Tim Burton Interviews Edited by Kristian Fraga

Introduction:" Burton responded to his critics with one of his most unique and inspired works to date Tim Burton's The Nightmare Before Christmas this picture ushered in a quantum leap in the art of stop motion animation and was the first Disney movie to be released using this technique president of Walt Disney pictures and touchstone put it, "this was an opportunity for us to be in business with Tim Burton and to say we can think outside the envelope can do different and usual things"

"I thought that people, especially kids, would love his work they way they loved Charles Addams"
"Mimi Avins in her 1995 premiere magazine profile of the film "but nobody recognized that of Disney they thought ok this is just too weird"

The introduction section of this book suggested that Tim Burton is an unique style of animator, drawer and creation-er within film and that he extended the possibilities in films not just for Disney however producers approach all assumed that his style would engage to kids just like"Charles Addams" however ended up being unrecognizable Disney films and audiences all saw it  as "too weird".

page 5- "Burton's first step into live action work was with frankenweenie"
Tim Burton said in his interview that "Disney own both films I cant even get a copy of them"
"At one point frankenweenie was scheduled to be paired with a re-release of Pinocchio but with negative feedback at a test screening caused studio heads to change their minds"

Tim said that "they claimed the film was too violent", "the only violence in that is when the dog gets run over by a car and that is done off camera"

Suggesting that originally Disney and people from the feedback test screening didn't originally
approve of Burton's film frankenweenie as it was just "too violent" for audiences although Burton suggested that the violence was off camera although later on in page 55 frankenweeneie was given a PG rating instead of G and then Disney buried it into their vault and Tim said that from what he understood was that Disney wouldn't give you a personal copy of it and Burton agreed that they were very weird about it

Although later on in page 96 they focus on The Nightmare Before Christmas " a twisted holiday fable that take place on a night when the sky is so dark it still has a conventional hero, a hissable villain and tunes that would be out of place in an old fashioned Broadway musical"

Within this book Burton discussed his work with Disney and also expressed how they acted towards his work originally and how they're still weird about it today as Disney has always been protective over his work as it was considered to scary for kids but eventually overtime they have partnered with Burton's style.

Disney Discourse- Producing the magic kingdom- edited by Eric Smoodin

When reading this book it discussed about little part of Disney audiences and consumers and talked a little bit about Alice In wonderland at the beginning, when reading these chapters I found them very interesting and thought that they could link to my topic.

Alice In Wonderland: page 11- "Disney cartoons experienced peaks and valleys in terms of critical acceptance: in particular, immediate past war years through to the production of Cinderella 1950 and Alice In Wonderland 1951 marked a general decline for the cartoons among the movie reviewers"

This page proved that not all Disney films were accepted as ideas as they were declined as idea's proving that they may not be looked upon as the best Disney cartoon films however both of these cartoons have now been developed into live-action films and both have had an amazing response compared to the reviews back then, suggesting that Burton's remake on Alice In Wonderland is actually more popular than the original cartoon ever was.

Children and animality as film audiences and consumers - page 211-232- "The fantasy positions laid out (for both children and adults) in associations of children with animals circulate around the conflated two paradigmatic distinctions between child and adult and that between animal and human" 

This suggests that combining animals and humans are seen as an connections between animals and humans have emotional connections and they associate children with animal and that this can affect the viewers and for example the relationship between the two main characters in Frankeenweenie can relate to this of sparky and his owner. 

Sight and Sound December 1994 Page 27-29

 After reading the section of animated dreams on The Nightmare Before Christmas which included an interview with Henry Selick and an introduction it was very fascinating what they'd said for example that "independent animation directors may be recognized as auteurs, but within the Hollywood mainstream directors are still seen as only a few steps up the food chain from inkers and painters" suggesting that independent directors are more recognized compared to the big hollywood directors where as for the film "Disney is marking it's latest feature as Tim Burton's The Nightmare Before Christmas" which proves Burton's impact on Disney because they described that the film "strongly evocative, in familiar dark night shades of Burton's visual signiture the film marks a departure for Disney" which proves that Tim Burton has had an huge affect on Disney's films as Burton offers a new range of ideas from the typical Disney classics although "the studio hasn't made anything as creepily sinister as this since Pinocchio visited pleasure island and turned into a donkey".

But during an interview with Selick he discussed that he was given the job of briefing and to keep Burton's style and to stick to the 'suits' of co-fiances of Disney, in addition to this "after a slow start the film gained $60 million in the US" but Henry Selick said that it was "very gratifying not to have typical Disney structure instead there was Tim Burton - an 800 pound gorilla with creative control" and because Tim is a lone film maker with an unusual films every single one has been successful not just because of his imagination but because Selick believes "animation leads itself to illustrating dreams of anything.

Comparing Empire's review on Alice In Wonderland past and present

Alice In Wonderland
Disney's animated adaptation of Lewis Carroll.

Plot
A little girl follows a flustered rabbit into the dream-world of Wonderland.

Review
Lewis Carroll's episodic fantasy stories have been translated on to screen more than 20 times, but Disney's animated version arguably remains the best, perhaps because a cartoon is the ideal way to bring such quirky characters to life.

Uncle Walt had a mind to adapt Carroll as far back as 1933, envisioning silent star Mary Pickford in the role of a live-action feature, but didn't commence production until after the war. Having undergone a drafted screenplay by Brave New World author Aldous Huxley, whose script Walt rejected because he could only understand "every second word", Disney's Alice opened in 1951 to almost universally bad reviews.

Fifty years on the movie is clearly due a reappraisal. It's colourful, fun and as surreal as Disney is ever likely to get, this isn't as good as the books, but works as a cute introduction to them.

Verdict
Two words: Disney classic.

Alice In Wonderland
Burton and Depp get curiouser and curiouser

Plot
Years after her adventures in Wonderland have become a dimly-remembered dream, 19-year-old Alice (Wasikowska) takes a tumble into eerily familiar Underland, a realm of terror under the mad Red Queen (Bonham Carter), who has usurped the White Queen (Hathaway). Disappointed she’s forgotten them, the Hatter (Depp) and friends insist Alice is their prophesied champion returned. Uh oh.

Review

Lewis Carroll and Tim Burton: a dream team or what? Visually the certainty that the two imaginative fabulists were made for each other is, to a great extent, realized exquisitely, with spectacular 3D, a haunting design for Wonderland, a seamless meeting of live action with animation, and a great deal of offbeat, twisted charm. It is in the telling that the story -- which is not an adaptation of Alice Adventures In Wonderland and Through The Looking-Glass but really a kind of sequel that references both and incorporates characters from both -- is, it has to be said, far less Carroll than Burton taking fanciful flight with a script penned by Linda Woolverton, (screenwriter of Beauty And The Beast and The Lion King for Disney).

Woolverton’s theme is Alice becoming a woman and finding her destiny, with a little help from socio-political allegory and the most eclectic cinematic band of guerrilla revolutionaries in fantasy since the Fellowship Of The Ring, from Johnny Depp’s acutely sensitive, schizophrenic Hatter to the agitated Dormouse voiced by Barbara Windsor and the mischievous illusionist Cheshire Cat voiced by Stephen Fry.

Strictly speaking it should be entitled something like Alice in Underland or Alice: The Return. So, be warned, there is no recitation of The Walrus and the Carpenter, no Mock Turtle or Humpty Dumpty (although arguably it’s worth the trip just to hear Depp recite from Jabberwocky). That’s regrettable for Carroll enthusiasts, the most fervent of whom will lament the loss of many cherished puns and quips, riddles, recitations, logic exercises, word games, contests and game playing. At least flamingoes and hedgehogs are still abused as croquet equipment, the mad queen’s soldiers are styled as playing cards (with her henchman-in-chief Glover’s one-eyed Knave) and a positively Narnian-in-scale battle of goodies, baddies and beasties for the realm kicks off over a giant chess board.

Wrapped around the Wonderland sequences is a framing device — Alice flees a surprise engagement party when she discovers she is to wed a snotty aristrocrat — that feels forced but things soon perk up with the appearance of Michael Sheen’s White Rabbit. Hurtling down the rabbit hole and experiencing life from various size perspectives thanks to the ever-popular potions and cakes, we and Alice are re-introduced to some of the most unforgettable oddballs in literature. And actually, losing one classic line of surrealism, satire, poems and freaky stuff enshrined in nonsense literature to impose a very Burtonesque brand of bizarreness (like the castle moat that has to be crossed by stepping on offed heads) makes for an engagingly creepy and coherent story of girl power that does work very nicely. Exchanging the child Alice for an Alice who bravely infiltrates the Red Queen’s court of tantrum-driven whimsy and rage as a secret agent, rescues her comrades from the head chop and bursts beautifully into battle in armour on the back of the Bandersnatch creates a pleasing, exciting adventure in its own right.

Helena Bonham Carter’s tyrannical wacko is sensationally fun, her grotesquely enlarged head miraculously topping a diminutive body. Even Hathaway’s good queen is unnerving, her white hair at punky odds with her black brows and lips. As for Depp, in his seventh collaboration with Burton, what’s not to like? In a frizzed orange fright wig, huge yellow-green cat’s eye contact lenses and gap-toothed, Depp still has dash, determined to see him as more romantic hero than lunatic. We’re right there with him on that.

The rest of the cast is satisfyingly thick with sterling British thespians and personalities, from Lindsay Duncan as Alice’s mother to a splendid voice cast that includes Alan Rickman as the hookah-smoking caterpillar, Sir Christopher Lee the Jabberwocky, Timothy Spall as royal bloodhound Bayard and Matt Lucas digitally duplicated into the chatterbox twin Tweedles, Dum and Dee.

Shot in 2D and 3D’ed up subsequently a la The Nightmare Before Christmas, this has obvious appeal in either option and, no doubt, in its DVD edition which supposedly follows, in a groundbreaking policy, in a mere 12 weeks.

Verdict
Sadly Lewis lite and not without flaws but this is as Burtonesque as one could wish for, a real treat for fans of his twisted imagination and great British character actors.

Reviewed by Angie Errigo

After reading both reviews on the original Disney Classic Alice In Wonderland compared to Burton's version they both contain different positive and negative takes on these two films for example both of these films earned a 3/5 star rating which suggested that both films are on the same level possibly because one is a cartoon and the other is a live action film, although the reviews for the 1951 Alice In Wonderland reviews followed that originally that Lewis Carroll's stories have been "translated more than 20 times" suggesting how could anyone else compare to the adaptations already made before however "Disney's animated version arguably remain the best" suggesting that any remake of the film would never compared to the "Disney Classic" but expressed that "a cartoon is the ideal way to bring such quirky characters to life" suggesting that any remake would never compare to cartoon as they can't capture the same quirky abilities to the film but they're wrong as the review for Burton's version of Alice In Wonderland 2010 that isn't "Lewis Carroll and Tim Burton: a dream team or what?" as considering Burton's style can offer great potential to create more realism especially in Burton's imagination, but reviews are positive for Burton's as "a seamless meeting of live action with animation" as it brings a whole new level of possibilities to the story although the review seemed disappointed not seeing familiar characters from the Disney Classic "there is no recitation of the walrus and the carpenter, no mock turtle or humpty dumpty" which made the reviewer say that Burton's take of this feel was more of a "sequel" as Alice is older and no longer a curious young girl and is very much "a very Burtonesque brand of bizareness" although is "a real treat for fans of his twisted imaginiation" suggesting that the film would suit limited audiences.

Frankenweenie Empire Review

Review
How sweetly ironic it is. In 1984, anxious minds at Disney decided to dispense with the services of 26 year-old animator Timothy Walter Burton on the grounds that his live-action short, Frankenweenie, was too scary for children and thus a waste of studio resources. His sensibilities, not to mention his drawings and storyboards, were too dark, too macabre for a home in the Magic Kingdom. Now, 28 years later, so keen are Disney to be in partnership with their one-time weirdo apprentice that the familiar Sleeping Beauty’s castle logo intro to Disney productions gets a dark and stormy re-tool to herald his feature-length, stop-motion-animated, black-and-white, 3D film Frankenweenie, Burton’s first full-length directorial outing for Walt’s mouse factory.

For those familiar with the original half-hour short (which starred The NeverEnding Story’s Barret Oliver as Vincent, Shelley Duvall and Daniel Stern as his parents, with a very young Sofia Coppola), available as an extra on some editions of The Nightmare Before Christmas, the plot is basically identical and a joyous lift from Mary Shelley’s Frankenstein, but expanded with another good hour’s worth of incident, drama and delightful detail. Burton went back to his original drawings but worked to a new, witty but emotionally resonant screenplay by John August (whose work with Burton includes Big Fish and Corpse Bride). It is, indeed, potentially upsetting for small children, what with the horribly dead pet, the schoolroom frog dissection, creepy characters, scary monsters and an enraged, torch-wielding mob chasing the corpsified creature to kill him and all.

Unfortunately, the fact that it might be distressing is particularly so because the host of classic horror films referenced, paid homage to and lovingly pastiched in the monster mash-up that is Frankenweenie are no longer a staple of Saturday afternoon television. Some immortal dialogue (“It’s A-LIVE!”) and the joys of characters who are modelled on Universal and Hammer icons (like Igor, every mad scientist’s favourite hunch-backed laboratory assistant) or the oeuvres of Peter Lorre, Christopher Lee (here seen in live-action Dracula clips on the Frankensteins’ telly) and the priceless Vincent Price sadly will go right over a lot of oblivious heads these days. The terrified guy unwisely seeking refuge from a stomping, chomping thingie in a temporary loo à la Jurassic Park may ring a bell.

But for horror buffs this is constant fun in a string of inspired chuckles. The Igor, by the way, is a slobbering Lorre-lookalike kid called Edgar ‘E.’ Gore (Edgar for Poe, geddit?) voiced by Atticus Shaffer, who plays Brick in sitcom The Middle and does a disturbingly good performance as a mini-maniac. The numerous nods to the Frankenstein franchise itself include the girl next door named Elsa van Helsing (Winona Ryder, one of several Burton alumnae in the voice cast, returning to the fold for her third film with him) for Elsa Lanchester, the original Bride Of Frankenstein, except it’s little Elsa’s poodle whose poof acquires the white lightning streak.

At its heart, though, you don’t have to have ever seen a horror film to see that this is firmly a boy and his dog tale, in which a lonely, misunderstood child’s loss of his only friend, faithful companion and cutely comical star of his home movies is sufficiently heart-rending to prompt everything that follows. The boy’s clumsy needlework, tacking together parts of his dog after it has been run over (and buried) and the desperate insertion of the Boris Karloff neck bolts/spark plugs are more strangely touching than mad.

The design of the town evokes an Edward Scissorhands-like sunny suburbia that is more sitcom cosy than fright flick, making it all rather endearingly real, if oddball. Burton, August and the entire team who turned Burton’s drawings into three-dimensional silicone and latex sculptures, dinky puppets constructed over intricate metal skeletons and coiffed with real hair, and beautifully dressed sets — great in 3D — seem to have kept in mind that all the kooky consequences and frightful fairy-tale misadventures stemming from Victor’s “science project” are just part of the one big idea: creation, art, giving life to something lifeless, making something out of nothing, is a passionately personal expression of love.

Verdict
Very sweet, very funny, really quite touching and exquisitely handmade, by a film lover with humour and a heart, for a like-minded audience.


Reviewed by Angie Errigo

After reading Empires review on Frankenweenie it has proven that the relationship between Disney and Burton were  organically not appreciated by Disney as it wasn't Disney standards as Burton's imagination was too dark for Disney however they have worked with him in the end although "anxious minds at Disney dispense with the services of 26 year old animator" and that it was "too scary for children" and that Burton's unique style was "too dark"  for "the magic kingdom" because of Disney audiences but "28 years later" Disney were "so keen to be in partnership with their one-time weirdo apprentice" but what comes to mind is why now?, maybe it's because they realized that The Nightmare Before Christmas was so popular that Burton may of had potential to help Disney because they gained more fans from Burton's style of work, although the reviews on the film started off negative but then become positive as as an film it was beautiful "constructed".

The Nightmare Before Christmas Empire Review

Review

Everything we have come expect from the variable Goth-hued imagination of Tim Burton as presented in stop-motion form: thus it squeals with visual delight, strewn with loveable-morbid creations, ornate Danny Elfman compositions and has a story that runs out of juice halfway through. We are lazily encouraged to just sit back and soak up the rickety gleam of its grotesquery of inspiration — dashing Jack himself is a xylophone-boned, pin-stripped lounge singer-type, his dog, Zero, has a ghostly glowing nose, while his great love Sally is a rag doll who can wilfully unthread limbs — and ignore the deficiencies in its storytelling.

It’s the schizophrenia of Burton, although the main duties of directing slow-slow process of stop-animation went to Henry Sellick, he’s less a Brother Grimm than an Edward Munch. Energy and art abound everywhere, especially in the glorious whirligigging dance scenes, except in the momentum of tale-telling. The characters are cool but limited, just more Gothic filaments for this black gown knitted for kiddiewinks with death obsessions. There’s plenty of smart referencing: German expressionism to Cure videos, but it lacks the warmth, and social detail of Nick Park’s Claymation. Park’s worlds are reflections of reality, Burton/Sellick’s is a lawless sprawl of dreams.
Verdict
All gothicky, christmassy, romantic and Burtonesque. Worth a look.


Reviewed by Ian Nathan


 After reading the review of The Nightmare Before Christmas on Empires movie review it has been astablished that this film only gained a 3/5 star rating however in my opinion I think that this film deserves more credit as it's become a loved and well known classic Burton film, they described the movie as it "squeals with visual delight" considering it was a three year project you'd hope that the visuals within this film are outstanding as it took a long period of time and determained team to create this magic stop motion animation, they've also described the film to be a "loveable-morbid creation" considering how unique the film is.
 Further more Empire mentioned "It's the schizophrenia of Burton" which suggests that Burton's imagination is abnormal and schizophrenia relates to hallucinations and delusions but this just proves that Burton's creations are one of a kind as they should be, but overall they rated the film to have "energy and art abound everywhere especially in glorious whirlgigging dance scene"

Frankenweenie

Frankenweenie was released in 2012 however was an early story creation of Tim Burton's imagination and is based around the story of a young boy named victor who decides to create a science experiment to bring his dog sparky back to life, during an early developed of Frankenweenie in the book Tim Burton interview on page 5 explained how the original film was "scheduled to be paired with a re-release of Pinocchio but negative feedback at a test screening caused studio heads to change their minds" as "they claimed the film was too violent" but Burton explained the only part within the film was when sparky get hit by a car however this was shown off-camera.

 

 This film was also a stop-animation film which was originally developed from a short black and white      film Burton had created in 1984 and was produced with Buena Vista Distributio, here is an example of  this short film, skip to 5:54; as the first part of the video contains one of Burton's short stop motion called Vincent.

Here are two trailers
 of Frankenweenie 2012:

Alice In Wonderland past and present

Within these clips I am going to be exploring how Tim Burton's version of Alice In Wonderland differs from the past, with the video shown below was test footage for the original cartoon which was used as the original audio used within the cartoon.

However within the video below this is an example of recording live action acting then placing it into the sketching processes of Alice In Wonderland;

On the other hand within Burton's take on Alice In wonderland is to create the "magic" is to use green screens, special effects and computer generated effects to enhance his imagination of his version creating a mad and visual world.

How Disney movies are usually made compared to Tim Burton's style

Within the book of Tim Burton interviews; edited by Kristian Fraga focused on many parts of his career from his collaborations with Disney to his earlier and latest pieces within this book Burton talked about The Nightmare Before Christmas however expressed that "Burton responded to his critics with one of his most unique and inspired works to date Tim Burton's The Nightmare Before Christmas. This picture ushered in a quantum leap in the art of stop motion animation and was the first Disney movie to be released using this technique" which suggested that Burton's influences on Disney to extend the way they think with their original processes of making their films.

In this video below this explains the method in which Disney follows to create the "magic" and the processes they have to go through the create their beloved cartoons;        





                                                                               

 

Although in these three videos this explains and shows the process of making Tim Burton's The Nightmare before Christmas which compared to Disney has similar similarities however different use of music and colour;

The differences between Tim Burtons version of Disney compared to the traditional Disney films

The original Alice In Wonderland was released on the 26th of July 1951 and on IMDB and has a rating of 7.4/10 compared to Tim Burton's remake of the film which was released on the 25th of February 2010 however this only gained 6.5/10 on IMDB.

Alice In Wonderland Original Tralier

Alice In Wonderland Tim Burton's Version Tralier

However the differences between Tim Burton's version of Alice In Wonderland compared to the original is that the classic follows Alice as an innocent, curious girl who seems to be a damzel in distress and who wants  adventure however is portrayed as a cartoon compared to Burton's realistic world of wonderland but presents Alice as a heroic warrior, and shows women empowerment and Burton focuses more on the madness of this classic story. 

Another major difference is the target audience as Alice In Wonderland 1951 was targeted as a PG, the newer version was targeted as a 12A because of wonderlands darker side as well as the original contained music where as the newer version focuses on the plot using dramatic music than sing-along music.

Tim Burton to produce Beauty And The Beast for the future

The movie is planned to be released within the next few years set for 2017 however it may be called The Beast because of copy right from the acclaimed classic

http://screenrant.com/disney-beauty-beast-live-action-movie-remake/

http://www.theguardian.com/film/2013/mar/12/beauty-and-the-beast-disney-makeover

http://www.denofgeek.com/movies/beauty-and-the-beast/34571/beauty-and-the-beast-live-action-disney-movie-set-for-2017

Proposal

I have decided that what I am going to be investigating for my small scale project is what Tim Burton can bring to Disney through researching his early career with Disney and how it’s changed since whether this is through his contributes to new films or if this is from people’s opinions on the movies from reviews or why they use his unique style of work and how this contributes to the “magic” of Disney films.

The films which I shall be focusing on for this project is that I am going to focus on The Nightmare Before Christmas, Alice In Wonderland , Frankenweenie and to research the upcoming new releases of Tim Burton and Disney collaborations such as Alice In Wonderland Through The Looking Glass, Dumbo and Beauty And The Beast, the main aim about this project is to find out why Disney finally decided to use Tim’s particular style when during the beginning they were unsure about his method of work as it didn’t fit the Disney expectations.

 I’ve always been fascinated by Tim Burton’s films such as Edwards Sissorhands, Corpse Bride, Sweeney Todd; The Demon Barber Of Fleet Street and Beetlejuice as these films opened the horizons of the possibilities within films as Burtons trait has very similar qualities such as using the same actor’s such as Johnny Depp and Helena Bonham Carter or the choice of colours and the representation of main character’s with dark large sunken eyes, as other’s have never used this style of work as Burton’s style is one of a kind, however I was always excited when Disney and Tim Burton produced films together as in my opinion I felt that Burton would always bring a new addition to the Disney movies and make them more engaging as they didn’t stand up to the conditions of Disney.

So far during my research I have discovered a majority of resources about Tim Burton and Disney at an early stage in Tim’s career, when reading chapters within ‘Burton On Burton’ in the chapter Disney and Vincent it explains how at the beginning Disney and Tim were a bad mix because of Burton’s rare style and how it could contribute to Disney’s films, even though when working on a project with Disney his sketches for The Fox And The Hound would end up looking like “road kill”. I have also researched into Alice In Wonderland through watching trailers, interviews, finding reviews in sight and sound magazines as well as Empire magazine to read the reviews given to the films to see people’s opinions on Burton take on these classic Disney films.

After researching into some of my focus films I started to explore new release for Tim Burton’s collaborations with Disney such as Alice In Wonderland Through The Looking Glass which is supposed to be released on the 26^th of May 2016 where as the acclaimed Dumbo is still to have a release date even though fans have already started to imagine the possibilities of what Burton can bring to the beloved Disney classic.

Furthermore during my research I have focused on what Tim Burton’s childhood was like and how this could contribute to his imaginative mind and the aspects he bring to Disney, as in ‘Burton On Burton’ – Childhood In Burbanks-Cals Ants Tim explains about when he was a child and how he always felt “alienated” as he would enjoy watching horror movies (as he always loved monsters and monster movies), scaring the neighbours next door and ripping the head off of his toy soldiers which could suggest how he could put this into his idea’s when making sketches for a film.

By the end of this project I am hoping to achieve finding out how Disney and Burton work together to produce films and whether they will always work together to enhance Disney films as since Burton’s collaborations with Disney so far has been admired by many audiences, but I am hoping that by the end of this project I would have answered my question on what can Tim Burton bring to Disney and also to prove to people how the collaboration of Burton and Disney work marvellous together.

During my research so far the secondary research which I have used for my project is that I have read chapters from ‘Burton On Burton’ which include his childhood, Disney and Vincent, Hansel and Gretel, Frankenweenie and Aladdin’s Lamp and The Nightmare Before Christmas to extend my information further to have more reliable sources which can contribute to his early life, career and his style of work, I have also read articles from The Sight and Sound magazine from April 10^th 2010 volume 20 issue 4 pages 32-34 on Alice In wonderland to gain resourceful opinions on the take on the classic and how he uses common themes within films, finally I have research on the Empire magazine and other online newspaper reviews on his films to get a mixture of opinions from different companies to see whether they support these films more or less than the other magazines.

Nightmare Before Christmas Empire magazine review

Even though The Nightmare Before Christmas came out in 1993 it was re-released in 3D compared to Empire's first review on the movie described as "gothic", and that "we are lazily encouraged to just sit back and soak up the rickety gleam of it's grotesquery of inspiration"- 
http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=117964 


However compared to the review when  The Nightmare Before Christmas the Disney Digital 3-D format was from 2006 until 2009, came out in 3D it was said that the film improved by 16% when viewed in 3D as "it adds both a literal and figurative dimension to the experience"     - http://www.empireonline.com/reviews/reviewcomplete.asp?FID=134660 and was described as "bigger, better and with more dimensions"

Empire Magazine Review on Alice In Wonderland

http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=118383

Sight and Sound - April 10th Volume 20 Issue 4 - Alice In Wonderland page 32-34

Although Tim took the opportunity to be apart of Alice In Wonderland Burton's unique style of work brings the story to life like Steven Spielberg's 1991 peter pan variant hook was not a strictly a remake of British Children's Classic stories and has already been wrestled into a Disney animated feature but also Tim Burton's take on the classic Alice In Wonderland follows the same story however when Alice is older, also removing characters from the animation classic of the walrus and the carpenter and the royal flush card but kept the iconic characters of the mad hatter, the queen of hearts, the cards, the cheshire cat, tweddle dee and tweddle dum.

However in Burton's films the hero's of many of his films all struggle with parents not just seen in Edward Sissorhand or in Willy Wonka with the relationship between his dad however Alice also faces this problem as she returns to London Victoria  but she seeks for adventure and ends up making her way back to underland even though she is aware of the power of the drinks and the cakes to alter her size however in Alice in underland the mad hatter and cheshire cat are both eccentric characters which side against the queen of hearts.

But in my opinion I think that Burton's take on Alice In wonderland is unique, interesting and gives Disney a new look on the classics however this can only develop further as Disney had broaden their style of work immensely compared to the animated films to the computer generated films such as Tangled, Frozen and Brave which offer more realistic characters, where as Tim's take on this is CGI and live action movies make the films feel more realistic, magical and exciting creating a movie masterpiece.

Burton On Burton - The Nightmare Before Christmas

" I have always been interested in the combination if live action and stop motion animations".

Originally Tim's intention for The Nightmare Before Christmas was created through the sense of Dr Seuss's films, the Grinch and Rudolph the red nose reindeer as he always loved the holiday specials however Tim's signature feature of his stop motion figures as seen in The Nightmare Before Christmas and The Corpse Bride have dark and sunken in eyes and tall and slim body features.

In The Nightmare Before Christmas main character Jack and "the characters that were designed for the nightmare had the added burden of not having eyeballs. The first rule of animation is; Eyes for expression" however Tim's style of drawing is to have pale skin and grey sunken eyes but "Disney, they at least understood our trying to push the envelop a little bit as far as the animation was concerned they were responsive to that" 

Although "Disney immediately  leapt at the chance to work the Burton" however Disney's adult orientated arm Touchstone picture and Burton set up skellington productions and began working on The Nightmare Before Christmas in July 1991, the film was marked his third movie in a row to be set at Christmas as Burton loved seasonal holidays "especially Halloween and Christmas because they were the most visual and fun".

The Nightmare Before Christmas was released Halloween 1993 and it made $51 million at the box office however it was ironically it was (mis)perceived as being too scary for kids.l

Burton On Burton - Disney and Burton becoming a team

When Tim was producing storyboards for short films such as Vincent which he kept to himself as orginally Disney didn't appreciate his style of work however Disney Executive, Julie Hickson and the head of creative development, TomWilhite "began to see in his drawings a rather unique talent that while not typically Disney was one felt deserved to be nurtured", During 1982 Tom Wilhite gave Burton $60,00 to produce Vincent which was also narrated by Burton childhood idol Vincent price on the other hand "Disney were pleased with Vincent but didn't know what to with it" Although in later years Tim worked with on Hansel and Gretel produced for $116,00 for the Disney channel as a special after 4:30pm.

Burton On Burton

In Burton on Burton in the chapter of Childhood in Burbanks- Cals Ants during Tim Burton's early ages he felt 'alienated' as he used to "rip the heads off his toy soldiers and terrorize kids next door" and aimlessly sit in front of the television watching horror movies, Tim said that "I've always loved monsters and monster movies suggesting where he gets his unique dark ideas for his style of drawing however he never thought "about making films for a living" however this opportunity came for Tim "after a couple of years at Disney, "Burton joined Disney in 1979 and worked as an animator on the studio The Fox And The Hound", however during Tim's early years the Disney program offered people the opportunity of becoming an animator although Tim suggested "it was like being in the army".

Tim was there for three years and during that time "there wasn't the diversity in animation that exists now", Tim described that "Disney and I were a bad mix" and he couldn't live up to the Disney program standards as when he was making the drawings for The Fox And The Hound his sketches ended up looking like "roadkill", Tim and Disney didn't collaborate well at the beginning as Disney "want you to be an artist" but also "to be a zombie factory worker and have no personality" but on during his program he ended up becoming a conceptual artist and it became fun and he was able to express his style however when he was hired for the conceptual artist for The Black Cauldron  but "they didn't use one single concept of mine".

Alice in wonderland: through the looking glass sequel

http://disney.wikia.com/wiki/Alice_in_Wonderland:_Through_the_Looking_Glass 

The Nightmare Before Christmas Trailer

The Nightmare Before Christmas Teaser trailer describes the movies as;

"To bring you one of the most unique and innovated movies of our time"

"extraordinary talents"

"prepare to experience  an exciting adventure in movie making"

Tim Burton interview

New Disney film inspired by Tim Burton- "Poppins"

Relationship between characters in Tim Burton films

In the majority of Tim Burton films Tim tend to create beautiful however strange relationships between the characters, as he focuses on the connection of friendships between characters such as the mad hatter and the Cheshire cat as even though they are frenemies the friendship is strong as Cheshire saves the mad hatters life however this could be because of the Disney standards and rules within the films.

http://blogs.disney.com/oh-my-disney/2013/06/17/the-beautifully-strange-relationships-in-tim-burton-films/

Tim Burton to direct live action 'Dumbo'

http://blogs.wsj.com/speakeasy/2015/03/10/tim-burton-to-direct-live-action-dumbo-as-disney-plots-fairy-tale-strategy/

http://www.rotoscopers.com/2015/05/18/what-should-we-expect-from-tim-burtons-dumbo/

http://indierevolver.com/2015/03/11/tim-burton-to-bring-his-unique-view-to-disneys-live-action-dumbo/ 

Tim Burton is to direct the upcoming live action 'Dumbo' however what can we expect from Tim Burton's style to re-create the story of the classic Disney animation of Dumbo a flying elephant we can expect Dumbo the elephant to be the CGI main character however how far will Tim expand this. 

Tim Burton and his relation with Disney films; What Can Tim Burton Bring to Disney?

Tim Burton and Disney

During my research on Tim Burton I will be focusing on his early career with Disney and how it eventually developed over a period of time for them to collaborate, with Tim's unique style of characters that are big eyed, use of low key lighting and the contrast of blacks, grey and white of Burton's own fantasy world of creations and how Tim's unique style can contribute to Disney and what it can offer in the future.  

http://disney.wikia.com/wiki/Tim_Burton