The Decline of Tim Burton

In 2006, Tim Burton was asked by his biographer Mark Salisbury if becoming a father had changed his way of making films; after all, Burton's partner and collaborator, Helena Bonham Carter, had given birth to his son just three years earlier. . For Burton, the answer was easy for some people. The question I asked now that you're a father is why you made Charlie in the chocolate factory. Are you going to make movies for children? And the feeling I have now is not at all, obviously, becoming a father is an emotional experience and an incredible experience, but I don't foresee it changing in any way the type of films I would like to make; in fact, they might become tougher in some ways.

This answer raises an eyebrow for a couple of reasons, firstly because Burton's films have a dark tone. and can often be quite violent. Their whimsical nature has always been attractive to children. I myself was a big Burton fan when I was younger, something I've actually outgrown a bit with age, but who's to say they didn't enjoy watching The Nightmare Before Christmas or Beetlejuice every year around Halloween or watching with gaping at the oceanic wonders in stop mode of Corpse Bride or moaning in the arms of their parents while watching Big Fish, so dismissing their role in children's cinema is a bit strange and secondary.

In 2019, Load came out with Dumbo, the second live-action remake he made for Disney, like most of Disney's other live-action remakes. Dumbo, to put it kindly, lacks joy, the palette is gloomy and desaturated, the acting is lifeless, do something mom would have done something. mom wasn't out of here this is my room these are all our rooms I want to make scientific discoveries I want my mind to notice me the CGI sets are shiny and weightless, which makes you feel like none of the action has any real impact and makes that classic Disney thing of slapping a really hollow contemporary progressive message that insults the intelligence of its audience welcome to the circus Medici Fest where we believe there will be no wild animals that will be in captivity essentially Burton took all the whimsy and wonder from the original 1941 film and it wasn't that, but anyone who knows Tim Burton's filmmaking can attest that if you're looking for Whimsy and wondering, he's your man, the master of all things strange and unusual, I myself am strange and unusual, I mean, this is the guy who gave us offbeat classics like Edward Scissorhands and Peewee's Big Adventure, so how did we get from that to this?

It's difficult to draw a clear trajectory on Burton's work, as he has a really large portfolio that actually varies a lot more than you might think, but if we take a step back and look at it from afar, there has been a noticeable

decline

in work of Burton, an illness, let's say, that attacks the very soul of his filmmaking, let's find a diagnosis, this video is sponsored by care of care of is a subscription service. that ships high-quality, custom vitamin supplements and powders to your door every month. As someone who takes these three things regularly, I find that it can be really overwhelming to figure out what is right for me and my routine care.

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The vitamins also come in a compostable plant film and their products are really personalized which is great because I love to feel special so take this quiz and see what vitamins and supplements they recommend. Click the link below and use my sister code e50 to get 50 off your first order with the care of Timothy Walter Burton, born in 1958. His parents Jean and Will Burton spent their childhood in the sunny valleys of Burbank, California, just a few miles from Hollywood. Needless to say, the love of cinema was almost native to this educational burden. He was a quiet child and with two fairly disinterested parents, he had a lot of time to devote to his victories by creating roughly carved stop-motion films in his backyard whenever he could.

He, this resentment followed him into adulthood, he comments at his high school reunion, the presidents, the athletes, they had really peaked in high school and it was so shocking to see that it confirmed his suspicions about things because the They were tortured They were forced to be their own people They couldn't trust society They couldn't trust the culture or the hierarchy to take care of them, so to speak, so they had to make themselves acceptable The feeling of feeling like a stranger would bleed a lot in Burton's body. job and is crucial to understanding career trends After high school, Burton put his artistic talents to use and earned a degree at Cal Arts, co-founded by Walt Disney himself, Calart sought to prepare talented animators to work at Disney right out of college. school.

He was part of these early cohorts and his five years at Disney highlighted the generational differences between Golden Age animators and new hires. The strange thing about Disney that they reflect in their biography is that they want you to be an artist, but at the same time they want you to be a zombie factory worker and have no personality, it takes a very special person to make those two sides of your brain coexist. Burton's time at Disney was not very good, the concept art he did for their animated films was never used and the first two films he made for them barely saw the light of day.

It all came to a head when in 1984 he released Frank and Weenie, a satirical version of the classic Frankenstein tale about a boy scientist who brings his beloved family dog ​​back to life. after being hit by a car, here we have themes of mafia societies of otherness and a generally dark atmosphere that would later become characteristic of Burton's work, but despite the involvement of heavyweights such as Shelley Duvall and Daniel Stern, The film did not do well and Burton was fired. of Disney for using his resources to make a film that was supposedly too dark for the company's children's audience, but this turned out to be a blessing in disguise with new connections and a host of important people who had seen and appreciated the art of Frankenweenie Burton.

He was asked to adapt a feature of Peewee's playhouse after catching the attention of famous Oddball Children creator Paul Rubens, again Charge was drawn to the project because he saw Peewee as an outcast trapped in permanent adolescence. , just like himself. Peewee became a box office hit. and although it was not well received by critics, as most children's material is not, it became a cult classic in the following decades, his success as a profitable director allowed him to make Beetlejuice, a black comedy about a biography self-proclaimed independent. Exorcist demon who terrorized a Nubarish family who recently moved into a drafty New England house previously owned by a newlywed couple who died in a car accident just months before the film was macabre. , strangely bawdy and genuinely funny;

It was a commercial and critical success. has a lasting legacy as another Camp classic and what's notable here is that only $1 million of the film's $15 million budget was dedicated to VFX and the rest of the art was dedicated to practical effects, giving it gave the film a distinctly B-style aesthetic. It was then that Burton began playing with the expressionist, almost Zeusian art style. one of his films just for the sake of time, I think it would be more fruitful to do an inventory of his films that I think exemplify the best of his work and the films that exemplify the worst that SE's films skipped over the course . many years, but again, if we look at it from afar, we can see that the

decline

starts in the mid to late 2000s and early 2010s.

I think Beetlejuice is a good starting point because with its Rye tone and its Expressionist Design is the first of his films that really contributed to his distinctive foreign character. The uploads projects that I find the strongest are those that are created from your own ideas or from pre-existing intellectual property that is not well known to the general public and therefore that seems to be quite personal and unique to it Edward Scissorhands, his 1990 film about a boy with long, sharp scissors for hands that he desperately wants to touch but can't, was born from Burton's teenage subconscious.

I just felt like I couldn't communicate that it was Feeling like your image and how people perceive you are at odds with what's inside of you, which is a pretty common feeling. I think a lot of people feel that way to some extent because it's frustrating and sad to feel a certain way, but not like that. get ahead, so the idea was about image and perception and, looking at this project, you can tell that, more than any other before, it seems deeply personal for Burton; There's such care and attention here that it feels like every inch and second of every scene was carefully thought out, sharing themes of social isolation and appearance versus reality and MOB societies with Frank and Weenie, but with a more useful emotional sensitivity.

The same goes for his 2003 film Big Fish, probably the most notable departure from Burton's typical style. an adaptation of a book by Daniel Wallace called Big Fish, a novel of mythical proportions that was unpublished when it first came into the hands of screenwriter John August Burton received the script after making Planet of the Apes, which was criticized both critically and commercially and was the mood to go back to making a smaller film and one that wasn't yet a known entity. He and August were drawn to the story after recently losing their parents. Burton found that the story articulated complicated feelings about the death of his father.

I haven't been able to articulate it yet and I found the filming process to be very cathartic when reading the script. I thought this is exactly what gives an image to the incommunicable, so I really liked it. Normally I wouldn't do something like that unless it made an impact. Me on that level it's like having a baby, you can't really prepare for your emotions being the child of an eccentric father. I myself am known for telling long, elaborate stories about his past. This one hit very close to home for me. This is the first of Burton's films. that made me cry and I mean a lot of tears, I think this is because it's one of the only ones that deals with small subtle emotions, the magical melancholy actually reminds me a lot of Inmar Bergman's Wild Strawberries, a movie I love .

He likes the idea of ​​the incommunicability that he expresses regarding Edward and the big shot and reflects a lot on how his films are like paintings in motion that express the pathos of the story through the color palette of the ART direction and design Edward's art direction costume design. Scissorhands brings to life the complex emotions behind the film, allowing the story itself to be quite simple. Everything in the film is hands-on, and its production designer, Beau Welch, found a generic suburb and painted each house in one of four colors, dirty, seafoam green. Butter color and deep blue to take away their individual character.

They also reduce the size of the windows to give the neighborhood a more claustrophobic and paranoid feel. Edward's makeup, reminiscent of Caesar from Dr. Caligari's Cabinet, is visibly unsubtle, giving him a sort of painterly feel. There are a lot of really interesting POV shots that place the viewer in the eyes of Edward, a fish out of water observing his new surroundings, and also in the eyes of the townspeople who observe Edward with grotesque fascination. Burton is able to handle his frustration. Here, about his suburban upbringing, the film plays a bit like a suburban gothic where something sinister is always bubbling beneath the Lysol surfaces of this colorful neighborhood, while Big Fish is a less visually expressionist film than Edward Scissorhands; weaves many fantastical elements into its More grounded story and foundation aside, it still has a touchfamiliar Birtonian that incorporates elements of Southern Gothic throughout Burton seems to have really enjoyed making big shots, it was one of the first times he felt like the studio was completely getting out of the process despite its large size. budget, he didn't have to undergo script rewrites and big branding like he did with something like Batman and ended up being quite proud of the result, although he had some emotional difficulties with the more realistic scenes, especially since this was one of his first related experiences. with the real world in their art they were very intense doing the hospital and bed scenes.

I never went through that with my dad, so it wasn't like he was replicating anything. He was in Hawaii exploring ape sites when I got the news. who had died the last few times I saw my dad, he looked sick but wasn't bedridden, the only emotional side I had gone through to alleviate this, they filmed the real life stuff first and quickly and then Focus as much as possible in fantasy flashbacks, allowing the burden to return to more comfortable territory, this discomfort with intricate personal emotions become a major obstacle for Burton's films in the future, but when he is able to overcome this barrier and use his art as a means of liberation, the result is something truly wonderful.

Corpse Bride and The Nightmare Before Christmas are my favorite examples of Tim's evocation. Burton's Artistry It is now commonplace to dismiss Burton's role in the making of Nightmare, since even though the film was advertised with his name in front of the title, it was actually directed by Henry Selleck, who would later make stop-start classics. motion like Coraline and James and the Giant Peach, but the idea for Nightmare was initially conceived by Burton, who wanted to make a film about a character who was isolated because he looks scary but who doesn't actually look like Edward since he was working on The Batman sequel was unable to commit to the project as a director, but Selik was determined to be as faithful as possible to Burton's wishes.

The Nightmare Before Christmas, released in 1993, is a delay from start to finish with images and melodies that exude a powerful melancholy. It's no wonder the films are so beloved, but Corpse Bride, a 2005 animated film about a repressed Victorian man who accidentally proposes to a dead woman, was when Burton got to direct stop motion this time along with co-director Mike Johnson. fell into his lap via his former classmate, the late Joe Ranft, to whom the film is dedicated in the early '90s. Ranf had brought Burton a 19th-century Eastern European folk tale that would serve as basis for the film's story that Burton chose to tell. in stop motion, which he felt would be a much-needed contribution to a film industry that was rapidly heading into full CGI territory.

Really what I find most resonant and lasting about Corpse Bride is, as I said, the art that Selik once said of his own stop in 2009. -The motion picture Coraline is a big risk, but nowadays in animation the safest bet is taking the risk. There's something really special about moving stars animation. I think the work and time it takes makes the viewing experience very intimate and that's something we. What is really missing in mainstream cinema nowadays, you can see the artists putting their hearts into every movement of the characters and it all feels very intentional and careful, it evokes the same kind of feeling as the old 2D Disney movies when you are watching a simple pitch.

A simple story that leaves you room to marvel at the art and let it really speak for itself. Both Nightmare and Corpse Bride are whimsical gothic fantasy films that can be enjoyed by adults and children alike, and therefore I believe they are the most emblematic of Burton's style. Of these films that I have mentioned can be considered the biggest box office attractions of Burton's filmography, while they were all well received by critics and the public, they are by no means his biggest sources of income, but for me and I am sure that For many other people they are. the films that cemented Burton as a household name and I think there are some very notable reasons why they are the films that define his legacy, are original in concept and therefore completely true to the burden and his belief system, They are also simple parables that are not multifaceted or gray, but they are digestible enough so that young people can understand them and those types of simple messages are the ones that stick.

Finally, they brought art into the conversation. Burton is first and foremost an artist, after all. I came to Disney in its Dark Ages and saw firsthand what the collapse of the Art Department did for the company. Promoting artistry is the most important thing for this type of Otherworld film, especially when its creator is someone who is certainly a little distant from his emotions. For me, unique and powerful images, Danny Elfman composes a simple story and I am a happy Burton viewer, but as we will see in his later directorial Pursuits, this artistic and emotional approach would begin to decline in favor of other things in a 2019 article for Forbes.

On the flop Dumbo, How Tim Burton Became Cool, writer Scott Mendelson locates Burton's decline in status as a kind of lost edginess and notes the kind of outsized fantasy spectacles that were once exclusively Bertonian and are now a almost conventional Hollywood production. For Mendelson, the days when Burton was most provocative and most threatening to public sensibilities were when he made Batman and Batman Returns, both of which alarmed parents with their morbidity and dark themes while he made Beetlejuice. Burton was also in the process of developing a script. for a new Batman movie with screenwriter Sam Ham, unlike today, the '80s were a low period for the superhero genre.

The major studios viewed superheroes as cheesy and childish and therefore unprofitable, but Burton and Ham, in typical fashion, wanted to depart from the year's iterations of Batman's Camp to make something darker and more serious that returns to the Original Noir style from 1940s comics. Warner Brothers sat in the field and only signed on after the success of Beetlejuice. This was Burton's first big budget film and well, I'm not very familiar with superheroes. movies, but appears to be pretty good for the most part, the film has a Noir quality, borrowing expressionistic lighting and sets to invoke Gotham with a decidedly grim and otherworldly atmosphere as Peewee Burton saw Batman and the Joker as monstrous outcasts. , except where Batman is repressed by the social conventions of his double life.

The Joker can fully enjoy the freedoms that his quirk affords him. Batman became a huge success and some cite it as the first true blockbuster along the way. developed a brand awareness with audience familiarity, big stars, built-in mythology and sensational images, but despite its unprecedented success, Burton does not like Batman, in fact, he finds him really boring. Fortunately for him, the success of the first demanded a second and with the sequel Batman Returns he chose to go even darker. This is much more violent and graphic than its predecessor and focuses much more on the moral ambiguity of Batman as a figure.

Burton likes this one much better. I think the culture is much more disturbed and disturbing. than this movie much more, but they just look at things and choose objectives. I like the movie and I don't feel bad about it and in some ways it's a pure form of what the Batman material is about, which is that line. The difference between villain and hero is blurred and it seems that people agreed with him that Batman Returns would break the record set by the first film that grossed $268 million worldwide, proving that audiences were not only ready for dark adaptations. of famous stories, but he was also hungry for them.

Batman and the sequel to it are generally great, memorable, and well-loved movies. They mark the beginning of a long trend in Burton's filmography of adapting pre-existing popular IPs to make it darker and grittier, or rather, to make it Tim Burton's version of all this. It was almost inevitable when I think of a weirdo. I usually think of someone who is an individual and free and it's something everyone should strive for, as I've driven home time and time again. Freight is imagined a bit like an industry. very good at narrative and some people are very good at action.

I'm not that kind of person, so if I'm going to do something, let me do my thing and hope for the best if you don't want me to do it. Don't let me do it, but if I do it then don't make me settle, but there are two opposite sides in Burton's brain: the first is the sad Outsider and the second is the money-making side. I care about money, that's why I get so intense when people are on my case. I don't make commercial films because I have always felt very responsible towards the people who provide the money and, as we would later realize, how much he considers himself the dark innovator.

Outside of Hollywood, this is the side he likes a lot more honestly when he talks about anything in his biography, he does it with a kind of arbitrary rebellion that a teenager would rarely do. He clearly expresses what exactly is wrong with the society around him. or the industry he works in aside from that, he doesn't want to have to conform to it, but for a man whose films have been massively commercially successful from the start and worked exclusively with major production and distribution studios, this rebellion seems a bit. Hollow and as the years go by and charging becomes more and more popular, this feeling starts to feel less provocative, active and more like being different for something different, in case you haven't noticed, I'm weird.

I'm a weirdo. Don't know. Fitting in and not wanting to fit in is something we can see most clearly when he decides to adapt well-known stories, which he does almost exclusively these days, the film that really means to me the beginning of the end of the Burton film. the work is one that was actually well received commercially and critically that film is Sleepy Hollow Sleepy Hollow is a 1999 supernatural horror film, it is based on Washington Irving's famous 1820 gothic story The Legend of Sleepy Hollow the original story is a slightly superstitious schoolteacher named Ichabod Crane, who goes to stay in the Dutch town of Sleepy Hollow after hearing about mysterious happenings in the region, especially stories about a ghostly headless soldier who wanders at night in search of his head.

The Headless Horseman Ichabod develops a particular liking for 18-year-old Katrina Van Hessel, who he is most attracted to due to her family's great wealth, but Katrina is already committed to prom bones and spends a number on him. pranking Ichabod in an effort to scare him out of town one night, Ichabod returns home through the forest and crosses paths with a large shadowy traveler whose head appears to be resting on his hip in an attempt to flee, He falls off his horse and is never seen again. Legend has it that Ichabod could have fled forever or died of fear and that the riders were actually just Brawn's bones playing another harmless prank, simple, true, a funny and creepy tale. 1999's Sleepy Hollow is a completely different story, literally, it seems like the load here completely misunderstands or simply doesn't care about the central themes of the source material other than that it's creepy listen I'm not some kind of puritan I know the directors are fully licensed to alter the source material to make it more compatible with the medium or play with it to make something fresh and new, but it's the way you burn and do it that I don't agree with in this Sleepy Hollow Ichabod Crane is a police officer from New York who has been sent to the city after a series of mysterious beheadings.

The superstitious town elders believe the suspect has supernatural origins. Horseman Ichabod, who is troubled by this theory, embarks on a winding investigation with many false leads while developing a romance with Katrina Van Hessel until he finally discovers that the real culprit is Katrina's stepmother, a Satan-worshipping witch who seeks take revenge on the rich townspeople after one of them left her and her family impoverished when she was a child. In her elaborate plot, she reanimates the headless Hessian soldier to carry out his bloody orders. A long fight ensues. Mrs. Van Hessel is defeated and the horseman, now freed from her, drags her to hell. and Iqbal and Katrina live happily ever after.

The film is also very violent with all the gratuitous Gore and bloodshed that echoes Burton's favorite Hammer horror films. Sleepy Hollow received generally positive reviews when it came out, praised primarily for its Rich World building and unique art. Address, but,Frankly, I don't like it. The main reason is that it is the first time that Burton has done that thing of overloading a story with long action sequences and giving well-known characters unnecessary and superficial stories for no other reason than to be bigger. than the source material, but say it with me, bigger isn't always better when it comes to filmmaking.

Batman was already a very complex, expansive IP when Burton landed it with tons of avenues for mythology and world-building, which isn't really the case. With Irving's tale, the plot is so complicated that it is almost impossible to follow and because of this, half of the scenes are dedicated only to the Exposition at the expense of any emotional resonance, the scenes between Ichabod and Katrina suffer mainly from this , which are so uncomfortable and lifeless. They were my mother's books that my father believes Tales of romance cause the brain fever that killed my mother She died two years ago They come in winter These are strange These marks What are they?

I've had them for as long as I can remember which brings us to the elephant in the room I've been trying to avoid, honestly, Johnny Depp, who I'll only talk about in regards to the topic at hand, go out of their way to instill the silliness inherent in Ichabod character, but I don't know with Depp, he looks like that. very forced here was that he hit this Horseman you should not get excited but he was a headless horseman of course that was why you were here you should not believe me it was a Horseman a dead headless horseman which takes you out of what is supposed to be an atmosphere quite serious and adult.

I kept asking who this movie was made for. It was too graphic to be aimed at children, but two inexplicably silly for adults to take seriously. One of the biggest criticisms of Burton today is that he reuses the same actors. and over and over again to the point that it becomes exhausting watching Depp, who stars in a whopping eight Burton films, is the actor he does this with the most. This is the first time it's really evident that Burton gives up all of Ichabod's greed for the sake of doing. he's a empathetic protagonist and then he gets into this Freudian backstory here it's mom problems, Ichabod's mom, Lisa Marie, is a beautiful witch who is brutally murdered by Ichabod's bigoted father and tries to save her from her sins.

Ichabod witnesses the murder and is obviously traumatized and wants to sleep with his mother. What the hell has Depp suggested that this version of Ichabod is meant to represent Burton's dating battle with the Hollywood studio system, even the world Burton doesn't deny, but do we even know what we're fighting against? What does Ichabod defeating Mrs. Van Hessel represent? Most of Sleepy Hollow was filmed on intricate sound stages. were constructed so that the exterior shots effectively execute Burton's Vision for that natural expressionism he is so famous for, but they also desaturate the palate a lot, meaning that much of the meticulous art direction gets lost in the monotony of the images.

Sleepy Hollow is pretty fun. but it lacks that magical, whimsical quality that we love about Tim Burton's films; it actually indicates an early sign of what was to come. Charlie and the Chocolate Factory is another case where Burton doesn't have much respect or admiration for the original property. I am referring to the original 1971 film and as much as Burton denies it, the book is true. Roald Dahl himself hated Gene Wilder's original 1971 adaptation, but I mean Roald Dahl sucked too. Personally, I think the movie is great, so when approaching it. Burton, who considers Doll one of his biggest inspirations and who also detests the strange and disturbing qualities of the original film, wanted to make a more faithful adaptation of the work.

I don't think Charlie and the Chocolate Factory is a bad movie in almost all cases. of the performances are wonderful almost good morning the stars shine the earth says hello the child actors are particularly outstanding in their roles. I also appreciate that the film has a distinctive aesthetic direction that feels very inspired, but I find the art direction mostly too strong because Burton didn't rely too much on green screen using real sets and practical effects whenever possible, he says, and this will become quite ironic later, it just felt like it was in the era of The Lord of the Rings and those kinds of big high-tech movies.

Isn't that kind of movie? It's an expensive movie, but it's not an action movie. It doesn't really satisfy on that level, so it didn't feel right to rely too much on technology. These good elements give the film enough momentum to push it into acceptable territory, but for me, especially rewatching it as an adult, the bad outweighs the good here and the acceptable just doesn't cut it if Load thought the film 1971 was strange and disturbing, I don't think it made a In an effort to make this less disturbing than its predecessor, it describes Wonka as the candy cane citizen.

This is relatively faithful to the characterization, but he used it as a reason to change his usual art direction to what he describes as fascist imagery. What, given Dole's history with anti-Semitism, is strange to say the least, is that the Citizen Kane or Howard Hughes of the candy obsessives there is something sad and a little sinister about them, but it's not bad, there are many different sides to that, but it just seems like a nice look for the factory, especially with all the complexity and hustle and bustle of candy. I also identify with that because, as a film director, you tend towards those fascist movements, you sort of identify on a personal level or something, okay, avoiding that last part a little bit. because I don't even know what to do with it it's because the directors like power anyway it seems like the charge evokes the spirit of fascism in this children's movie for no other reason than the fact that he liked the look and there certainly may be a fascist reading of Willy Wonka in his Factory if you want to go there, but it's a very strange thing to bow to in a festive way, especially without much intellectual reasoning behind it and especially since Burton is always boasting about his self-proclaimed anti-establishment.

One of Doll's biggest criticisms of the 1971 film is that it places too much emphasis on Willy Wonka reducing Charlie's role in the process, but in this Charlie can barely do anything in the film but gawk at his companions and respond. unimportant questions. -In fact, of course, Charlie is a blank canvas for The Virtuous Child and that's how Burton defended his decision to keep Charlie as bland a character as possible, but if you're going to make your movie to do it better and more faithfully than the original channel. So maybe I'll do that. I really think Johnny Depp is miscast as Willy Wonka.

I also think his acting doesn't really deliver much. Beyond a bad impression of Pee-wee Herman. Oops, my mistake. I always thought Veruca was some kind of war she got herself into. the sole of his foot, one he maintains even though the character was born and raised in England, making for this truly baffling performance in which Wonka looks more like a stereotypical pedophile than a whimsical fantasy man. . Vernon screenwriter John August. We also give Depp another Freudian backstory, this time it's about issues with his father and it's so harsh that he's almost insulting. At one point, they actually have him lying in a therapy chair.

Wonka's father is a strict dentist played by Christopher Lee, who forces him to wear really exaggerated clothes. a headdress that prevents him from eating sweets so he runs away from home. K has to be a complicated character and that's why we try to give him a little context, there's none in the book, it's a fable, but in this day and age you have to because you don't show any of that or feel any of that he is just a weird guy, you can't just have a funny guy with a bow tie who is whimsical, I don't know how, as a director, as an actor. you would cling to him unless you found some psychological basis for the character having arrested development.

I would say yes, it is a fable, but the fable is not about Willy Wonka, it is about children materially. Charlie has nothing, but he has more power in him. more altruism than the rest of the children because he has learned humility, but to increase the burden of the story and August deviates greatly from this message, yes, we see all the children receive their fair desserts, but the last full 20 minutes of The film is dedicated to Charlie forcing Wonka to reconcile with his father and then adopt him into his own family. The final line is this.

In the end, Charlie Bucket wants a chocolate factory, but Willy Wonka has something even better, a family, but what did Charlie learn at the end of the 1971 version? Charlie. He passes a final secret test in which he returns the sodas that he and Grandpa Joe stole at the beginning, proving that he is capable of doing the moral thing even when it doesn't benefit him, which is why he is in the custody of the factory in this version. Charlie is invited to live and work at the factory because I assume he is docile enough to be a good roommate.

This doesn't give him a chance to demonstrate moral strength, except when he says he won't leave his family behind, which isn't even presented as evidence, it just seems like Wonka wanted company. This is a rather confusing moral lesson for the audience and is certainly not more faithful to the book, as it makes most of the previous lessons completely useless from a narrative. perspective in his biography Burton says something to Salisbury that I think plays out like the famous last words. CGI has to be in a framework that has to be kept in check with other elements so that you still feel something that is much more present to me.

There's no such thing as unlimited resources in movies, you need limits, right? Tim Burton's Alice in Wonderland is a 2010 spiritual sequel to Lewis Carroll's 1865 novel of the same name. It takes place before the book in which Alice, now 19 years old, is currently facing a fixed situation. Upon getting married at their engagement party, she escapes and chases a white rabbit down a hole and finds herself back in Wonderland, except she has inexplicably been changed to the Lower Earth, but now finds it very different; She discovers that not only has she been here before when she was a child when the original story took place, but she is also a Chosen One destined to fight a mythical monster called the Jabberwocky by defeating the Beast.

Alice will depose the current Red Queen who has been reigning Terror in the land and then will be immersed in a series of adventures with family members. sides of the original story which eventually leads to a battle sequence where Alice, sporting Knight's armor, decapitates the Jabberwocky and restores order to the underworld. She is then allowed to return home, where she quickly rejects the proposal and chooses to become a colonizer boss, okay? Carol's. Alice in Wonderland and even the 1951 adaptation, while not very faithful to the source material itself, are based on the idea of ​​meaningless nihilism, the idea that our world can often be random and meaningless. , so we are situated in Alice's point of view.

A girl trying to make sense of an adult's world when she goes to Wonderland not only feels out of place but she is also better able to reason than her strange surroundings. In the process, she grows a little and comes out more prepared than before. To address the real world in all its randomness, you'd think Burton, who frequently talks about feeling misunderstood and unable to communicate as a child, would relate to this, but at a press conference for the film he explains that there was always a girl wandering around One Crazy Character. to another and I never really felt any real emotional connection, that's the point and this really highlights the disparity between Alice in a movie like Edward Scissorhands, why would you choose to direct something that you have no emotional connection to, so by adapting it the goal Burton was?

I quote to try to make it an engaging movie where you get some psychology and freshness, but you also keep the classic nature of Alice again with the dark adult remake and what we get is a Numbers Heroes journey that betrays complete. The goal of the book, like the case of Charlie, once again runs into the problem of overinflating the character of Johnny Depp at the expense of the protagonist. This time it's even more egregious because the Mad Hatter is originally nothing more than a dumb supporting character here. The Hatter is a bitter, traumatized man who spends a lot of screen time and has a strange sexual tension with Alice since we spend so much time with the Hatter.

Alice is reduced to this one-note character who is thrown from one event to another even though this is what she carries that she doesn't like about the original. Alice's father tells her something at the beginning that she must continue throughout. The movie you are the best is something that is repeated several times throughout. My God, you are completely crazy, I'm telling you a secret every time.the best people are. The idea is that, like in almost all of Burton's other films, there is indifference towards freedom, but when you realize that Alice ends up doing all the routine things that were predetermined for her, this message rings false when he kills the Jabberwocky at the end of the movie.

I kept wondering why what does the Jabberwocky represent to Alice in the real world? Alice is forced into a predetermined marriage, something she decides to reject after her experience in the underworld, but this choice is made right after she kills a beast to fulfill a prophecy that was predetermined for her, that's quite contradictory, Lastly, the movie is really horrible. Burton's reliance on CGI really destroys any fantasy that was built into the story. But many directors, as in the case of Burton, underestimate this work and expect these artists to act according to their whims as a burden, he quoted an American cinematographer, we often felt that we were making it up as we went along, which is not the best way to do it. but because we were mixing technologies a lot and dealing with a short shooting schedule of 50 days of principal photography, it was inevitable that the images would all be very bright, flat and weightless, which makes the world really boring to look at.

They're also like Sleepy Hollow, very desaturated. It's a missed opportunity for Burton, he also released the movie in 3D as part of his contract with Disney despite filming it in 2D, I guess because Disney wanted to improve the show and it's quite a spectacle filled with a ton of ardu with action scenes where Alice has to get out of everything based on physical strength rather than the waiter's reason, ultimately although the show was worth it, the film grossed $1.025 million and is credited with starting the much-maligned remix trend from Disney Live Action, so once again Burton demonstrated his success. as a profitable director through a film in which he had essentially abandoned all of the core values ​​of him as a director and an artist and that's what I think got us to where we are now with Dumbo.

The charge is weaker when it abandons its original material and leaves as well. The Great Sleepy Hollow Charlie and the Chocolate Factory and Alice in Wonderland are based on beloved works of fable fiction with clear morals and lessons that carry the same tired, superficially dark and adult themes of Misfits Freud and anti-conformity. betrays them completely. Filled with overwrought backstories and unnecessarily bloated and ultimately heartless characters, these are, first and foremost, big-budget shows that generate an incredible amount of revenue for his studios. When asked about this, Burton said that when there is a large amount of money involved, he tries without meaning to.

I know what the audience is about to try to do something that people would like to see without going too crazy. I think when you try to please everyone you end up pleasing no one and whatever happens to you if you don't want it to. so don't let me do it but if I do then don't make me settle as I said before I agree with Mendelson when he argues that the Batman films were an example of Burton at his most provocative, but where I disagree is when he suggests that "Larger than Life" shows are a uniquely Bertonian thing, since I mean Burton's most defining films are actually the ones that didn't spawn the I'm sure he's been making Blockbusters since its inception, but what We associate as exclusively Bertonian it is not a big budget show, it is all the other things, art.

Extravagant folktale films pulsate with an aching longing for this desperate melancholy Beauty, but at some point later, I think catalyzed by Batman and cemented by Sleepy Hollow, there was a shift from the Bertonian to the overwrought, convoluted, flaccid level of drab CGI surface, the kind of mainstream Hollywood production that Mendelssohn talks about and he's right that it's mainstream right now, you can't get on. a streaming service without having to deal with a barrage of obscure remakes of your favorite childhood media, is really plaguing the world of film and television, especially since Disney, which is trying very hard to monopolize the film industry for any means necessary, he is completely trapped. with producing the safest, most sanitized, most uninspired and honestly insulting remakes of their original films, films that the artists slaved over for years, they put everything they had into making this is all for money and Burton is right there on the There's a lot of talk about being the little guy in a world full of bullies, but at this point he's a pawn of one of the biggest corporate bullies out there.

Burton did an incredible job of developing a distinctive style that he defined a generation and that, according to Mendelssohn, provided a learning tool for young people to understand all the theory of touring by using the same composers, actors and visual influences. He created a sense of familiarity with the audience that was clear enough that even children could read and write and it is what made him so beloved among us, I think all children. At some point or another they experience feelings of isolation and difference due to not being understood by their parents or society. Their films allowed them to be seen as an outlet to escape and feel nourished, but I truly believe that once everyone is a stranger, no one is and this is a burden that fueled this Outsider image well into adulthood despite being accepted by almost everyone.

The studio audiences that everyone still doesn't seem to understand from the way he dismisses his son's audience in the quote at the beginning of the video, it seems like they don't have much respect for why movies resonate with them, but it's funny because it addresses these adult remakes from a very childish perspective of rebelling against the system and their unchanging view of this as their popularity and wealth have grown has led to very hollow cinematography that morphs from parodies of their own style to being completely unrecognizable from conventional food. I'm cautiously optimistic about their upcoming Adams Family spinoff for Netflix.

Optimistic because The Adams Family is already Macabre. Fits Burton well. Cautious because just from the trailer it is clear that he is looking for spectacle. Once again, I really want to see some original material from him. I will always love my favorite Tim Burton films, which really contributed to the development of who I am today, but I think it's a cautionary tale about living long enough to see yourself. a villain or at least seeing your job reduced to a 40 t-shirt at Hot Topic, learn from it kids, the gothic pipeline at the mall is dangerous but I'm not calling myself Punk, it's more Punk to tell people you're not Punk than to sit there and say you're Punk and whatever I, if you want to know what I think I am, I think I'm just a rock girl and I like to rock, I like to rock.

I like to go crazy I like to get lost on stage I like to scream I like to scream I like to break things I like to scream Special thanks to Louis yosta sayarassan malpur toy Morgan Cooper stimpson Nina Nina e Nadia C Nick Jenny Eller J Frost mcfinnigan Gabriel M The Wiz Daniel d h Klein Pete Holland Carrie Gavin and Kelly Wolf for supporting this channel