The Art of Tim Burton, Standard Edition

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Tim Burton ist im Herzen ein Künstler. Doch anstatt nur zu malen und nach seinem Tod berühmt zu werden, hat er seine Magie in Filmen gebannt. Doch das Problem, das alle Künstler*innen haben, bleibt: Er malt immer und überall auf alles, was nicht davonläuft. Also haben sich Leah Gallo und Holly Kempf hingesetzt und über 4.500 Puzzleteile zum Wahnsinn Burtons sortiert - Notizbücher, Bilder, Serviettenbildchen, Sketche und Konzepte für Filme und und und. Dann haben sie Weggefährten und Kollaborateure befragt und herausgekommen ist dieses 5 Kilo schwere Prachtwerk. The Burton-esque style is derived from a wealth of art, cinematic, and literary genres. But if Burton’s work was just copied from his influences, it wouldn’t resonate with viewers. What Burton brings to all these ideas is his own joyous idiosyncrasy — his ability to meld the ominous and the frightful with a sense of whimsy, and then turn that unholy duet into part of the act and the art of being a tortured outsider. In Latin America, the annual celebration of the Day of the Dead is traditionally accompanied by a host of colorful depictions of skulls and skeletons. Among these are reanimated skulls and skeletons known as calaveras, and calacas, skulls and skull masks worn during ceremonies. Burton’s work is full of references to calacas and calaveras. The Calavera Oaxaqueña by José Guadalupe Posada. ca. 1910. Library of Congress The Day of the Dead in Burton’s Corpse Bride.

Over the years, Burton has achieved both critical and commercial success in the live-action and animation genres.2007’s Sweeney Todd: The Demon Barber of Fleet Streetwon the Golden Globe for Best Film—Musical or Comedy and earned Burton a National Board of Review award for his directing work.Many of his films – such as Ed Wood (1994),Sleepy Hollow (1999), Big Fish (2003),and Alice in Wonderland(2010) – have garnered numerous Academy Awards, BAFTA, and Golden Globe nominations and wins, cementing his status as one of the greatest film makers of our time. Tim Burton is one of modern filmmaking’s best-known directors — largely because his films all look like Tim Burton films. It’s hard to find a recent director whose distinct visual aesthetic has become so universally, immediately recognizable. Even in his new live-action Disney film Dumbo, which is something of a departure from Burton’s previous work — it’s a remake that doubles as a careful critique of its predecessor — it can still easily be called “ Burton-esque,” like all of his movies.Tim Burton’s imaginary world has now become a familiar one, a world everyone is drawn to. A world which is welcoming and heart-warming, filled with strange-looking people and sad clowns more frightened than frightening. His message is clear: people are not defined by their appearances. To be different does not mean to be excluded and differences should be cultivated along with singularity and creativity. His universe is more appealing than scary even though it is full of outcast characters. Their tragedy inspires more pity than fear and monsters become charming. He shows life as both kind and tragic, beautiful and cruel, funny and disturbing. The horrible becomes tender and poignant and it is the beautiful that becomes scary. Monsters and Colours Tim Burton Work Cited

In 2009, the Museum of Modern Art produced a wildly successful exhibition of Tim Burton’s art and sculpture, showcasing material from throughout his life and career as an artist and filmmaker. In conjunction with the exhibit, Burton curated a list of films that had had key influences over his life’s work. The film series, called “Tim Burton and the Lurid Beauty of Monsters,” included a wide-ranging list, from the works of B-movie scion Roger Corman to horror films by James Whale, Tobe Hooper, and many others. All I had the first time I went to work with Tim on Edward Scissorhands aside from the images arriving in my mind, was a tiny drawing that Tim had made. One look at that drawing was all I needed to understand what Edward was about. It has been exactly the same ever since.” His InspirationsGrab your pin-stripe trousers and dishevelled green wig. Fans of Tim Burton’s halloween-tastic films will be over the moon to hear that next year they’ll be able to step into the gothic fantasy world of the director at the Design Museum. But what does it mean to be “Burton-esque?” Is there a way to catalog the visual ingredients of a Burton film? And how did Burton develop such a distinct visual style that continues to resonate so strongly with audiences? The real strength in Tim’s artwork is his appreciation of form with strong shapes and exaggerated proportions. Within a few seemingly simple pen lines, he creates bold silhouettes […] You would be mistaken for thinking that some of Tim’s rough sketches are rudimentary, loose or naïve, for they hold vital information, demonstrate a great delicacy, sensitivity, consistent keen eye, and a stunning vision’. Between his love for Vincent Price, Edgar Allan Poe, skeletons, and cemeteries, Burton soaked up plenty of gothic inspiration as a child. But remember — he also grew up in peaceful, quintessentially suburban Burbank, where he was constantly fascinated with thoughts of ominous and dark things lurking beneath the surface.

Comprised of works from his signature films and projects including The Nightmare Before Christmasand The Melancholy Death of Oyster Boy and Other Stories(1997) to never-before-exhibited artworks, The World of Tim Burtonis a deeply engaging experience that gives the public access to the artist’s very personal and singular output. Tim Burton entered the California Institute of Art and worked in animation for Disney but was soon disappointed by the company’s style, which was very different from his own. He was contrived to imitate and create pale imitations of Disney pencil traits with no soul and no emotion. All his independent projects were considered too bizarre to be screened and not adapted for children. It is only after leaving Disney studios that Tim Burton was able to free himself from artistic constrictions and focus on his art which he developed by embracing filmmaking. A film always starts with a drawing. Intuitive, enthusiastic and perfectionist, Tim Burton draws like he breathes. He has never separated his art work from his film work. Johnny Depp recalls his first collaboration with Burton:A general sense of visual distortion, the use of dialed-up color contrasts, looming architectural shapes, and an overall sense of heightened reality, are all further key parts of the aesthetic that form basic components of a “Burtonesque” look. Expressionism has influenced so many subsequent art and film styles — everything from film noir to Surrealist art, from art deco architecture to midcentury horror — that its impact on Burton’s own style hardly makes him unique. However, from here on out, his influences may seem even more surreal. A scene from Tim Burton’s 1986 episode of Faerie Tale Theatre finds Aladdin entering an Expressionist cave of wonders. YouTube And here Edward Scissorhands (Johnny Depp) is in his own garden of wonders a few years later. 20th Century Fox via IMDB The Day of the Dead made a huge impression on Burton Can't say Tim Burton is an incredible artist, but that's what makes every piece true. He's not doing it for money or because he's really good at it. It's one of the only ways he knows how to express himself, whether its on paper or camera. Having it all bound into this wonderful cloth covered book is fantastic. Not too mention the Deluxe edition looks great on any shelf or table. Burton’s distorted, slightly dystopian suburbia often takes on a gleefully manic, almost circus-like form that’s descended from gothic’s bloodier cousin, Grand Guignol. We see its influence in films like Beetlejuice, Charlie and the Chocolate Factory, and Sweeney Todd. Whether or not things get bloody, they’re always tinged with an awareness that things could get bloody. And that’s the heart of the gothic in a Burton work. Burton also cites a number of mid-century sci-fi and horror films as influences over his work 1999’s Sleepy Hollow, which featured cinematography by Emanuel Lubezki, drips with homages to Hammer films and Maria Bava. Paramount Pictures via IMDB