Vincent Price | Tim Burton Wiki | FANDOM powered by Wikia
The director talks to Tim Adams about his latest film, Frankenweenie, his film Vincent [based on his own infatution with the films of Vincent Price] and . the relationship, retaining their separate parts of the linked houses. One of the guests had just seen Frankenweenie—Tim Burton's live-action short about . ELFMAN: I want to ask you about Vincent Price. During the closing weekend of the Tim Burton exhibition, we are also celebrating the centenary of Vincent Price. This is an appropriate pairing.
The Nightmare Before Christmas[ edit ] Main article: The Nightmare Before Christmas Burton produced, but did not direct, due to schedule constraints on Batman Returns, The Nightmare Before Christmas for Disney, originally meant to be a children's book in rhyme. The film was directed by Henry Selick and written by Caroline Thompsonbased on Burton's original story, world and characters.
The film received positive reviews for the stop motion animation, musical score and original storyline. Because of the ruling nature of the film, it was not produced under Disney's name, but rather Disney owned Touchstone Pictures. Disney also fought for the protagonist to have eyes,  which was a fight they did not win in the end. There were over people working on this movie just to create the characters. Along with the 3 years of work it took to produce the movie.
- “He wants to be just like Vincent Price”: Influence & Intertext in the Gothic Films of Tim Burton
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- Vincent Price
Jack Skellington, the protagonist of the film, was so popular that it later resurfaced in Selick's film James and the Giant Peach, and then again in a small scene in Coraline where the Other Mother is cooking, viewers are able to see Jack's familiar head in the shell of an egg. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Lifebut handed the directing responsibility to Resnick once he was offered Ed Wood. The reception to the film was mixed.
Ed Wood film Burton's next film, Ed Woodwas of a much smaller scale, depicting the life of Ed Wooda filmmaker sometimes called "the worst director of all time". AIP led this new market The style is hybrid and kitsch with a gallows humor, the best of it inspired by the short-lived but hugely influential EC horror comics, Tales From The Crypt, The Vault of Horror, and The Haunt of Fear, which had been killed off by a moral panic in 4.
Burton caught this paradigm perfectly in Ed Woodand Mars Attacks! Hammer Film Productions in the U. There was an energy he had; it was evident in everything.
In six minutes, Vincent takes us places that high concept genre blockbusters dare not go. The Demon Barber of Fleet Street The narrative pendulum stops in the imaginary realm after Vincent is scolded by his exasperated mother. Character design, storyboards, and backdrops place Burton in the tradition of post-war illustration, with stark lines, heavy shadow, and grotesque, black and white caricatures.
Seuss rather than Dr Caligari: I certainly saw pictures of it [The Cabinet of Dr Caligari], in any monster book there were pictures of it. I think it probably has more to do with being inspired by Dr Seuss. I grew up loving Dr Seuss. The rhythm of his stuff spoke to me very clearly. Caligari, the red and white candy cane stripes of Dr.
Although a Disney project, Vincent feels anti-Disney in both ethos and practice. The latter was voiced by Boris Karloff and written and designed by EC horror comic stalwarts Harvey Kurtzman and Jack Davis, and the merging of both films is a probable synergetic foundation for Nightmare Before Christmas Like Burton, Vincent Molloy believes in Vincent Price, inaugurating a pattern in which the Gothic discourse itself is subverted by embracing rather than resisting otherness: I was never terrified of them, I just loved them from as early as I can remember.
Every kid responds to some image, some fairy tale image, and I felt most monsters were basically misperceived, they usually had much more heartfelt souls than the human characters around them.
The Dracula myth centers on the problem of power — the self suffers an attack which makes it part of the other.
But the ones that you really love, I think they do. Obviously, the pacing of movies has gotten much quicker, but the old ones have a slower dreamscape that weaves its way into you. So that sense of slower pacing is already gone. Did you ever believe—or half believe—in ghosts? I think most people do. Did you feel any hauntings at the graveyards where you hung out?
You feel an energy. It has a positive sense to it. That, to me, is the right idea. There is humor involved—color and life. We talked about it when we did Corpse Bride . That was going more toward the Day of the Dead culture, which is much more positive.
Once, a long time ago, we went into a room at CTS Studios that was supposed to have a child ghost haunting it.
Vincent Price, Tim Burton, and LACMA
Everyone in the studio kept telling us about it, so we went in there and just stood in this dark, creepy room for a while. Have you ever been in a room where you might have had an experience?
Did you make it a point to go into these rooms? I want to ask you about Vincent Price. When I first met you, you told me how much of a hero of yours he was. Then I saw the animated short you did, Vincent , which was inspired by him. Had that been brewing for a long time? I felt connected with him, and that helped me get through life. I had written it all and done it in a kind of storybook or storyboard fashion, and I just decided to send it to him.
I had no idea what would happen. That made me feel really great. They could be a complete asshole, you know? But he was so great and supportive, and even though it was a short film, he helped get it made. That was my first experience in this kind of world, and it was a really positive one. It stays with you forever. When times are tough, all you have to do is remember back to those kind of moments—those surreal, special moments—and they really keep you going.
To discover that somebody like Vincent Price, who had been in the movie business for a million years, and to see that he was still such an interesting guy—that he was so into art, and helping this college in East L.
We went out to draw people. I was sitting there, getting really frustrated trying to draw the way they were telling me to draw.
Vincent Price, Tim Burton, and LACMA | Unframed
From that moment on, I just drew a different way. It freed me up to not really care.
At least it happened once. Then, interestingly, you became an animator at Disney. But the company was so directionless then, and I was under the wing of a great animator, this guy Glen Keane. I was kind of his assistant, and he tried to help me draw foxes and do all of that, but I was useless. They eventually realized that, too, but instead of firing me, they gave me other projects because they liked my drawings. That lasted a year. And then I drew where I wanted for a couple of years.
And that was very formative because out of all that came things like The Nightmare Before Christmas and Vincent.
Instead, you had a story and a series of amazing drawings. I think both you and I hate categorization. When I began the songs for Nightmare, I was surprised to see that you had already written a lot of the great lyric pieces, all of which got assimilated and incorporated into the final songs.