The Master of Gothic Mainstream: Tim Burton

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There have been many films that have left their mark on pop culture and changed the way we see the world, but only a handful of directors have created a vision with such imagination as Tim Burton — the master of fantasy Gothic, who showed us that eccentric is sometimes the best way to be.

CHILDHOOD TO ADULTHOOD

Tim Burton, the son of a baseball player, was born in the city of Burbank, CA were he spent his childhood watching classic horror films and making short films for his amusement. While doodling and painting in class or where ever he could, which turned into a scholarship and education at CalArts, one of the premier art colleges in America.

Where shortly after graduating he briefly worked at Walt Disney Studios before branching out on his own to further his creativity.

This departure led to Tim’s first feature film Pee Wee’s Big Adventure which opened the door to more film opportunities.

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THE FILMS

Of course the best part about any Burton film is the visual style; that is always unique, dark, and inventive and it still remains a signature of both his animated and live-action films since Batman or really even Vincent (since then Burton has often worked with Warner Brothers and Walt Disney Studios).

The early Batman franchise introduced us to the darkness of Gotham with its unforgettable characters. While Beetlejuice provided a first glimpse into the mind of Tim Burton, but it wasn’t until The Nightmare Before Christmas that he showed us his true creative genius and animation talents and thankfully films have never been the same since.

Yet even for all their eccentricity his films also carry an odd humor and delicate vulnerability that makes us care about the most unlikely creature such as in Big Fish and Edward Scissorhands. His twist on life and on some of the greatest stories of our time have opened our mind to the strange beauty that is life — and there’s nothing fictional about that.

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DID YOU KNOW?

Interestingly enough, there are some things you may not know about this mysterious director. Read below to discover some fun information.

  • Designed a special balloon for the Macy’s day parade.
  •  Moved in with grandparents at age 12.
  • Has worked numerous times with screenwriter John August.
  •  Uses his original childhood artwork for film inspiration and character looks.
  •  Loves monster movies.
  • Role Model is Vincent Price
  •  Has made cameo appearances in films.
  • Tim Burton almost launched the Superman franchise with Nicholas Cage.
  •  Has brother named Daniel.

For more Tim Burton check out these links.

http://www.imdb.com/name/nm0000318/

http://www.timburton.com/

http://www.huffingtonpost.com/2014/09/23/margaret-and-walter-keane_n_5862848.html (BIG EYES)

http://www.goodreads.com/book/show/519112.The_Melancholy_Death_of_Oyster_Boy_and_Other_Stories

The Evolution of Disney: Frankenweenie Part II

Last time we explored Frankenweenie’s puppets and animation process behind the scenes. This time it’s all about the overall design — the production and costume design that is, which will give you an idea of just how extensive a stop animation feature is to make.

PRODUCTION DESIGN & SET DESIGN

The look of Frankenweenie, like the story, was inspired by Tim Burton’s childhood, specifically the town of Burbank, CA where he grew up, as well as old horror movies and common Gothic motifs. Frankenweenie takes place in the town of New Holland which shares characteristics of Burbank around the 1970s with its classic cookie cutter idea of suburbia. Executive producer Don Hahn refers to the style as ” Transylvania meets Burbank”.

The production design was spearheaded by Rick Henrichs, who has worked previously with Burton on other films; he and his team studied 1970s architecture of the southwest, featuring tract-house style homes and other post-war periods to bring Burton’s vision of New Holland to life. The designer also based the fictional world on the original live-action short borrowing the expressionistic style and Gothic style of the black and white film to expand upon the look of New Holland.

After massive research, the designing began in November of 2009 in an L.A. studio before moving to the London studio to actually begin the long process of constructing the models, props, sets, and other decor.

The main challenge with stop motion or any feature using miniatures is finding the proper scale for the characters and sets they inhabit.  Out of all the sets, New Holland presented the biggest challenge for designers having to construct a whole town from scratch and Victor’s lab which required a lot mechanical wiring and hand lighting installations.

In total, about 200 sets were created for the film and the overall color scheme was a black and white to grayscale monochromatic look.

While you will notice the film uses many classic horror motifs such as the Windmill on the hill — which also had to be hand engineered — and the cemetery.

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Frankenweenie set (Walt Disney Pictures)

 

 

 

 

 

 

 

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COSTUME DESIGN

Costumes and hair are a completely different beast in stop-motion, not only because of the scale but because like the sets — you have to create everything from scratch.  You can’t buy or rent clothes for production and hair can’t be styled or wigs purchased. Instead, it is a highly detailed process done by hand. For example to create the hair for each puppet someone must push individual strands of hair with a special needle into the puppet’s head to create a full wig. While the process of the costumes involves selecting fabrics and then making mockups for approval by the director before being hand sewn to size for each character.

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REPAIR

Of course when your working with that many objects on such a small scale repeatedly things are likely to receive some wear and tear between shots. That’s why on set there is a “hospital” where it is someone’s job to make the puppets or sets brand new again. Kind of cool.

CONCEPT ART

Here’s also a look at some of the concept art and sketches from the film.

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For more art and behind the scenes check out the visual companion book http://www.barnesandnoble.com/w/frankenweenie-mark-salisbury/1111502479?ean=9781423141860

( Images copyright of Walt Disney Pictures)

The Evolution of Disney: Frankenweenie Part I

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THE HISTORY AND STORY

Disney has a wealth of films that are specifically Disney or Pixar, but every now and then Disney partakes in a new film relationship with a big producer or director from outside the fold . One of the best re-established relationships is with former Disney alum Tim Burton, who created films like The Nightmare Before Christmas, Sleepy Hollow, Batman Returns, Big Fish, and most recently Frankenweenie.

Frankenweenie — for those of you unfamiliar with its history — comes from an early live-action attempt by Tim Burton in 1984(link to film on youtube) when he was working for Disney, that was originally rejected. The basis of the story was about a boy bringing his beloved dog back to life; the origina wasl story inspired from Burton’s own childhood and lost of his pet Pepe and Universal’s 1931 film Frankenstein. However, the dog featured is of course a different breed. While overall the film cost Disney about $1 million dollars to make and was 30 minutes long. At the time Tim Burton was only 25 years old.

Moving forward Burton expanded on his original short turning it into an stop motion- 3D full-length feature with a richer storyline, featuring 1930s horror classic homages.

The updated story itself follows the story of Victor, who would rather explore his passion for science and shooting his dog Sparky on Super 8 films than make friends.  Until one day Sparky dies unexpectedly and Victor turns all his attention to bring his dog back to life, which he manages to do only to unleash new horrors upon the town of New Holland when others learn his secret of reanimation.

 

THE PROCESS

Animation and Puppetry

Frankenweenie took about 2 years to create and approximately 400 crew members and relied on many of Burton’s original drawings and concepts from his original live-action short. While also borrowing from 1930s horror classics with the style and names of many of the characters.

 

"FRANKENWEENIE"

 

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The film was created using Burton’s signature medium of stop-motion animation, which is a very long and painstaking process using highly detailed, hand art methods that create animation by moving each character or object by hand to create a shot, which is 24fps and amounts to about one shot per a week.

The total team of animators altogether consisted of 33 people led by Trey Thomas and relied on the Disney approach of extensive research through studying the dogs and locations in person or by bringing them into the London studio to capture everything accurately.

Overall more than 200 puppets were created and multiple duplicates and parts of all the characters were created so that animators could work simultaneously on scenes. The process for each puppet or character basically began with a sketch that was turned into a maquette(clay-mockup), which was then caste to create a mold from which an armature could be created. In simple terms — they basically created a skin from clay and skeleton from metal and wire parts and gears to animate the figures.

 

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To give you an idea it takes about 3 days to create Sparky once designs are approved and most of the details on Sparky are then hand painted on.

You can watch a video here for a more detailed look at http://www.digititles.com/animation/frankenweenie-2012/videos/making-of-frankenweenie and I’ll showcase more behind the scenes hopefully next week featuring the production design and costumes from the film.

(Images copyright of Disney)

Coming Soon

Sorry for the delay everyone. Festival season turns me into a busy bee. Plus my other new ventures have slowed my work pace. Welcome to the world of entertainment and job hunting — or rather freelancers anonymous.

In any case I should have a post up real soon, possibly by the end of the day. Either way hold tight.

From now on — until further notice — I may not have posts weekly or biweekly, but I will always have at least 1 or 2 posts a month. Though I hope more if timer permits.

As always I appreciate your patience and feel free to check me out at tumblr @cinematictruths in the mean time for frequent updates and your daily fill of behind the scenes movie stuff and art.

Ciao!

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BEHIND FX THE STRAIN: WHERE LOVE RULES FATE

 

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Vampires, they’ve been around forever — or so it seems. We’ve seen the charming ones, the scary ones, the ruthless ones, and the ones who fall somewhere in between, but often we forget their origins; which for the most part didn’t arise until about the 18th century. So what really is a vampire and have they been misunderstood?

FX’s new series The Strain created by Guillermo del Toro and Chuck Hogan plays on this myth and tries to bring some new understanding to the vampire mythos, along with some disgustingly, awesome creature design and storytelling to bite.

The Strain re imagines the modern day vampire in a world where his desire is not only driven by insatiable blood thirst, but also love. Making him not only the hunter, but the unfortunate victim of his own fate.

 

 

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VAMPIRE INSPIRATION

Creating one of the most original angles attempted in vampire lore; the creators based their vampire incarnation on folklore from many countries, but primarily were inspired by early eastern vampire folklore.

So what’s the difference between eastern and western vampires, you ask? Which nowadays is hard to tell with all the vampire films or tv shows we’ve seen in the last few years — from True Blood to Twilight to Interview with the Vampire to Dracula it’s pretty difficult to see any real difference, but western and eastern vampires are pretty different. It’s just most of us wouldn’t know the difference because modern society has hammered us to death with more recent 18th century western European versions, which only borrow a bit from Eastern vampire lore.

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So for those unfamiliar with eastern lore, The Strain’s vamps are closer to our present notion of a zombie and they don’t necessarily suck blood and bite with the use of fangs. Rather these blood suckers attack there victims much like the Asian Aswang or Mandurugo, which you may have seen an interpretation of on Grimm recently.

Basically both these vampire types use a long tongue like instrument to suck fluid from their victims and have a thing for hearts and organs like the vampires on The Strain. Likewise they are also more ghoul like in appearance. Sorry, no sparkling beauties here.

Meanwhile other aspects of The Strain’s vampire mythos explore aspects where the family they left behind becomes of greater importance — feeding their new life from beyond the grave.

In the most recent episodes it’s been revealed that these vampires are a type of Strigoi, which is a vampire found in Romanian folklore and the whole idea of  severing the head from the body comes from Croatian folklore. So you can see already there are some major differences, which I’ll explore further at a later date.

TO BE CONTINUED . . .