Tim Burton: Batman

"Haven't you ever heard of the healing power of laughter?" -The Joker

Based on his success with Pee-Wee's Big Adventure, Warner Brothers hired Burton to direct Batman, the script of which is loosely based on The Killing Joke and written by Sam Hamm with Warren Skaaren, writer of Beetlejuice, doing rewrites. Avid Batman fans were less than pleased when they heard of this venture, having only Pee-Wee's Big Adventure and Beetlejuice on which to base their opinion of Burton, and thinking this would be another campy remake. Their fears were not lessened when they heard that Michael Keaton, a comic actor with whom Burton had worked in Beetlejuice, had beat out other, more conventional choices such as Mel Gibson and Pierce Brosnan for the title role. In fact, they were so displeased that they sent over 50,000 letters of protest to the studio. Like usual, this didn't actually change anything, but comic book fans everywhere became happier when Jack Nicholson was cast as the Joker (chosen over other interesting choices like Tim Curry, Willem Dafoe, and David Bowie) and Kim Basinger was cast as Vicki Vale (after considering just about every young actress in Hollywood). With this cast, Danny Elfman (Burton's trademark composer) and Roger Pratt (a cinematographer who commonly works with Terry Gilliam) as part of the crew, Burton went into production with a budget of $35 million (later raised to $48 million).

Batman was shot in England due to the media interest and, because of a writer's strike, the script was still undergoing rewrites during production. Nicholson was particularly demanding, requiring a $6 million paycheck, a percentage of the film profits, and a certain number of hours off each day, making him the best paid actor for one role to date and grossing over $50 million. However, during production, attempts at leaks were the main problems. A publicist was offered 10,000 pounds for pictures of Nicholson as the Joker and two reels of footage were stolen, making it a hellish experience for Burton. All of this was added to the stress of having the ending being written while they were filming it. But on the bright side, Anton Furst's production design and Bob Ringwood's costume design were a success. Furst designed the sets with an expressionistic influence and deliberately mixed architectural styles to create a harsh, ugly environment. Ringwood had the different challenge of making Keaton, a man with a medium frame, appear large and intimidating. All was pulled off successfully, earning an Oscar for Art Direction.

Anticipation for the film was so high that they cut a trailer as soon as they could and released it without music to theaters causing instant excitement. Comic book fans were reassured and people would buy a ticket just to see the trailer, promptly leaving after it was done. "Batmania" broke out and $750 million worth of merchandise was sold in one summer. When the film was released, it broke several box office records and earned a total of over $400 million worldwide. The film received mixed reviews, some complaining it was too dark, others complaining about the Prince songs, and still others complaining about deviations from the comic book series, but overall, it was well-received. It also created a new standard for comic book movies as well as a new market for them. So, everyone can say a big thank you to Tim Burton the next time a superhero blockbuster comes out.

Personally, Batman has never been a favorite of mine. As much as I love Jack Nicholson as the Joker, Michael Keaton just did not work for me. I've never been able to become emotionally engaged in the film, so as much as I can appreciate the themes of good vs evil, dual identity, outcasts in society, totalitarianism, etc, I just don't really care. And although it does not have as many trademarks as most of Burton's films, it does center around a misunderstood outcast, with dark themes, and stylized sets. Plus, for any Batman fans, it's a must see as the one that started it all. 3 stars.

Note: The above picture is Burton's concept art for the Joker.

Tim Burton: Beetlejuice

"This is my art, and it is dangerous! Do you think I want to die like this? " -Delia

Following the success of Pee-Wee's Big Adventure, Burton began to work the Batman script, but Warner Brothers was reluctant to begin production on it. He was being sent numerous, and what he considered "uncreative," scripts but became interested when he read Michael McDowell's Beetle Juice script, an original, but gruesome horror story. The first draft features a graphic death scene for the two main characters, numerous attempts to maim/kill the Deetz family, Beetlejuice as winged demon who takes the shape of a Middle Eastern man, a rape instead of marriage of Lydia, and mutilation by squirrel. However, due to creative differences, Burton hired a different writer, Warren Skaaren, to do the rewrites. Skaaren changed the film into a horror comedy that toned down all the unpleasant, turned Beetlejuice into a mildly threatening pervert, and added humorous elements. With the script, Burton began casting, with Sammy Davis, Jr in mind for the title role. The studio suggested Michael Keaton (Batman, Batman Returns) instead with whom Burton was pleasantly surprised. He quickly signed Winona Ryder (Edward Sissorhands) and Catherine O'Hara, but the other cast members, who would eventually include Alec Baldwin, Geena Davis, and Jeffery Jones, required more convincing on such a "weird" script. Burton decided on a "B horror movie" look and with that he went into production with Bo Welch (Edward Sissorhands, Batman Returns) as his production designer, Thomas Ackerman ("Frankenweenie") as his cinematographer, Aggie Guerard Rodgers (Pee-Wee's Big Adventure) as his costume designer, and Danny Elfman as his composer doing both Burton and Elfman's second feature length. As an interesting side note, Warner Brothers did not like the name Beetlejuice and instead wanted House Ghosts. Burton jokingly suggested Scared Sheetless but regretted it when the studio seriously considered it.

Beetlejuice is about the young Maitland couple (Alec Baldwin and Geena Davis) who accidentally drive off a bridge and return home to find out that they are now ghosts. As they try to adjust to their new states of being, a family from New York moves in featuring a stressed businessman (Jeffery Jones), a Goth teenage girl named Lydia (Winona Ryder), and a flaky "artist" (Catherine O'Hara) who wants to turn the Maitland's entire house inside out. Finding themselves unable to frighten the unwanted guests away, they turn to the "bio-exorcist," Beetlejuice, only to discover that they can't control him. Now, the Maitlands and Lydia, the only person who can see them, must work together to stop Beetlejuice from terrorizing the house.

Made on a budget of $13 million, Beetlejuice was a box office hit, earning $73 million in North American theaters. It was also received generally positive critical reviews with a few exceptions. It won several awards for make-up and special effects and is currently on the AFI Best Comedies list. Beetlejuice features several of Burton's directorial trademarks. It's bright colors and exaggerated production design give it a modern Gothic feel that would be in most of his later films. It also has a dog related to death ("Frankenweenie"), costumes with black and white stripes, and numerous scenes with claymation (Nightmare Before Christmas, Corpse Bride). Though not the main character, Beetlejuice is a misunderstood outcast with a unique physical appearance and personality like many of Burton's characters. Additionally, it has one of his signature opening credit sequences in which the credits play over a long moving shot of an object important to the film without being frequently seen.

Though not his best comedy, Beetlejuice is certainly a solid and creative film with excellent performances all around. There are many humorous moments and the plot keeps you guessing because of its pure originality. Obviously an early film, but a good watch none the less. 3.5 stars.

Tim Burton: Pee-Wee's Big Adventure

Pee-Wee: What did you do?
Mickey: Well, I lost my temper and I took a knife and I uh- Do you know those "Do Not Remove Under the Penalty of Law" labels they put on mattresses? Well, I cut one of them off!
Pee-Wee: Jee...
Mickey: Yeah, I have a real bad temper.

After leaving Disney, Tim Burton received an offer from comedian Paul Reubens to direct his first feature length film. Reubens' show, The Pee-Wee Herman Show, was doing so well that Warner Brothers wanted him to write a feature script and, having seen "Vincent" and "Frankenweenie," Reubens and the producers wanted Burton to direct. Burton was drawn to both Pee-Wee as a character and the humor of Pee-Wee's Playhouse and gladly accepted the job.

The film tells the story of Pee-Wee Herman, an eccentric man who cherishes his bicycle about all things. When it is stolen, Pee-Wee enlists the help of a psychic who sends to the basement of the Alamo to look for it. Along the way, he has run-ins with many quirky people who help him with his mission.

It was a commercially successful picture, making over $40 million in theaters compared to its $7 million budget, and the reviews, although mixed, were generally positive. Many elements of Burton's film making can already be seen in this film in everything from the central character being an eccentric loner to the use of some stop-motion animation. His overly colorful, cheerful sets in Pee-Wee's house and the town are strongly indicative of Edward Sissorhands. His exaggerated characters can be seen in his later comedies. Even his use of Danny Elfman, who composed his first film score for this movie, would set the standard for his future films. Pee-Wee's Big Adventure gained popularity over the years to become a cult classic and Burton was now considered to be a worthwhile risk for studios.

Personally, I would probably like this movie more if Pee-Wee himself were not so annoying. His incessant laughter is frustrating as is his make-up. Additionally, the story loses steam in the last act when it should be reaching it's climax. While the movie was excellent from a technical aspect, with fantastic production design, some excellent shots, and several good jokes, it is not something I would seek out or recommend just because of the main character's obnoxious personality. The depiction of Texas and Texans was very amusing however, and they did shoot on location in San Antonio. 2 stars.

Tim Burton: Introduction, "Vincent," and "Frankenweenie"

Note: In honor of Alice in Wonderland, which is to be released March 2010, I have decided to do an overview of Tim Burton's work to date beginning with his early career with Disney. Enjoy!

"Vincent Malloy is seven years old,
He's always polite and does what he's told.
For a boy his age he's considerate and nice,
But he wants to be just like Vincent Price."

This opening narration from Tim Burton's 1982 "Vincent" could just as easily be used to describe Burton himself as it could the over imaginative slight morbid main character in the short. His long time love affair with early horror films, especially those of famed director Vincent Price and the exploitative, sensational films of the 1950s, is prominently displayed throughout his work lending his films a unique, distinctive visual style that is both instantly recognizable and highly imaginative. Additionally, his quirky personality and difficult home and school life have led to scripts centered around a lonely, misunderstood outsider with whom audiences both instantly sympathize and relate. This winning combination of style and story has quickly propelled Burton to one of the most popular directors in Hollywood.

Burton started his career as an animator for Disney who recruited him right out of college based on his hand drawn short "The Stalk of the Celery Monster." After being removed from The Fox and the Hound due to his roadkill-like concept art, he was reassigned to The Black Cauldron. He often relates this work to having a piece of his brain cut out and preferred to work on his own, more macabre shorts.

The first of these is "Vincent," a six minute animated short about a young boy who imagines that his life is like a movie by his hero Vincent Price, who actually narrates the short. The piece is set to a poem that Burton originally intended to turn into a children's book. It features black and white animation with stark lighting and harsh, distorted shadows creating an eerie, Gothic feel that would soon become a trademark. It also introduces his preferred heroic archetype of misunderstood outsider while at the same time, making fun of it to give it a lighter, more kid-friendly tone. It went on to screen at several film festivals and to win the Audience Award at Ottawa International Film Festival, but Disney didn't know what to do with it, so after giving Burton a pat on the back they put it to the side and all but forgot about it.

Burton's second short made under Disney is "Frankenweenie," a half hour, live-action short about a child Frankenstein who brings his dog Sparky back to life after he is hit by a car. Shot in the same black and white, Gothic style as "Vincent," this short takes a slightly more serious tone, developing strong family relationships as well as the love between a boy and his dog while managing to both spoof and homage his favorite classic horror films. Although this film is imaginative and charming, Disney deemed it to be too frightening for children and fired Burton for wasting company resources. Of course, this did not stop them from later releasing both shorts on their DVD release of The Nightmare Before Christmas once Tim Burton had become a name in the film industry.

Now free of Disney's restrictions, Tim Burton was free to pursue the promising artistic direction he had established in his early shorts.