Post 6: Tim Burton
Tim Burton
Fill in the gaps in this biography of Tim Burton
He remains without question one of the most original film Director working in Hollywood today.
Indeed, his talent and originality have kept him at the top of the profession where he occupies a very special place, somewhere in the mainstream and the avant-garde, in that region of cinema occupied by artists ______ worldview is _______ unconventional that it attains popular appeal.
In 1989, Tim Burton directed the hugely famous Batman which, although his third personal film, was one of the most known movies of all time and gave him unprecedented success in Hollywood, considering the originality and adventurousness of his extraordinary films (for example Beetlejuice in 1988).
Edward Scissorhands (1990), another hit, saw him at the peak of his growing powers and established a fruitful working relationship with the actor Johnny Depp who played in his 2005 film Charlie and the chocolate factory of Roald Dahl’s book Charlie and the Chocolate Factory and who became one of his most esteemed friendship since their first film together.
In 1992, Batman Returns was a much darker film than the original, a reflection of how much ____________ freedom Tim Burton had won ( ______ Warner Bros were reputedly unhappy with the final result).
And even in Ed Wood (1994), his loving movie to the life and work of the legendary ‘Worst Director of All Time’ Edward D. Wood, Jr., was a box-office disaster, it got some of the best ____________ of Burton’s career.
In fact, Tim Burton is known both for his dark, quirky-themed movie like Sleepy Hollow, Corpse Bride, Sweeney Todd: The Demon Barber of Fleet Street, or Dark Shadows (2012) and for others such as Pee-Wee's Big Adventure, Batman, Planet of the Apes, Charlie and the Chocolate Factory and Alice in Wonderland (2010), one of his most seen films, which became the fifth highest-grossing film of all time.
Burton has made 18 feature films as of 2014, and has created 12 as of 2012 (among which the very nice stop-motion tale called The Nightmare Before Christmas in 1993).
All in all, Tim Burton’s films consistently challenge the spectator’s feelings, push forward the difficulties of filmmaking and bring to life previously unthinkable actors (like Edward Scissorhands).
Taken as a whole, his work consist on the confrontation between the fantastic and the horror, and the consequences of these two worlds intermingling.
Big Fish, Burton’s 2003 effort, is no different. And after, somehow, it is not really the opposite.
On the surface, it would appear to have all the characteristics of a classic Burton film: a magic screenplay, fairy-tale characters, flights of imagination, forces of nature ( as well as the supernatural), far-fetched situations and vastly imaginative visual style and imagery. The movie is, in fact, very packed with fanciful episodes that it begins to feel like a loose adaptation of The Odyssey, told from the mouth of an aging character named Ed Bloom, a story-teller and dreamer who sees the world with beautiful eyes.
Serious but it's a pity the worksheet is not very clearly legible.
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