In tribute to my current writer's block.

House at the End of the Link

Untapped New York "My Day as a Paparazzo" how New Yorkers react to celebrity sightings and how it changes when the paparazzi are involved.
Roger Ebert remembers Diary of a Lost Girl one of my very favorite silents starring Louise Brooks.
Geekscape wonders what The Avengers might have looked like had it been made in the 1980s. Michael Biehn for Steve Rogers and Cary Elwes for Tony Stark? I could deal.
Stranger Than Most names the laziest tagline ever. Oh Safe House. Try harder!

In Contention Julian Fellowes to right Cameron's wrong on Titanic. Oh dear. Fellowes has let Downton Abbey go to his head. Aint nothing wrong with Titanic (1997) that isn't so wrong it's right.
Deja View remembers an animated bit from Who Framed Roger Rabbit (1988)
Awards Daily new images from Woody Allen's To Rome With Love. How many title-changes has this one gone through now? 
Animation Mag here's a fun one for Los Angeles based readers. There will be special one-off screenings of Snow White and The Seven Dwarves (1938) and  20,000 Leagues Under the Sea (1954) at Grauman’s Chinese Theatre next month.
Rope of Silicon first image of Jennifer Lawrence in House at the End of the Street. Elisabeth Shue co-stars (yay!) 
Vulture Star Market Jennifer Lawrence 

And speaking of... yeah yeah we'll talk about Hunger Games soon. My review will be up Sunday at some point. Stay tuned.

click to remember this house

Don't Mess With Saoirse's Baby Blues!

The teaser trailer for The Host, another dread Stephenie Meyers (Twilight) adaptation...

It begins by visually equating a possible apocalyptic danger to the earth with blue eyes and it ends with a series of eyes, all computer or contact enhanced toward possessed creepiness.

If you ask me it's entirely regrettable to fuck with Saoirse Ronan's unforgettable blues because they need no computer enhancement to spook and thrill.

I saw him. I saw him with my own eyes."

Meryl Says "Hi"

Burtonjuice: The Disney Misfit Years

BURTONJUICE. Our Tim Burton retrospective begins now...
Every Thursday night until we can't take it  no more! 

Last week I rented the Disney documentary "Waking Sleeping Beauty" which I was curious to see again after it's strangely quiet public reception. I really enjoyed the documentary and though it ended like one big long self-aggrandizing commercial for the Magic Kingdom and all they bring to the movies, it's first hour is surprisingly frank about the downward slide of Disney animation in the 70s and 80s and the political tug of wars among the big money executives.

But let's get to the subject. Don't you always forget that Tim Burton started at Disney? I know I do. He never gets a line in this documentary but we do see him briefly twice in the behind the scenes footage while the narrator talks about the generational divide at Disney during the animation studio's near-demise in the 1980s.

Ron Miller knew that Walt's guys were retiring fast. He had to raise a new crop of animators but he was cautious about it. It was this interesting cross generational thing where you still had a few of these legendary artists who were in their 60s and approaching retirement and then a bunch of young people in their 20s who were really really exited and sort of passionate about this medium.

It was thrilling to learn from the masters but there was a feeling that somehow we could be making better films."

Burton doesn't look too happy sitting slack jawed in that tiny cubicle, but that's just his face. Surely the budding filmmaker was excited to be chasing his dreams. Even if his now ultra familiar dreams are far more Gorey lite Gothic than Disney cheerful.

Before his star ascended in the early 80s when two shorts Vincent (1982) and Frankenweenie (1984) gained him a reputation within the industry as a truly distinctive and entertaining filmmaker, he made a handful of very rarely screened shorts. I wish I'd attended the Burton exhibit recently which featured them. Have any of you seen these five?

 

The Island of Doctor Agor (1971) was his first effort at the age of 13. He played Dr Agor. Stalk of the Celery (1979) is a one punchline animated short but you can see Burtonisms especially his love for the mad scientist... though it should be said that Burton's ouevre also includes subversions of this trope, the benevolent (if still mad) scientist. Doctor of Doom (1979) has Burton crashing a party and creating a monster that he sends out to "destroy all beauty." Luau (1982) is a lengthy short that is unfortunately kind of unwatchable on YouTube but it telegraphs a bit about Burton's oddball sense of humor though it also seems a little hornier than his subsequent work. He plays a disembodied head that's the "most powerful force in the universe" and though he tries to turn people into zombies, he doesn't have much luck. At least at first... I gave up 12 minutes in but not before I understood his affinity for Ed Wood. Burton also made a version of the oft- filmed fairy tale Hansel & Gretel (1982) -- which is hard to find -- with the great production designer Rick Heinrichs as his producer. They met at Disney and kept working together.

 

Oscar winner Rick Heinrichs and Tim Burton at work on Vincent (1982)

It only took their collaboration 17 years later to win an Oscar (Heinrichs for Sleepy Hollow) though Tim Burton has famously never been nominated as Best Director. His sole personal nomination was for the animated feature Corpse Bride.

Where were we? Oscar trivia is so distracting. Oh yes, Vincent (1982). We love it. Disney, rather famously, did not. Too dark!

My favorite favorite favorite part...

He likes to experiment on his dog Abercrombie
in the hopes of creating a terrible zombie.

Vincent is just wonderful isn't it? A.

Vincent's Tim Burton's perfect woman?
Before we move on to Frankenweenie (The Original) next Thursday tell me if I'm crazy but little Vincent's hallucinated dead wife...

He knew he'd been banished to the tower of doom
where he was sentenced to spend the rest of his life.
alone with the portrait of his beautiful wife."

She looks SO familiar. A pinch of Lisa Marie? Two cups of Corpse Bride... a scoop of Helena Bonham-Carter in Alice in Wonderland? What Burton woman does this most remind you of?

What's your favorite part of Vincent? And do you think it's too easy to retroactively project meaning on to the early work of famous filmmakers?