Tim Burton
Tim Burton
Timothy Walter "Tim" Burtonis an American film director, producer, artist, writer and animator. He is known for his dark, gothic and quirky fantasy films such as Beetlejuice, Edward Scissorhands, the animated musical The Nightmare Before Christmas, the biographical film Ed Wood, the horror fantasy Sleepy Hollow, and later efforts such as Corpse Bride, Sweeney Todd: The Demon Barber of Fleet Street, Dark Shadowsand Frankenweenie. He is also known for blockbusters such as the adventure comedy Pee-wee's Big Adventure, the superhero...
NationalityAmerican
ProfessionDirector
Date of Birth25 August 1958
CityBurbank, CA
CountryUnited States of America
You don't know whether chimps are going to kill you or kiss you. They're very open on some levels and much more evil in a certain way.
It's very nice to have someone that you can have a completely abstract conversation with and leave the room, feel like everything's fine, and then realize that if you pick it apart, you have absolutely no idea what either of you said.
And I Jack, the Pumpkin King, have grown so tired of the same old thing...
I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.
I get so tired of people saying, 'Oh, you only make fantasy films and this and that', and I'm like, 'Well no, fantasy is reality', that's what Lewis Carroll showed in his work.
One of the things that we were trying to do with this show was the complexities of relationships and love. There is both passion and longing and a bittersweet quality to it that is a part of life.
I don't look at my films or my old drawings much, so that was an interesting way to kind of reconnect with myself a bit.
I am not a big technology person. I don't go on the Internet really much at all. Drawing is like a zen thing; it's private, which in this day and age is harder to come by.
3D is great, but I just think of it as another tool, like colour or music or sound. It has the potential to add another emotional layer to certain things if you use it right. But it's not the saviour [of the movies], the be all and end all, the reason to do something.
The good thing about animation is that you can affect it. If something is not working, then you just fix it.
People say I am stuck in childhood, but it's not that. I remember seeing a Matisse retrospective, and you could see he started out one way, and then he tried something different, and then he seemed to spend his whole life trying to get back to the first thing.
We're trying to make employees more conscious of what they are buying.
A lot of things you see as a child remain with you... you spend a lot of your life trying to recapture the experience.
There's something about seeing this little inanimate object coming to life that's just very exciting. That's why with 'Nightmare' I held out for so long to do it.