one thing I knew from the very beginning is that he goes for anything, and that's very exciting. ... That's what creation is all about."

Burton jokes of choosing Depp for the Mad Hatter character, saying, "After he lobbied for Alice, we went to the next logical character."

Depp explains why he continues to work with Burton, saying, "The atmosphere that he creates for that set is so conducive to creating essentially whatever you want and not being afraid to try something. ... There is the element of trust that's there."

Along with discussing Wonderland, Depp recalled how their previous collaboration, Sweeney Todd: The Demon Barber of Fleet Street, would put the director into fits of laughter. "It was the most normal I've ever looked in any of his films and that alone made me feel really uncomfortable," Depp tells ET's Mary Hart. "Then I'd come to the set and [Burton] would burst into hysterical laughter."

Video of "Alice" Cast at Ultimate Fan Event

Here's a video of Tim Burton and the cast of Alice in Wonderland making their big appearance at the Ultimate Fan Event that took place in Los Angeles on Friday, February 19th:

Helena Bonham Carter on Craig Ferguson's "Late Late Show"

Helena Bonham Carter was on the Late Late Show with Craig Ferguson on February 17th. Here's the video, in which she discusses Alice in Wonderland and more:

Part 1:




Part 2:

Matt Lucas on "Wonderland"

Matt Lucas, who plays Tweedledee and Tweedledum in Alice in Wonderland, was on the Late Late Show with Craig Ferguson on February 16th. Here's the interview where he discusses the movie and more:

Elfman Interviews Burton

Interview Magazine has a unique new article: Danny Elfman interviewing Tim Burton. The long-time collaborators discuss Burton's favorite films, the elements of the macabre in his films and artwork, how Alice in Wonderland is such a different movie from his previous films, and what really scares him. Here is the entire interview:

Tim Burton

By Danny Elfman
Photography Sebastian Kim

In 1984, Paul Reubens was looking for a director. The film in development was Pee-wee’s Big Adventure (1985), and Reubens, who had been working on the perversely juvenile conceptual-art project for about 15 years, was desperate to find someone he could trust to direct it with style. So, as people in Los Angeles do, he asked around at a party. One of the guests had just seen Frankenweenie—Tim Burton’s 1984 live-action short about a dog that is brought back to life. Burton had no previous experience as a feature-film director, but the two men immediately bonded. Only 25 at the time, Burton got the job, and the pair watched as their strange but imaginative film earned more than $40 million at the box office.

Of course, these days, Burton doesn’t need to rely on word of mouth to find work. Throughout the many stages of his 30 years behind the camera, there has remained a consistent underlying emotional current in Burton’s work—a delicate balance of sadness, humor, and horror that matches his eye for gothic beauty and mythical surrealism. The 51-year-old filmmaker has written, directed, and/or produced more than 20 movies. Between 1988 and 1996, he was responsible for Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), The Nightmare Before Christmas (1993), Ed Wood (1994), and Mars Attacks! (1996). It was also during this period that he began working with Johnny Depp, who has acted in seven of his films—a transformative relationship for both men.

Burton grew up in the suburbs of California, and has often said that, as a kid, he found the realities of everyday life—parents, teachers, school, breakfast—far more terrifying than monsters or movies. What are zombie pet dogs, after all, compared to real-life threats like dullness and loss? Burton’s characters are born outcasts, perpetually at odds with their identities and in some ways monsters themselves. His fairy-tale endings are a little messier than most standard Hans Christian Andersen fare; Edward Scissorhands does not get the girl.

Last November, New York’s Museum of Modern Art honored Burton not only for his film work but also as a visual artist, with a retrospective that displayed a large collection of his drawings—including versions of Jack Skellington, Edward Scissorhands, Sweeney Todd, and Batman. His next film, Disney’s Alice in Wonderland, due out next month, is a suitably trippy semi-animated adventure featuring Mia Wasikowska, Johnny Depp, Helena Bonham Carter (Burton’s partner), Anne Hathaway, and Crispin Glover. Danny Elfman, who has been composing music for Burton’s films since they worked together on Pee-wee (and who also did Alice in Wonderland) spoke to him recently about how he has made his way as an artist—and about what really scares him.


DANNY ELFMAN: Okay, we’re rolling. Be aware that we can stop and start; we can even redo a question if you don’t like what you’ve said. You can suggest a topic. No pressure.

TIM BURTON: I say stream of consciousness, and whatever happens, happens.

ELFMAN: Then let’s start with something easy. Growing up, which films and directors had the greatest impact on you?

BURTON: Well, being a big monster-movie fan, the Universal monster movies and the Japanese science-fiction movies, like the ones by Ishir¯o Honda. Then there were the Italians, like Mario Bava.

ELFMAN: Which particular films really got under your skin?

BURTON: Bava’s Black Sunday [1960] is probably the one that did it. I remember, in L.A., I’d watch a whole weekend of horror movies. And after you watched about two movies in a row, you’d go into this dream state, and sometime around 3 A.M. on the weekend, Black Sunday came on. It really was like your subconscious, like a dream, almost like hallucinating. I also think that I’m one of the few fans who actually likes dubbing in foreign films. I love Fellini or Bava dubbed because it adds a surreal nature. I prefer dubbing because the images are so strong you don’t want to take your eyes away to read the subtitles.

ELFMAN: Did any film give you nightmares?

BURTON: I never really got nightmares from movies. In fact, I recall my father saying when I was three years old that I would be scared, but I never was. I was much more terrified by my own family and real life, you know? I think it would be more of a nightmare if someone told me to go to school or eat my breakfast. I would wake up in a cold sweat about those issues. I think that movies probably help you sort those kinds of things out and make you feel more comfortable. I did get freaked out when I saw The Exorcist [1973] for the first time, but that was about it. Images like the ones in Black Sunday stay with you. I always just enjoyed them.

ELFMAN: That takes me to monsters from our childhoods. How do you think they stack up against the monsters of today?

BURTON: The thing I love about the old monsters is that they had such a strong, immediately identifiable image. I find that a lot of monsters today are just so busy. They have so many little tentacles and flaps and whatever else that they don’t have the kind of strength in their images that the old monsters had. It’s also due to the CGI heaviness. You’re missing the human element—like Boris Karloff, who actually played the monsters. Even in Creature From the Black Lagoon [1954], the guy had a complete costume, so you felt like there was a human being underneath. I think that’s important. It’s always an interesting challenge to see if you can create a character that’s got emotion. It can be done and it has been done.

ELFMAN: You once said that monsters are usually more heartfelt than the humans around them in those movies. Do you still feel that way?

BURTON: Oh, yeah. It’s like society. In fact, it’s probably gotten more extreme. We sort of equate the monster with the individual, getting devoured by bureaucracy. Even in making films with studios, you used to be able to deal with people as individuals. Now you’re dealing with a vague bureaucracy, where no one’s in charge when there’s a problem. [laughs] So I think that’s only intensified over the years.

ELFMAN: I guess there is a certain nostalgia for early cinema. Some of those old movies hold up and others don’t.

BURTON: There are certain movies that really don’t. But the ones that you really love, I think they do. Obviously, the pacing of movies has gotten much quicker, but the old ones have a slower dreamscape that weaves its way into you. When you watch older movies, you don’t think, Gee, I wish this cut were quicker.

ELFMAN: It does make it harder to play them for our kids, because they expect a pacing that didn’t exist then and they have to get past that.

BURTON: That’s true. Even before kids watch a movie, they’re already accustomed to video games and stuff. So that sense of slower pacing is already gone. It’s unfortunate because there’s something very introspective about movies that give you a chance to dream.

ELFMAN: You used to hang out in graveyards when you were a kid, didn’t you? I’m assuming that was because it was very peaceful and calm there, that going to graveyards allowed you to be introspective.

BURTON: People think that it’s morbid, but it really was much more quietly exciting. There was a mystery about it, a juxtaposition of life and death in a place where you really weren’t supposed to be.

ELFMAN: Did you ever believe—or half believe—in ghosts?

BURTON: Yeah. I’ve seen things and felt things. I think most people do. I think it’s just how much you suppress it. I don’t go out and say, “Oh, my god, I was abducted by a UFO,” or “I’ve seen these ghosts.”

ELFMAN: Did you feel any hauntings at the graveyards where you hung out?

BURTON: You feel an energy. Most people say about graveyards, “Oh, it’s just a bunch of dead people; it’s creepy.” But for me, there’s an energy to it that is not creepy or dark. It has a positive sense to it. It’s like all of that Day of the Dead imagery. That, to me, is the right idea. It’s a celebration. It’s much more lighthearted. There is humor involved—color and life. We talked about it when we did Corpse Bride [2005]. That was going more toward the Day of the Dead culture, which is much more positive.

ELFMAN: Once, a long time ago, we went into a room at CTS Studios that was supposed to have a child ghost haunting it. Do you remember? Everyone in the studio kept telling us about it, so we went in there and just stood in this dark, creepy room for a while. Nothing happened—as things usually don’t. Have you ever been in a room where you might have had an experience?

BURTON: I’ve been in certain hotel rooms in Venice.

ELFMAN: Did you make it a point to go into these rooms?

BURTON: I think anytime you try, it ain’t gonna happen. It always seems to occur when you’re sort of open but not thinking about it. So, no, I’ve never held a séance.

ELFMAN: I want to ask you about Vincent Price. When I first met you, you told me how much of a hero of yours he was. Then I saw the animated short you did, Vincent [1982], which was inspired by him. Had that been brewing for a long time?

BURTON: It’s obviously based on the feeling of watching his movies. I felt connected with him, and that helped me get through life. I had written it all and done it in a kind of storybook or storyboard fashion, and I just decided to send it to him. I had no idea what would happen. It was most likely that he wouldn’t respond, but he responded pretty immediately, and he seemed to really get it. That made me feel really great. He didn’t just see it as a fan thing. That’s why it was really special to me. It’s hard to get projects going—and also hard to meet somebody you’ve admired. You never know what they’re going to be like. They could be a complete asshole, you know? But he was so great and supportive, and even though it was a short film, he helped get it made. That was my first experience in this kind of world, and it was a really positive one. It stays with you forever. When times are tough, all you have to do is remember back to those kind of moments—those surreal, special moments—and they really keep you going. To discover that somebody like Vincent Price, who had been in the movie business for a million years, and to see that he was still such an interesting guy—that he was so into art, and helping this college in East L.A., giving lots of artwork, and still curious about everything—it helps you to keep going when you feel jaded.



ELFMAN: In art school, you had an epiphany where you didn’t care anymore about drawing the way your teachers wanted you to. What happened exactly?

BURTON: It was at the farmers’ market. We went out to draw people. I was sitting there, getting really frustrated trying to draw the way they were telling me to draw. So I just said, “Fuck it.” I truly felt like I had taken a drug and my mind had suddenly expanded. It’s never happened to me again quite that same way. From that moment on, I just drew a different way. I didn’t draw better, I just drew differently. It freed me up to not really care. It reminds me of when you’re drawing as a child. Children’s drawings all look pretty cool. But at some point, kids get better at drawing, or they say, “Oh, I can’t draw anymore.” Well, that’s because someone told you that you couldn’t—it doesn’t mean that you can’t. It taught me to stick to what’s inside of me, to let that flourish in the best way it can. I’ve been waiting for that feeling to come back ever since, and it hasn’t yet. At least it happened once. [laughs] It literally happened at that moment; the drawings changed right there.

ELFMAN: Then, interestingly, you became an animator at Disney. Clearly you didn’t fit the mold there, but your talents didn’t go unnoticed either.

BURTON: Again, it’s one of those weird timing things. If it had happened at any other point in the company’s history, I probably would’ve been fired. But the company was so directionless then, and I was under the wing of a great animator, this guy Glen Keane. I was kind of his assistant, and he tried to help me draw foxes and do all of that, but I was useless. They eventually realized that, too, but instead of firing me, they gave me other projects because they liked my drawings. That lasted a year. And then I drew where I wanted for a couple of years. And that was very formative because out of all that came things like The Nightmare Before Christmas and Vincent.

ELFMAN: I don’t know if many fans are aware of the depth of your infatuation with drawing and art. When I describe how I got started writing songs for Nightmare, people are surprised that it didn’t start with a script. Instead, you had a story and a series of amazing drawings.

BURTON: That’s why I’m very grateful for the show at MoMA. It hasn’t been about categorization—like, “Oh, that’s film. This is art. That’s photography.” It’s trying to show that it’s all just a process and that there are different ways to approach things. I think both you and I hate categorization. People are always trying to stick you in a box and say, “Oh, he’s in a rock band. Now he’s a composer, but he only composes this kind of stuff.” You fight that every single time you do something. The MoMA exhibit shows that each different approach is all part of the same thing—an idea—whether it’s written or drawn or a piece of music or whatever.

ELFMAN: I’d like to touch on a hidden talent of yours, which is writing rhymes and lyrics. When I began the songs for Nightmare, I was surprised to see that you had already written a lot of the great lyric pieces, all of which got assimilated and incorporated into the final songs.

BURTON: When I was growing up, Dr. Seuss was really my favorite. There was something about the lyrical nature and the simplicity of his work that really hit me. I’m always amazed by people that can do it in the simplest way, but yet it is sophisticated and emotional and telling.

ELFMAN: For the record, my favorite lyric line is “Perhaps it’s the head that I found in the lake,” from The Nightmare Before Christmas. It’s your line, not mine.

BURTON: But you made it sound good.

ELFMAN: Now I want to take you to the Batman moment in your career: It’s only your third feature, and you’re still the new kid on the block. You don’t even have a reel—other than comedies, you don’t have a commercial track record. And as I recall, the pressure was enormous. The production was enormous. The budget, for the time, was enormous. How did you cope with that?

BURTON: It helped being in England. Not much was going on there at the time. You could really go and focus on the movie and not be involved in all of the hype, like “Who’s going to play Batman? Oh, they picked Michael [Keaton]”—all this kind of hoopla, which is just a waste of time. So being in England was very helpful. Even though it was a big-budget thing, it was still slightly under the radar.

ELFMAN: So you got a little bit of protection.

BURTON: A little bit. Jack Nicholson was obviously a big star. He was very protective of me. He had a lot of clout, and when people were getting on my case, he could use it to cut me some slack. He was very supportive.

ELFMAN: I’ve always wondered if part of the reason for moving on to Edward Scissorhands right after Batman had something to do with wanting a smaller project with less pressure attached to it.

BURTON: I think it was a bit of that. But the weird thing was that trying to make it low budget, after doing Batman, was very difficult. Everyone thought, Oh, you made this big movie, so this is another big movie. But it wasn’t a big movie. I was out in the swampland in Florida, and people wanted to charge me a million dollars to use it because I had just made Batman. So there was a lot of having to walk away from certain things just to get the movie made. But, yes, it was nice to go back to a smaller project. It’s only gotten worse in this era. When I did Batman, you actually didn’t hear the word “franchise.” That wasn’t even in the language.

ELFMAN: Right. It hadn’t entered the vocabulary yet. For Scissorhands, you had great faith in Johnny [Depp] right from the get-go. He was pretty much unproven at that point—he really only had a TV show [21 Jump Street]. As I recall, you were under some pressure to cast someone else. How were you able to find the faith to see something beyond what Johnny had shown in his TV work? There was clearly more to him, and you saw that.

BURTON: It was exactly for that reason. Meeting him, you realize that there is
this perception of him as a teen idol, but he’s really not that person. That’s just how he was perceived by society—and thus who he was. And that’s exactly like Edward: “I’m not what people think I am. I’m something else.”

ELFMAN: You got all that just from meeting him?

BURTON: Yeah, absolutely. That’s the thing. I could tell that he understood. You can always feel if someone understands the dynamic. There’s a certain pain in that. Johnny’s not Tiger Beat, even if that’s how the rest of the world saw him—as a page of a teen magazine. He’s got a lot more depth, a lot more emotion. There’s a certain sadness when that happens to people. So it’s very easy to identify without even really talking too much about it.

ELFMAN: You’re known for working on amazing sets and compositing shots that use as few effects as possible—maybe with the exception of Mars Attacks!, and even then you had sets and actors and animated Martians that were realized pretty quickly. Now we are about to see Alice in Wonderland, which is a totally different animal. What has it been like working on that?

BURTON: It’s completely opposite from the way I usually make a film. Usually the first thing I know is the vibe and feel of a scene. It’s the first thing you see. Now it’s the last thing you see. It’s like actually being in Alice in Wonderland. It’s completely fucked up. You understand that when you’re shooting—that some percentage of what you’re filming isn’t going to be exactly like what it ends up being, because so many elements are added later. It’s in your head, and it can be unsettling. I did find it quite difficult because you don’t see a shot until the very end of the process. Even when we were making Nightmare or Corpse Bride, you’d get a couple of shots and know what the vibe was. This is completely ass-backward.

ELFMAN: We’re going to end with a little free association here.

BURTON: Uh-oh. Always a bad sign.

ELFMAN: Reality. [Burton laughs] As a kid, what was your idea of reality?

BURTON: Well, it’s those things that I always loved. People say, “Monster movies—they’re all fantasy.” Well, fantasy isn’t fantasy—it’s reality if it connects to you. It’s like a dream. You have a nightmare, and it’s got all this crazy imagery, but it’s real. You wake up in a cold sweat, freaking out. That’s completely real. So I always found that those people trying to categorize normal versus abnormal or light versus dark, yada yada, are all missing the point.

ELFMAN: I remember what you said to me when you were fighting the R rating on Batman Returns, which was absurd because there was nothing really violent in the whole movie to put an R rating on. You said, “You know what’s scary to a little kid? When they hear one of their relatives coming home and knocking over furniture because they’re drunk. That’s frightening to a kid. Not monsters!”

BURTON: Exactly! Or when an aunt who has blood-red lipstick and lips three feet long comes to kiss you dead-on on your face. That’s terrifying!

ELFMAN: [laughs] Okay. Animals. How did animals play into your perception of reality?

BURTON: Well, I had a dog—a couple of dogs.

ELFMAN: Maybe a raccoon, too.

BURTON: And a raccoon. Two dogs and a raccoon can very likely be your heart and soul. I guess it’s pretty sad, but it can be the strongest emotional tie you have. There’s a purity to that love. It’s very good to remember and good to hang onto and aspire to on the human side. At least it shows that it’s possible.

ELFMAN: Freaks.

BURTON: We’ve all been called that before. [laughs] When I hear that word, I hear, “Somebody that I would probably like to meet and would get along with.”

ELFMAN: Good and evil.

BURTON: Hard to tell sometimes. That’s the thing. Especially when you’re making a movie, you experience good and evil about 20 to 100 times a day. You’re not quite sure where one crosses over into the other. It’s quite a slippery slope, that one.

ELFMAN: Has your sense of reality shifted, now that you have children?

BURTON: Obviously, you get more grounded, but at the same time it gets more surreal. And it’s nice to reconnect to those abstract feelings. It’s good as an artist to always remember to see things in a new, weird way. It’s like weird, twisted poetry, the way kids perceive things. And quite beautiful sometimes. They kind of blow your mind and ground you at the same time. So it’s great.

ELFMAN: Last question. You don’t have to answer it—this is just a personal question. I’ve always wondered, but I’ve never really asked you: Why in the world did I get hired to do Pee-wee’s Big Adventure? Because it didn’t make any sense, even to me.

BURTON: [laughs] We never talked about it, did we? It’s very simple to me. I used to come to see your band play at places like Madame Wong’s.

ELFMAN: But that’s so different from film scoring.

BURTON: It wasn’t to me. I always thought you were very filmic in some way. I don’t even know what that means! There was a strong narrative thrust to what you were doing. And it was theatrical. Also, because I hadn’t made a feature-length film yet, I just responded to your work. It was very nice to be connected to somebody who I felt had done so much more than I had at that point.

ELFMAN: Well, Johnny and I both owe you.

BURTON: It’s all great. Like I said, what’s great is that I’ve known you longer than anybody. There’s something quite exciting when you have a history with somebody and you see them do new and different things. We have our next challenge set out for us, that’s for sure. But let’s have you watch it, and see if you want to quit.



Photo credit: Tim Burton in New York, July 2009

Danny Elfman is a singer-songwriter and an Academy award–nominated composer. He has scored the music for movies like Batman, Milk, and Tim Burton’s upcoming film Alice in Wonderland.