"Wonderland" a Challenge for Effects Wizard Ken Ralston

The Los Angeles Times recently asked Ken Ralston, the visual effects supervisor for Alice in Wonderland, what the biggest challenge was on making the film. His response?

"What part of it wasn't a challenge? All the characters in the film, all the weird combination of effects, and the always-lovely fact of too little time to finish everything -- all of it was a giant challenge. To think of one thing that was bigger or more difficult than the rest, I can't do it. It was one giant challenge."

Ralston has a thoroughly impressive resume in working in special effects. His credits include Who Framed Roger Rabbit, Cocoon, Return of the Jedi, and Forrest Gump, among others. This is Ralston's first time collaborating with director Tim Burton. The connection was made by producer Richard D. Zanuck, who produced Cocoon in 1985.

All of Alice in Wonderland was one immense challenge because of all of the components interacting at once -- live-action, animation, and motion-capture -- all starting with a sea of green screen and eventually converted into 3D.

"The great challenge of it was the fact that every shot in the movie and every scene is filled with a variety of techniques and ideas, so you can't just plug something in and run with it," Ralston said. "This is no one-trick pony, it's a 1,000-trick pony. It's all scattered around in weird ways. The huge challenge to make it all feel like the same world, to have smoothness to it so that Alice -- who is normal, except for size-changing throughout the movie -- is surrounded by Red Queen, the Mad Hatter and Knave -- who are versions of humanoids -- and then on top of that all the animal characters who are animated."

Ralston said that was only the first part of the puzzle -- then came the sculpting required to make those disparate pieces mesh without bumps and breakdowns.

"On top of all that, all three groups are for the most part in computer-graphic environments that are surrounding them. What's entailed in making that feel like a unified moment, where they're all on the screen and interacting with each other in a believable way, well, that was more than a little tricky. That's really all it took to make 'Wonderland.'"

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.

Mark Salisbury on the making of "Wonderland"

Mark Salisbury, who has written extensively about the art and films of Tim Burton, has a detailed article written for the Telegraph on the making of Alice in Wonderland. Here is the entire article.

BEWARE OF SPOILERS!!:


In a cavernous soundstage at Culver City Studios in Los Angeles in November 2008, Johnny Depp stands before a massive green backdrop wearing a frizzy orange wig, turquoise frock-coat over a red waistcoat, and a chequered kilt complete with sporran. On his legs he has striped socks, one blue and turquoise, the other red and cream. On his head is a top hat, with hatpins and price tag tucked into a silk ribbon. In his hands he wields a huge broadsword that is almost as tall as he is. With his white-painted face, rouged cheeks and fluorescent green contact lenses, Depp is almost unrecognisable. But as Alice in Wonderland’s Mad Hatter, he is suitably freaky. No surprise really, given that the man behind the camera is Tim Burton and together he and Depp have, over the past two decades, created a memorable series of onscreen oddballs, including Edward Scissorhands and Willy Wonka.

Next to Depp is Alice herself, played by the Australian newcomer Mia Wasikowska, but looking quite unlike any Alice you have ever seen. In a Joan of Arc suit of armour, tight blond curls cascading past her shoulders, a steely-eyed Wasikowska sits atop a green animal-shaped box on poles, being carried by men dressed entirely in green, brandishing her own sword to the imaginary hordes of the Red Queen’s army; playing-cards loyal to Helena Bonham Carter’s monstrous-headed monarch that will be added to the scene via computer-generated imagery (CGI) in the coming months. 'There’s definitely not a whole lot to draw from in terms of your environment,’ Wasikowska admits during a break in filming. 'It’s good that it leaves a lot of room for your own imagination, but it is kind of hard to jump into a moment. You have to imagine you’re sitting on a beast, it’s all dark and gloomy and there’s one army here, the Red Army, and another army here, the White Army.’

To create his 3D version of Lewis Carroll’s hallucinatory classic Burton is shooting his actors in front of green screens rather than on real sets, then using the latest digital technology to insert sets, props, backgrounds and even some characters into the frame in post-production – the colour green chosen as it is so far removed from skin tone. He dabbled with this technique for several sequences on his previous film – a very bloody adaptation of Stephen Sondheim’s horror musical, Sweeney Todd: The Demon Barber of Fleet Street, which also starred Depp – and was intrigued enough to commit fully to the process for this. And so, apart from those scenes featuring Alice in the real world – which he filmed in Cornwall for two weeks before the production relocated to Los Angeles – Burton has spent the past few weeks in this sterile, all-green environment and has several more to go.

Outside, the Californian air is heavy with ash, raining down from several wildfires raging around Los Angeles. Inside, conditions are not much better. The green itself is a bilious shade, bordering on the fluorescent. The film’s Oscar-winning producer, Richard Zanuck, says that sickness and lethargy have been a constant problem among cast and crew. Burton has even had special lavender lenses fitted into his glasses to combat the effect.

'The novelty of the green wears off very quickly,’ Depp says in his trailer later, the Hatter’s make-up now gone. 'It’s exhausting, actually. I mean, I like an obstacle – I don’t mind having to spew dialogue while having to step over dolly track while some guy is holding a card and I’m talking to a piece of tape. But the green beats you up. You’re kind of befuddled at the end of the day.’

Many of Carroll’s creations will be fully animated characters, including the Dormouse, the White Rabbit, the March Hare and the Cheshire Cat, and Burton has amassed an eclectic group of British actors to voice them, among them Michael Sheen, Stephen Fry, Christopher Lee, Paul Whitehouse and Barbara Windsor. On set, these characters are represented either by green cardboard cutouts, full-size models or actors dressed in green. The tubby twins Tweedledum and Tweedledee are being played by Little Britain star Matt Lucas, but only his rubbery features will make the finished film, although all his movements are being recorded to provide the basis for the digital Tweedles.

As Burton readies a close-up of Depp and Wasikowska, he has a 4ft-long model of the finished set brought out for his actors to look at. One of his monitors has an image of the set with a temporary digital background. 'It’s really helpful to go and see the screen, the composite one, and think, “OK, that’s where we are”,’ Bonham Carter says. 'You’ve always got a hell of a lot of imagining anyway. You just do a bit more.’

Tall and rangy, his mass of unruly black hair peppered grey, and wearing black shirt, black jeans and scuffed black boots, Burton wastes little time between set-ups. With his actors in place, he heads back to his monitors, settles in his chair, and picks up a microphone. 'Come on, kids,’ he shouts, his cheerful voice booming around the soundstage, 'let’s put on a show.’

Written by the Rev Charles Dodgson, a mathematics lecturer at Christ Church, Oxford, under the pseudonym Lewis Carroll, Alice’s Adventures in Wonderland first appeared in 1865, and was followed six years later by Through the Looking-Glass And What Alice Found There. The books, now published together under the more familiar title of Alice in Wonderland, told of a little girl’s journey into an alternate land populated by bizarre characters, and changed the landscape of children’s literature. A century and a half later, they continue to delight. 'It’s still new. It’s still fresh,’ Depp says. 'If it were written yesterday and released on shelves today, people would still be as amazed by it as they were then.

It’s a monumental achievement.’ Cinema was quick to latch on to Alice’s appeal, the first film appearing in 1903. And while there have been frequent attempts to adapt the story since, notably Walt Disney’s 1951 cartoon, none has truly managed to capture the anarchic spirit and surreal, nonsensical, fever-dream logic of Carroll’s writing. But if anyone can, Burton can.

The American screenwriter Linda Woolverton, whose credits include Beauty and the Beast and The Lion King, had been considering doing something with Carroll’s world for some time, but couldn’t find a way into the story. 'I wrote this at a very dark time in my life,’ she says. 'A lot of bad things had happened –death, divorce, moving across the country – so I was kind of down the rabbit hole myself at the time.’ It was only when she thought of making Alice older and bringing her back to Wonderland that it all came into focus. 'I got an image of her standing at a very crucial moment in her life, looking over and seeing this rabbit leaning against the tree, looking at her, knowing she had to put a pin in this crucial decision and follow this rabbit, because that was her destiny.’

Burton’s film takes place a decade after the events of Carroll’s book and incorporates a lot of the themes and characters from the original. 'But it’s an entirely different story, a different Alice,’ Wasikowska says. 'She’s grieving from the loss of her father and feels very isolated and alone and awkward in her skin. She doesn’t fit into the society she’s a part of, and she doesn’t like what’s expected of her, which is to get married and be a good wife.’ Finding herself being proposed to at garden party, Alice spots a familiar-looking white rabbit, and consequently follows him down a hole and into Wonderland. What she finds is, according to Burton, 'a place in decline, overgrown, a little bit depressed, with a slightly haunted quality to it.’ His vision of Wonderland – devoid of colour and life under the oppressive rule of the Red Queen – was inspired by the work of Arthur Rackham, who illustrated the 1907 edition of Alice in Wonderland, as well as a black-and-white photograph of a family having tea during the Second World War with London, dishevelled, in the background.

After being reacquainted with the Mad Hatter, Alice is taken to see the wise, old, hookah-smoking Caterpillar (Alan Rickman), who informs her that her presence in Wonderland is no accident. Rather, according to ancient prophecy, she has returned to slay the Red Queen’s dreaded Jabberwocky and bring about the end of her reign. Wasikowska found her character easy to relate to. 'Returning to Wonderland is Alice rediscovering who she is and having the strength to be more self-assured when she comes back,’ she says. 'Alice is such an iconic character. I wasn’t sure at first how much they wanted to play with that, or how different they wanted to make her. Tim decided it was important to keep some of the iconic nature. So, for me, the challenge was finding Alice the teenage girl, and bringing that to the story. I wanted to make her real to teenagers and young adults.’

Burton had been determined to cast an unknown as Alice. 'She had that emotional toughness; standing her ground in a way which makes her kind of an older person but with a younger person’s mentality,’ he says. Anne Hathaway, who plays the White Queen, says, 'I love watching her work because it’s very quiet what she’s doing but it goes so deep, and every time she says a line it’s as though she’s saying it for the first time.’

Despite having only 40 days to complete the green screen section – roughly 90 per cent of the film – the atmosphere on set is fun and familial. Burton favours working with many of the same key creative personnel time and time again. Between takes, he and Depp laugh and joke constantly, their current obsession orange-haired characters in cinema and television. On a shelf beneath his monitors Burton has a collection of toy dart guns of varying calibre; he selects one as he waits for another shot to be readied, firing it into the ceiling.

Alice marks the seventh time Burton and Depp have worked together since Edward Scissorhands in 1989, and for Depp it is always a joy. 'He leaves you such room to play, to mess around. That’s the opportunity you dream of as an actor, to say, “Look I’d like to try something. It might be absolute crap, but I’d like to see if it works.” If you don’t try to push a little harder or go a little bit outside, what’s the point? And if it doesn’t work, he’ll just say, “All right, you tried it, now try this.” But when it pays off, and I hear that cackle off screen, that’s when I know I’ve hit something on the nose, for Tim.’

Depp was in Chicago filming Public Enemies when Burton called to discuss the Mad Hatter. 'The funny thing is, I had just re-read the book, so it was still pretty fresh in my mind,’ Depp says. He was keen to incorporate into the film a number of lines from the book that he thought were key to the character. 'He says, “I’m investigating things that begin with the letter M.” When you dig a little deeper you find out why. It’s because of the mercury.’ Depp’s research revealed the term 'mad as a hatter’ had an unfortunate basis in fact. Hatters suffered from mercury poisoning, a side effect of the millinery process, which would affect the mind.

In creating the Hatter’s look, Depp felt his entire body would have been affected by the mercury and he worked closely with Patty Duke, who has been his make-up artist for 18 years, and the costume designer Colleen Atwood, whom he also met on Edward Scissorhands, to bring him to life. 'He’s a little bit punked out, but he has a lot of accoutrements on his costume that are the tools of a hatmaker’s trade,’ Atwood says. 'He has a bandolier of thread, he has ribbons tied on – all things he can make a hat with at any moment. At the first fitting I found all these crazy thimbles and showed them to Johnny. He stuck them on his fingers and started playing music on them. We had a lot of fun with all those bits that add to the character and he can use when he’s doing the part.’

The following day Burton is directing a scene in which Hathaway’s White Queen banishes her older sister, Bonham Carter’s Red Queen, from Wonderland. Hathaway wears a small green box on her head that, in post-production, will be digitally transformed into a crown, and she seems to glide across the stage floor, her hands raised like Norma Desmond in Sunset Boulevard. 'It’s like she’s on wheels, and her hands begin talking before she does,’ says Depp, who admits to being a little envious of Hathaway’s performance. 'In a way, her hands have their own personality. There is a part of it that’s really subtle and a part of it that’s really out there. It’s like Glinda the Good Witch on some sort of hallucinogen.’

Although on the film for only nine days, Hathaway has immersed herself in her role. 'I wanted the White Queen to have the punk spirit of Debbie Harry, the etherealness of [the American artist] Dan Flavin, and the glamour and grace and emotion of Greta Garbo,’ she says, pointing to a postcard on her trailer’s fridge door featuring one of Flavin’s signature fluorescent tube light sculptures. 'That kind of reminded me of their relationship, the way the red’s pushing down on the white. It’s actually three red tubes for every white one, and the white one is still the more dominant.’

Bonham Carter met Burton in 2000 when he cast her as a chimpanzee in his remake of Planet of the Apes. The pair became romantically involved when Burton moved to London the following year after his break-up with the model and actress Lisa Marie. Since then they have worked together on six films and have two children, Billy, six, and Nell, two. 'I didn’t know, as ever, if I was going to be in it,’ Bonham Carter says. 'I assumed not. Then everybody else seemed to know before me, and Tim said, “Obviously it’s you,” and showed me the first drawing he’d done of the Red Queen, and there’s this doodle of a really angry woman with a big head.’ Her transformation into the Red Queen requires three hours in make-up each day. The result, physically inspired by Bette Davis’s Elizabeth I, is startling, especially for her son who, along with his younger sister, is visiting mum and dad at work today. 'Billy doesn’t want to look at me,’ she shrugs. 'I don’t know if he’s scared or embarrassed. Nell – not a problem. Nothing fazes that girl.’

Alice in Wonderland requires somewhere in the region of 2,000 visual effect shots, a considerable number, particularly given the film’s relatively tight production schedule. When I meet Burton in November 2009, a year later, the pressure to complete the effects in time for the film’s March release date is clear. For an artist used to controlling every detail, micro-managing each CGI shot has been arduous and time-consuming. 'There’s never a shot where I just go, “Great!” ’ he sighs. 'There are comments on everything. There may be 20 comments per shot. Maybe more. And you’re talking 2,000 shots, so there’s lots of dealing with stuff. You make a comment and you may not see the results of that for a month or two.’

Despite the frustrations, Depp believes Burton’s vision will, ultimately, prove worth it. 'Alice in Wonderland – if you’re not walking on a tightrope, juggling super-sharp knives, there’s really no reason to do it,’ he says. 'Because if you’re not willing to get into the same arena or take the same chances as Charles Dodgson did, what’s the point? Tim is that guy who will get up on that high wire and juggle double-edged daggers to amaze and astound us all. He couldn’t have bitten off anything bigger to chew. This is almost lunatic time. To choose to grab Alice in Wonderland, that in itself is one thing, and then to do it to the Tim Burton level is madness. It’s so huge because, whether it’s the CGI or the green screen or the 3D or the live action, he’s done it all here. It’s the greatest undertaking I’ve heard of.’

Burton's "Wonderland" Revealed!

Before its release to theaters on March 5th, 2010, some teaser posters and banners will be coming to cinema lobbies offering the first official glimpses of Tim Burton's Alice in Wonderland.

Although the look of the film still retains some of the styles from the Lewis Carroll original book, Wonderland "has been Burtonized," producer Richard D. Zanuck confirms. Zanuck offered some more information. "We finished shooting in December after only 40 days," said the producer. Right now, the live-action is being merged with the CGI and other animated effects, which will eventually be transferred to 3D (the film was not shot in stereo). Alice will be released in regular theaters, as well as IMAX and Disney Digital 3D.



The old tale has been updated a bit as well by screenwriter Linda Woolverton. In Burton's film, Alice (played by Mia Waskiowska) is 17 years old. She attends a party at a Victorian estate. She is proposed to and surrounded by hoards of stuck-up aristocrats. In a desperate escape, Alice slips away, and, led by a white rabbit, but unexpectedly finds herself transported to a very curious world. Apparently, Alice had visited Wonderland 10 years before, but had forgotten. The residents of this strange new world have not been so forgetful, however...

Zanuck had some kind words for Wasikowska: "There is something real, honest and sincere about her," Zanuck says. "She's not a typical Hollywood starlet."



Zanuck gave more tidbits about the characters and the actors playing them. On Johnny Depp as the wild Mad Hatter: "This character is off his rocker."

"He is so much fun and so nutty, I can't imagine anyone else doing it," said the producer. Depp transforms into yet another bizarre character, adopting an accent that Zanuck said was indescribable.



Zanuck also provided some information about the social conflicts in Wonderland, and about its tyrant, the Red Queen, played by Helena Bonham Carter. "The creatures are ready to revolt and waiting for Alice to help them," said Zanuck.



The benevolent White Queen, played by Anne Hathaway, was overthrown by her malicious sister. Richard Zanuck said the White Queen."is beautiful but over the top. She doesn't walk. She floats. She's very eccentric."

Zanuck also revealed that film legend Christoper Lee will indeed play the role of the ferocious Jabberwock.



Matt Lucas will play Tweedledee and Tweedledum.

Click on the USA Today link to explore three detailed pieces of conceptual art and see more of the fantastical Wonderland concocted by Tim Burton and his crew, a world filled with gigantic fungi, mysterious topiary, and anthropomorphic flowers.

Photos courtesy of Disney Enterprises Inc.

Zanuck on "Ripley's"

Richard D. Zanuck recently spoke with IESB.net and finally explained the history of the Ripley's Believe It Or Not debacle:

IESB: You were supposed to be doing Ripley's Believe it or Not with Jim [Carrey] and Tim [Burton]... that it kind of fell apart on the Tim side?

Zanuck: It fell apart on the studio side, we were ready to go and very close actually, 8 or 9 weeks away from starting and it was the studio that made that decision and it actually caught us off guard, all three of us - myself, Jim and Tim - we were rocked, we spent weeks in China selecting locations with art directors, getting permissions which is very, very tough in China to shoot. And so it was a studio decision.

IESB: Do you think it will move forward? You are still attached?

Zanuck: I'm not, no, we are no longer attached. I don't know how it was resolved with Jim whether he would be attached but definitely not Tim or myself.


So it appears that Tim Burton is no longer a producer on the film, either, if he ever was.

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's Alice Revealed

Rumors have been floating around for months regarding who would play the lead in Tim Burton's upcoming Alice in Wonderland.
But at long last, the Hollywood Reporter has announced that Burton and Disney have found their Alice: 18-year-old Australian actress Mia Wasikowska. The young actress is reportedly in final negotiations for her part in the Lewis Carroll adaptation.

Mia Wasikowska (Getty Images photo)

Burton kept his word by casting a relative "unknown" actress in the business, but simultaneously one that has experience. Wasikowska, originally born in Canberra, began her career in the Australian TV series "All Saints" and is currently a regular on HBO's "In Treatment." Her other upcoming cinematic projects include "Defiance," a war drama which will also star Daniel Craig and be directed by Ed Zwick, and she plays a supporting role in a forthcoming biographical movie on Amelia Earhart, "Amelia," starring Hilary Swank and directed by Mira Nair.

While the rest of the cast of Alice hasn't been announced (or found?), we do already know of principle players in the making of the film. Long-time Disney scribe Linda Woolverton has written the screenplay; frequent Burton collaborator Richard D. Zanuck is producing the film, along with former Disney chairman Joe Roth and Jennifer and Suzanne Todd. Disney creative executive Jason Reed will oversee the project.

Alice in Wonderland will be a combination of live-action and performance-capture computer-generated animation. It will be released in theaters in Disney Digital 3-D in March 2010. Principal photography is said to commence this November, several months later than previously anticipated.

Hopefully, more news (and more accurate news) will come shortly!

Zanuck on "Alice"

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

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

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

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

Stay tuned for more information!

"Sweeney Todd" DVD Preview!

To keep you Burtonites even more hungry for the North American release on Tuesday, April 1st, Shocktillyoudrop.com has a video preview of the upcoming DVD of Sweeney Todd: The Demon Barber of Fleet Street. Featured in the video interview are producers Laurie MacDonald and Richard D. Zanuck, Tim Burton, Helena Bonham Carter, and Johnny Depp. This video snippet is just one of many bonus features to be included on the special 2-disc DVD.

2008 Oscars Results

The winners from the 80th Annual Academy Awards have all been announced. Sweeney Todd: The Demon Barber of Fleet Street was nominated for three awards, and won one Oscar for Best Achievement in Art Direction. Italian production designer Dante Ferretti and his wife, Francesca Lo Schiavo, who was the set designer on the horror-musical, each won an award.

Here are the acceptance speeches by the pair (and more information on their nomination history in this link):

Dante Ferretti:
Thank you to the Academy. And thank you to Tim Burton, fantastic director. Thank you to Richard Zanuck. Thank you to everybody, thank you to my team, all the department, everyone. Thank you, Johnny. And I'm sorry, i forgot something, but I'm very -- thank you anyway.

Francesca Lo Schiavo:
Just i would like to say, this time, thank you, thank you to the Academy. I'm so happy, so grateful. And thank you to Tim Burton. Great director. Johnny Depp and all the actors, Everybody, for this fantastic movie.

Dante Ferretti and Francesca Lo Schiavo hold their Oscars
for their work on the art direction in Sweeney Todd (OSCAR.com)

You can watch a "Thank You Cam" video of the two on the official Oscars website.

Colleen Atwood's costume designs for Sweeney Todd were also nominated, but ultimately lost to Alexandra Byrne's costumes used in Elizabeth: The Golden Age. Johnny Depp was also nominated for Best Actor in a Leading Role. However, Daniel Day Lewis, who was predicted as the front runner for the award, received the Oscar for his performance in There Will Be Blood. Previous Burton collaborator Marion Cotillard (who played Josephine in Big Fish) won Best Actress for her performance as Edith Piaf in La Vie en Rose (a.ka. La Mome). Neither Tim Burton nor Helena Bonham Carter were present at the awards ceremony. It is likely that they were with their children in London at the time.

Although the famed costume designer did not take home an Academy Award this year, Oscars.com did have a special treat from Colleen Atwood. Atwood filled out a questionnaire. See her personal answers and stories, in her handwriting (click on the image for a closer view):





Information on the other winners and nominees can be read in this link.

Johnny Depp Tastes Like Frogs' Legs

At the Tokyo, Japan premiere of his latest movie, Sweeney Todd: The Demon Barber of Fleet Street, Johnny Depp was asked to consider what he would taste like if he was a real life cannibal. Depp's answer: "Frogs' legs," and adding he would taste a little bitter. "I would suggest deep frying," the actor said with amusement. Director Tim Burton pondered his answer for a while before coming to the conclusion of chicken, but producer Richard D. Zanuck did not hesitate with his response: "Shark!" the producer exclaimed enthusiastically, laughing. The trio said this at a press conference in front of 600 media. More than 6,000 fans were at the premiere.

Three very enthusiastic Japanese fans. (AP)

Depp and Burton were also asked about what they thought of the Golden Globes Awards ceremony being cancelled this year, due to a writers' strike.

"I'm just torn into pieces about it. I feel really disappointed," he said, grinning, while Burton added: "I'm just happy. I don't have to make a trip to Los Angeles. That's all I feel."

Sweeney Todd was nominated for Best Picture (musical or comedy), Johnny Depp for Best Actor, Helena Bonham Carter for Best Actress, and Tim Burton for Best Director.

Sweeney Todd's Tokyo premiere took place on Wednesday, January 9th, 2008. The film will be released throughout Japan on January 19th, 2008.

Tim Burton and Johnny Depp at the Tokyo premiere.
(AP/Katsumi Kasahara)


(AP/Katsumi Kasahara)

Photos From Paramount Screening of "Sweeney Todd"

Pictures taken prior to a special screening of Sweeney Todd: the Demon Barber of Fleet Street at Paramount Studios in Hollywood, California, December 5, 2007.

Steven Spielberg and Tim Burton.
Reuters/Fred Prouser (United States)


Tim Burton.
AP Photo/Matt Sayles


Tim Burton and Johnny Depp.
Reuters/Fred Prouser (United States)


Steven Spielberg, Tim Burton, Richard D. Zanuck, and Stephen Sondheim.

Update: The Producers of Tim Burton's "Alice in Wonderland" Announced

Playbill News has stated that Richard D. Zanuck, Joe Roth with Suzanne and Jennifer Todd will produce Tim Burton's upcoming Alice in Wonderland at Disney. Roth and the two Todds are first-time Burton collaborators, but Richard D. Zanuck has produced every live-action film by Tim Burton since 2001's Planet of the Apes. The article also stated that production for Alice will commence in January 2008. Burton will not be working on Alice and his stop-motion remake of Frankenweenie simultaneously. Instead, production on the upcoming animated film about a boy and his resurrected dog will begin after Alice. Walt Disney Pictures is expecting production on Alice to be finished by the end of May 2008.

Depp Happy His Daughter Recovering, and The New York Times Discusses "Todd"

Johnny Depp is thankful that his daughter, Lily-Rose, who was seven when a mystery illness struck her last March, is recovering. "To say it was the darkest moment, that's nothing," the actor told Entertainment Weekly. "It doesn't come close to describing it. Words are so small." At the time the illness affected his daughter, Sweeney Todd: The Demon Barber of Fleet Street, in which Depp plays the title role, was only three weeks into shooting. "I didn't know if I was coming back," he recalls. "I remember talking with [Tim Burton], saying, 'Maybe you need to recast.' "

But Burton and the rest of the crew and cast went on a brief hiatus, allowing Depp to be with his daughter without having to change such a primary casting decision. "We've adjusted his schedule to fit in with his needs," DreamWorks said in a statement at the time. "Everybody's with them in good spirits." Depp and his partner, Vanessa Paradis, are relieved that Lily-Rose, now 8, has made a complete recovery. "Now every single millisecond is a minicelebration, man," Depp says. "Every time we get to breathe in and exhale is a huge victory. She pulled through beautifully, perfectly, with no lasting anything."

Photo by Jeff Vespa/WireImage.com

Meanwhile, the New York Times has reported on the Burton-Depp collaboration, Sweeney Todd. In the article, much of the cast and crew mention the process of bringing the Sondheim musical to the big screen. Production designer Dante Ferretti recalls how Burton acknowledged the importance of having actors perform in physical sets, using computer-generated backdrops and environments minimally, and how the look of the film should be more of a horror movie kind of London than a completely historically accurate Victorian-era London. Ferretti, whose work goes back to collaborating with Italian filmmaker Federico Fellini, states that the production team made the film's version of London "a little bit more frightening, more dark, more interesting."

Depp recalls that he never wanted to be a singer, because he felt that singers always get "too much attention." But when offered the role of Sweeney Todd for Burton's cinematic version, Depp, cautiously, accepted. During the filming of the third installment of the Pirates of the Carribean franchise, Depp studied the songs from the musical thoroughly, practicing to and from the sets. Depp says he would drive "two hours to work and two hours back listening constantly, learning the melodies in the car."

Depp also recalls on how classic horror film stars influenced his performance in Todd. Lon Chaney, Boris Karloff, Bela Lugosi, and, especially, Peter Lorre were sources of macabre inspiration for the actor. Richard D. Zanuck, a producer of Todd, remarked that "Johnny in front of his victims with the razor is almost like a ballet dancer, dancing around them," in the film.

The article also mentions the blood and gore effects of the film, helping bring a stylized touch to the musical tale of the murderous barber. Mr. Zanuck states that the crew had "done tests and experiments with neck slashing, with the blood popping out. I remember saying to Tim, 'my god, do we dare do this?'"

Mike Higham, the music producer of the film, noted how economically Burton conveys his ideas. "He can say three words, and he completely sums up what his vision is," Higham says. "You get those three words and you go."

Burton on the set of Sweeney Todd. Photo by Peter Mountain/Paramount Pictures.