LYCOS RETRIEVER 
Tim Burton: Films
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Burton did not enjoy being an animator, not one little bit. Imagine, if you will, what it's like to be an animator. Films are projected at 24 frames per second. For a 90-minute film, that's over 129,000 individual frames. Characters are drawn separately and then put together, and placed over painted backgrounds. The work requires talented artists, but they cannot deviate from the structured manner of drawing the characters.
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In disappointing contrast, Burton makes this scene slick and uneventful. There's no magic in the air when Charlie finds the money in the street, and the first (and only) bar he purchases has the ticket. (The 1971 film is like Dahl's book, with a second bar containing the ticket.) There's no glorious music, Charlie's would-be enthusiasm is simply a shadow of excitement, and Charlie--mind you, the same child who just seconds later (in Burton's account) would rather sell the ticket for money than allow anyone in the family to go to the factory--then *neglects* to receive the change from the shopkeeper for the purchase of the candy bar. What should have been one of the most glorious moments in the film slips by on equal par with every other scene in the film.
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After directing episodes for the revitalized TV series Alfred Hitchcock Presents and Shelley Duvall's Faerie Tale Theatre, Burton received his next big project. Beetlejuice (1988), a supernatural comedy about a young couple forced to cope with life after death, as well as a family of pretentious yuppies invading their treasured New England home. Starring Alec Baldwin and Geena Davis, and featuring Michael Keaton as the famously repulsive bio-exorcist Beetlejuice, the film grossed about $80 million on a relatively low budget. The film ... won a Best Makeup Design Oscar.
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Francine Stock talks to Johnny Depp and Tim Burton about their bloodthirsty musical Sweeney Todd. Helena Bonham Carter and Alan Rickman reveal what it was like to sing on film for the first time. Paul Haggis, Oscar-winning director of Crash, talks about In The Valley Of Elah, his controversial new film about the traumatising effects of the Iraq conflict on American soldiers.
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Following the surprise success of Pee-wee's Big Adventure, Burton didn't make another film for almost three years. It wasn't until he was offered the anarchic screenplay for Beetlejuice that he finally found another project suited to his unique vision. The film was an even bigger hit, and led to Warner Bros. offering Burton the job directing an eagerly awaited comic book adaptation that had been years in the planning.
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Burton's world is one of outsiders on the periphery of society. His heroes are psychologically scarred, perpetually naïve and childlike, misunderstood or unintentionally disruptive. They are all figures who upset conventional society and morality. Even his villains are rarely without merit; circumstance and society blur the divide between moral fortitude and personal action. But most of all his films have an overriding aura of the fairy tale, the fantastic and the magical.
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