Hello my fellow rockers,

I’m new to this WordPress thing, but I must say this site has got it going on!

Today on my Facebook page – www.facebook.com/angelakrose – I released the Tim Burton interview that I wrote and was published in Rolling Stone Australia. Mr Burton is one of my childhood idols and I nearly flipped when I got the interview. Granted I did spend 9 months practically stalking his US talent agent to get it, as well as email stalking the organisers of the Tim Burton exhibition here, but we got there in the end!

It did originally have a longer word count, so to keep the fans happy, I’ve placed some of the outtakes here. The published “best-of” version appeared in Rolling Stone last year, and you can read it on my Facebook page. The address is above. While you’re there, how about giving the page a Like, eh?

I’ll send you glitter and bubbles in the mail as a thank you!

And thank you, Mr Tim Burton, for your time.

What element has to be in a film for you to say, ‘Yes, I will work on this, or I will direct this’?

It’s just a feeling. You know, things can change. I never plan projects too far in advance because you never really know how you’re going to feel [about it]. I mean, it’s important you feel strongly about it. Films like Edward Scissorhands or Nightmare Before Christmas are more self-generated, but then there’s Charlie and the Chocolate Factory is something that I like Roald Dahl and I feel close to his work, and I feel that there’s a similarity to what I like to do. It depends. The thing that I would hesitate towards, say I wouldn’t want to remake The Wizard of Oz, because that’s like a beloved movie. That kind of stuff can get dangerous. But for instance, Alice in Wonderland, I felt comfortable doing because there was no movie version of it that I really loved. So I think if you’re going to remake a movie, it’s best to remake a crappy movie, you know? [Laughs.] As opposed to remaking something that’s already deep-rooted in people’s minds.

Your characters are very well-rounded but always have a dark edge; do you ever base them on real people?

I always try to find with characters, aspects that I relate to, like that not necessarily me, but I have to feel them. Especially early on, I was not a good communicator, and so I was always felt that I really had to feel the character, so in some way, I could impart that to whomever. I always try to find something in myself that I can relate to. You see people and you go, ‘Yeah, there’s a bit of a trait of that,’ but when it comes down to the depth of the character, it’s more something you have to feel yourself.

Is it a challenge translating that feeling onto screen, into a visual medium?

Yeah, but that’s the fun of it. Film is such collaboration between so many people. Working with other artists and working with people who surprise you, and bounce off each other. That’s the fun of it and that’s how I accept it. You may have something in your mind but it always slightly changes.

What makes the unique working relationships with you, Johnny Depp and Helena Bonham-Carter?

I’d never work with either of them just to work with them. It’s important that you don’t feel complacent with somebody or something. You always want to keep that artistic edge going, but it is fun to watch them transform from one film to another. They’re different people but they both have a certain trait, which I like, is that they don’t like watching themselves. For me, as a director, it gives me a certain freedom that there’s no vanity there. That makes it more exciting. They don’t want to do a take and then look at the monitor and see how they did. I don’t think Johnny has ever seen any movie we have made together, he doesn’t like watching himself. So I like that.


Meanwhile, here is the cookie cutter machine that the inventor, played by Vincent Price, has in his castle in “Edward Scissorhands”. It makes Edward’s heart out of cookie dough.

Mascara and Monsters is Angela Allan's blog covering music and mayhem. She's also the founder and editor of Soot Magazine.

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