Archive for Tim Burton


Posted in Art, Eye Candy, Fantasy, Goth, Monsters, Movies, Reviews with tags , , , , , , , on October 5, 2012 by darklordbunnykins


Voice cast includes Charlie Tahan, Martin Short and Catherine O’Hara

Directed by Tim Burton

Written by John August


It is slightly ironic that 30 years after Disney allegedly fired then fledgling animator Tim Burton for wasting their money making his (somewhat) macabre short movie Frankenweenie that the studio would hire the iconoclastic director to flesh out the concept in stop-motion and at feature-length. But Burton’s legacy of creativity and profit (he returned to the Mouse House to direct Alice in Wonderland) means that the professional oddball can pretty much do what he wants, with or without Johnny Depp.

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Posted in Eye Candy, Fantasy, Movies, Reviews, Vampires, Violence with tags , , , , , , , , , on June 21, 2012 by darklordbunnykins


Starring Benjamin Walker, Dominic Cooper and Rufus Sewell

Directed by Timur Bekmambetov

Written by Seth Grahame-Smith

20th Century Fox

Much like the founding father himself, Abraham Lincoln: Vampire Hunter is as honest a title as any movie has ever had. Indeed, if you give yourself up to its sheer ridiculousness then you’ll have a great time in the theatre. If you are especially fond of the laws of physics or decide to tsk-tsk the assorted clunkers that litter Seth Grahame-Smith’s script – which he adapted from his own book – then you’ll likely shake your head in disbelief and wonder how many Duplass Brothers films the budget could have covered. To you I say fuck off.

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Posted in Art, Eye Candy, Fantasy, Monsters, Movies, News with tags , , , on June 11, 2012 by darklordbunnykins

Tim Burton fans in and around Toronto later this summer who are eager to get a look at the director’s new film Frankenweenie ahead of its October 5 release  have another reason to visit Fan Expo this August.

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Posted in Eye Candy, Ghosts, Gore, Goth, Interviews, Movies, Supernatural, TV, Vampires, Werewolves, Witches with tags , , , , , , , , , , , on May 11, 2012 by darklordbunnykins

The DLB spoke with actress Chloe Moretz recently in conjunction with the home video release of Hugo, her collaboration with Martin Scorsese. Of course we just had to ask about her role in Dark Shadows. Director Tim Burton’s much-anticipated movie version of the ’60s soap opera casts frequent Burton collaborator Johnny Depp as the cursed vampire Barnabas Collins, a role originated by recently deceased Canadian actor Jonathan Frid. Moretz plays Carolyn, the sullen teen daughter of Elizabeth Collins Stoddard, played by Michelle Pfeiffer.


What was it like working with Tim Burton?

Working with Tim was such an experience. I don’t even know what to say because he’s probably been my dream, dream, dream director, along with Scorsese of course, to work with.

My mom and my brother didn’t actually tell me because they had called in and they had said that they wanted me for the movie, and of course my mom and my brother didn’t tell me in case it didn’t go through or something, and if it feel through I would be so devastated.

So they didn’t tell me, but after the deal went through my brother and I had landed in New York to do a photoshoot, I think, or something. And we had just landed, got off the plane, and [Moretz’s brother] Trevor received an email from my mom saying the deal’s gone through, oh my gosh, we’re so excited. It’s happening. Of course he turns to me as we’re docking the plane, and he goes, ‘So Chlo, what we were going to tell you is you’ve booked a Tim Burton film for Dark Shadows and it films in three months, and I was like ‘What!?’ I just started freaking out on the plane, and everyone was like ‘what is wrong with that girl?’ And I was like freaking out, like ‘oh my Gosh!’ And I freaked out so much that I actually left my iPad on the plane. It was a pretty special thing.

I’m in love with Tim and I’m in love with Johnny and Helena [Bonham Carter] and Michelle Pfeiffer and everyone. It’s a really special, special movie.




Posted in Movies, News, Sci-Fi with tags , , , , , on August 3, 2011 by darklordbunnykins

The DLB had the chance recently to speak to Rupert Wyatt, the director of Rise of the Planet of the  Apes, who mentioned the film’s parallels to Frankenstein:

To what extent do you feel like Caesar is a modern-day representation of Frankenstein’s monster?

“Yeah, very much so. There’s great echoes in our story of that. The idea that a young chimpanzee, of which there are many real world examples, growing up in a human environment, believing himself to be human even though he looks different. To then find himself cast out and thrown in to be with his own kind, yet he doesn’t belong with them either because he wears clothes, he has human mannerisms, he likes to eat with a knife and fork, all of those things which make him a freak to both sides, that’s classic Frankenstein.”


Rise of the Planet of the Apes opens Aug. 5.



Posted in Books, Interviews, News, Vampires, Violence with tags , , , , , , , , , , , , , , , on July 27, 2011 by darklordbunnykins

Dominic Cooper stars in THE DEVIL'S DOUBLE.

The Dark Lord Bunnykins had the chance this afternoon to speak to Dominic Cooper, the British star of the upcoming “gangster” film The Devil’s Double. Cooper, who can currently be seen on screens as Iron Man’s daddy Howard Stark in Captain America: The First Avenger, plays both Uday Hussein, Saddam’s psychopathic son, and his double, Latif Yahia, who spent years in real life doubling as Uday in case of assassination attempts.

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Posted in Art, Interviews, Photo gallery with tags , , on December 11, 2009 by darklordbunnykins

Tim Burton

As you likely know because you love horror so of course you love Tim Burton, the Museum of Modern Art in New York recently opened a career-retrospective exhibit of the great man’s work. Curated by Ron Magliozzi, Assistant Curator, Department Of Film, MoMA, the exhibit contains costumes, sketches, report cards, film and all manner of artistic ephemera from every era of Burton’s career. It’s a truly magnificent display of creativity which acts like a roadmap through the man’s brain.

Mr. Magliozzi was kind enough to field a few questions about the exhibit and its inspiration – photographer, artist, poet, provocateur, trickster and filmmaker Tim Burton.

Where did the idea for this exhibit originate?

It has always been our mission to honour the work of the cinema’s most important and influential artists. The Museum of Modern Art Department of Film has staged approximately 80 gallery exhibitions on the cinema (in addition to its film screening programs) beginning with Georges Melies: Film Pioneer in 1939, including gallery installations on D.W. Griffith, Alfred Hitchcock, Pier Paolo Pasolini, Roberto Rossellini, Ernie Gehr, Ray Harryhausen, the UPA, Disney and Warner Bros. animation studios, British, French, German and Italian cinema, Yiddish and Black cinema, and in 2005 the Pixar Animation Studio. Tim Burton follows in this tradition. This exhibition provided us with the rare, virtually unique, opportunity to focus attention on a filmmaker who has created so much remarkable work that is appropriate for display in a gallery setting as well as on the screen.

The idea came to mind in 2005 while we were in the process of organizing the Museum’s Pixar exhibition (which is still touring the world by the way). We had already begun considering how we might follow this ambitious studio exhibition. The precise moment of inspiration came at a screening of Charlie and the Chocolate Factory (2005). Early in the film when the Wonka character throws open the door on a Pop Art candy-coloured world, I made a sudden comparison in my mind to the Gothic world of Corpse Bride released a few months before and the looks of all the other Burton worlds, including that of his book of verse The Melancholy Death of Oyster Boy and Other Stories (1997), and thought in that instant “We should approach Tim Burton for an exhibition at MoMA.”

Carousel, 2009

What was your opinion of Tim Burton as an artist prior to taking on this project?

Like many admirers of Burton’s work, we had the impression that Burton had an essentially dark, gothic sensibility as an artist, but quickly realized that this was an inadequate assumption. We knew that Tim had expressed his admiration for the technique and expressive qualities of Post-Impressionists like Van Gogh. He has also voiced his admiration for artists such as Francis Bacon, James Ensor and others, as well as for popular illustrators such as Theodore Geisel (Dr. Seuss). The influence of popular culture on his work is generally known, in particular silent film Expressionism and the American and Japanese horror and science fiction films of the 1950, ‘60s and ‘70s. Fans (us included) of films such as The Nightmare Before Christmas, Corpse Bride, Ed Wood and Sweeney Todd for instance delight in aspects of the Gothic and Grand Guignol that characterizes much of what he does.

As significant as all these associations are to an understanding of his work, none seemed to provide a perspective that encompassed the full range of his artistic endeavour and accomplishment. It wasn’t until we began to consider him within the context of the Southern California artists known as the “Pop Surrealists” that we found a frame of reference that seemed appropriate. In the late 1960s a disorganized movement of artists working outside mainstream museum culture began creating art inspired by the “lowbrow” and what were thought to be disreputable forms of pop culture. Although Tim has never consciously identified himself with the so-called Pop Surrealists, he is of their generation and shares many of their thematic, narrative and visual interests and motifs.

What – if any – narrative thread regarding Tim Burton’s artistry were you able to tease out from putting this collection together?

Because the premise of our exhibition was “to trace the current of Tim Burton’s creative imagination from childhood through his work as a mature artist,” and because we are presenting so much work that has never before been seen by the public, we have chosen to present the work in a roughly chronological order. In addition, since Tim himself has so often pointed to his upbringing in Burbank, CA as a shaping influence on his views of art and the world, we took on the idea of “Burbank” as an organizing principle for our exhibition: “Surviving Burbank” for childhood and juvenilia; “Beautifying Burbank” for the period of education and self-discovery during which he begins to realize his talent through practice and experimentation; and “Beyond Burbank” for his years of success and collaboration as a feature filmmaker.

The entrance to the MoMA's Tim Burton exhibit

What is your favourite Tim Burton film and why?

My current favourite is the “lost” Burton film we are featuring in the exhibition; it is Tim’s adaptation of Hansel and Gretel made for the Disney cable channel in 1983. Featuring an all Asian-American cast, with a drag performance by actor Michael Yama as the stepmother/witch and ending in a martial arts fight and paint-splatter battle between the witch and the children, Disney executives reportedly found the film too unusual and disturbing for young audiences and broadcast it only once late Halloween night before it was put away and largely forgotten – except by loyal Burton fans for whom it became a “holy grail.”

How important do you feel was his experience of loneliness to the development of Burton’s artistry?

Burton has certainly described feelings of alienation from the middle-class environment and attitudes he was raised with, but I don’t know that “loneliness” is precisely the right word for this. Although he may have experienced feelings that he was out of place, misunderstood and estranged from his parents, if his amateur films and early drawings are any indication, he found relief in creative activity, in studies of humour and horror, and in a community of young friends with whom he collaborated.

How do you explain the magic of Tim Burton’s art?

In our view the central motifs in his art include: creature-based notions of character, body modification, masks and armour and the Carnivalesque (clowns, stripes, question marks, pumpkins and the like). The combination of Tim’s signature visual style and narrative imagination, his handling of the grotesque, empathy for the dynamic of childhood/adulthood relations, links to pop culture and optimistic celebration of creative activity speaks on some personal level to a generation of young fans, designers, illustrators, filmmakers and artists.

Untitled (Blue Girl With A Skull), 1992-1999

For more information on the Tim Burton exhibit go to