"Big Fish" Musical on Broadway Oct. 6

The Wrap reports that the musical version of Big Fish will be coming to Broadway on October 6th, where it will play at the Neil Simon Theatre. The production is based on the original novel by Daniel Wallace and the Tim Burton film. Susan Stroman directed the show, with the book written by frequent Tim Burton collaborator John August (screenwriter of Big Fish, Charlie and the Chocolate Factory, and Frankenweenie, etc.).

The musical will have its world premiere with a five-week engagement beginning April 19 at Chicago's Oriental Theatre. Previews there start April 2.

The cast includes Tony Award-winning actor Norbert Leo Butz ("Catch Me If You Can") as Ed Bloom, the character played by Albert Finney and Ewan McGregor in the movie, and Kate Baldwin ("Finian's Rainbow") as Sandra Bloom, played in the movie by Alison Lohman. Bobby Steggert will take Billy Crudup's role of Will Bloom, and Zachary Unger will play Young Will.

The musical is produced by Dan Jinks, Bruce Cohen and Stage Entertainment with Roy Furman, the Nederlander Organization, John Domo and Broadway Across America.

"Frankenweenie" Awards and Nominations, Part One

Although it wasn't a box office smash, Frankenweenie has been a big hit with critics. It has been the best reviewed animated film of 2012, and has earned many nominations and wins already.

This morning, the film was nominated for a Golden Globe for Best Animated Film. The awards ceremony will be broadcast on NBC at 8pm ET / 5pm PT.

Frankenweenie has already won acclaim among some major critics circles. The film was recognized as the best animated film of 2012 by both the New York Film Critics Circle and the Los Angeles Film Critics.

The animation world has also celebrated Frankenweenie. The film has received five Annie Awards nominations:

-Best Animated Feature
-Production Design in an Animated Feature Production: Rick Heinrichs
-Voice Acting in an Animated Feature Production: Atticus Shaffer as "Edgar"
-Voice Acting in an Animated Feature Production: Catherine O'Hara as "Weird Girl"
-Writing in an Animated Feature Production: John August


We will keep you posted on more developments soon!

Interview: Burton on "Frankenweenie," Autobiography

/Film interviewed Tim Burton recently. They discuss the new stop-motion Frankenweenie, the aspects of autobiography in the film, Burton's love of science and art, and more:

/Film: I’m curious about the degree to which Frankenweenie is autobiographical. It’s easy to watch the film and assume certain things about the level of representation of your life, but I also wonder about it being a film about the perception of your life.

Tim Burton: Well, this was definitely a real memory piece, because I mean the original short was based on the kind of relation I had with my first pet, that kind of relationship, and Frankenstein films and monster movies. What made me want to go back to the material was a couple of things, one was the stop motion, which I love, and going back to the original drawings, as there was something in those drawings that you couldn’t quite get in live action which I wanted to explore. Then just beyond that initial relationship, it made me start thinking about the other kinds of kids in school, the place I grew up, the teachers… a lot of other kinds of monsters. There were lots of elements that came up that fit into that same sort of world, so all of that together made it feel like a new project to me and something very special. I tried to link almost everything up to somebody I knew, you know like kids and types of people that I remember and the types of relationships you had with other kids and stuff. So almost everything was based on something of a memory.

One line that really stuck out was when Victor’s father discusses reanimating the dead, and says it is “upsetting.” Over the course of your career you’ve played a lot with notions that are upsetting to a certain general population. I’m wondering if the notion of “what is upsetting” or what you think other people might find upsetting has changed over the years.

It’s always funny to me, because I always think… because you’re right, and then I go “Well I grew up on Disney movies” and there’s a lot of weird shit in those movies, you know? People, as they get older they forget these things I think. It’s interesting. I always found it a strange phenomenon. I mean I remember when the short came out and they were all freaked out with “It’s too weird. It’s too dark.” It was meant to go out with Pinocchio as kind of a featurette and “yeah, it’s too weird and too dark” and then they showed Pinocchio and the kids are screaming and running out of the theater, because there’s some scary stuff in it. I just remember them like on Batman Returns, “It’s so much darker than the first one.” Or “It’s so much lighter.” Like half the people would say it was “darker” and half the people said it was “lighter.” It’s like “How can something be lighter and then half of you say…” So I’ve always had a strange kind of… So at the end of the day it’s a mystery to me. (Laughs) It just kind of makes me laugh now, because I still to this day don’t understand it.

Are there things that are upsetting to you? Are there concepts that you think “Okay, no. That’s just something that shouldn’t be explored.”

A lot of movies now are just such torture, I mean there are things that are hard for me to watch, certain violence, even though I grew up watching Hammer Horror films and I loved… My level of torture porn is probably like Dr. Phibes or Theater of Blood, you know? (Laughs) That’s about my level.

How did you work with John August on the script? Was that a very close collaboration?

Yeah. I showed him the original thing and we started riffing. I wanted to expand it and go like… “Remember what they did in the original? This was like later with Universal when they did like House of Frankenstein and House of Dracula where they brought in other monsters or Abbot and Costello Meet Frankenstein.” There’s something about those that I always loved, the idea, so that was a sort of framework, but then it was just trying to be about, for me, as personal, like “This kind of kid, that kind of kid” and finding the right… I gave him kids and monsters and talked about the framework of it all and he’s quite good and he knows me, so he got it pretty quickly.

Among the characters, you’ve got the kids who are clued into what’s going on, and you’ve got their teacher, who’s two generations up. In the middle are the parents who are just flailing around. Is that consistent with your own experiences growing up?

Yeah, I would say so. I tried to treat all of the emotions as real as possible and also just the weird kid politics. Also, with Victor, it’s like he’s a loner in a certain way, but at the same time he is the most normal one in a certain way and that to me felt like it was an accurate feeling. I remember feeling like an outsider, but I also felt quite normal, and I also felt like everybody else was weird, and that dynamic of how kids are with each other and how there are certain teachers where you don’t really know what they are talking about and have a certain power to them. So all of those kind of things were based on real people and real feelings.

Do you ever go back to those memories and start to wonder “are these memories actually legit?”

Well yeah, it’s true. I think, especially as time goes on, how you remember something isn’t necessarily the way it was. Also, even though you might grow up feeling like you are completely alone, if you asked any other kid they would probably feel the same way. So I think that you can only use your own experience and for me it wasn’t so much… Memory, you try to treat it as such. A memory can remain very powerful and there’s validity to that and as long as your not trying to say “That’s exactly it,” because obviously with this it’s not a historical piece. So there’s a bit of looseness to that.

Do you have any artifacts of your own childhood that you can go back to to say, “Oh, I can pinpoint how I was feeling at this point.”

I can go to Burbank and look at all of the houses I grew up in and all of that stuff and get a weird vibe, yeah. So there’s that, which somewhat has remained kind of the same. It’s a strange place. It hasn’t really changed that much.

I was really struck by some of the attitudes towards science in the film. [Ed: there's a thing about science needing to be tempered by love.] Was that you, or was that John?

For me, well again I grew up with Dr. Frankenstein and all of those mad scientist characters. I mean I always loved that and I link that to science and art and creativity and how I remember growing up there was a real kind… There was a suppressing of those emotions in people and trying to suppress creative thinking or science and thinking about things in a different way. It seems like even more so now there’s a kind of suppression of those kinds of feelings. So that was an important message with science, art, or anything where people are thinking, to let that flourish and not let that be suppressed.

So those impulses are closely connected for you, artistic and scientific?

Yeah.

Photos: "Frankenweenie" L.A. Premiere

Frankenweenie had its big screening at the El Capitan Theatre in Los Angeles this past Tuesday, September 24th. Here are a gallery of images from that red carpet event:

Tim Burton

Robert Capron, Tim Burton and Charlie Tahan

Charlie Tahan, Winona Ryder and Robert Capron

Atticus Shafer and Robert Capron

Charlie Tahan, Winona Ryder and Robert Capron

Martin Landau, Catherine O'Hara, Winona Ryder, Charlie Tahan, Martin Short

Tim Burton and Martin Landau

Tim Burton and Winona Ryder

Don Hahn

Don Hahn, Robert Capron, Martin Landau, Catherine O'Hara, Winona Ryder, Atticus Shaffer, Charlie Tahan, Martin Short, Allison Abbate, John August

Winona Ryder

Martin Landau, Catherine O'Hara, Winona Ryder

Charlie Tahan and Robert Capron

Tim Burton

Winona Ryder

Atticus Shaffer

Allison Abbate

Elvira and Tim Burton

Martin Landau

John August

Martin Short

"Big Fish" Musical Pre-Broadway Premiere in Chicago

Broadway World has announced that the musical adaptation of Big Fish will have its pre-Broadway premiere at Chicago’s Oriental Theatre (24 West Randolph Street) in a limited 5-week engagement beginning performances Tuesday, April 2, 2013, and playing through Sunday, May 5, 2013.

Norbert Leo Butz (pictured above) will headline as the protagonist, Edward Bloom. Big Fish is directed and choreographed by Susan Stroman (best known for The Producers), with music and lyrics by Andrew Lippa, a book by John August (who also wrote the screenplay of Tim Burton's 2003 film), and is produced by Academy Award winners Dan Jinks and Bruce Cohen.

Burton on Making "Frankenweenie" Work

IGN visited Tim Burton for a tour of the making of his stop-motion animated film, Frankenweenie, which some are describing as not only Burton's "dream project," but one of the most personal feature films he's made.

“There’s a kind of House of Frankenstein feel to it,” explains Burton, referring to the 1944 classic film that brought Universal’s horror movie franchises – Dracula, Frankenstein and the Wolfman – together on the screen. “It’s a way for me to go back to what the original concept of the drawings was; stuff and characters I’d been thinking about over the years, without any real framework. So when we decided to do it with [screenwriter] John August, and focused on it with some other monsters, it sort of took on that tone a little bit. But still keeping the essence of what the original was.”

There will be plenty of monsters in the film, but producer Allison Abbate clarified that the real villains of the film will not necessarily be the most grotesque or strange looking. "It’s the people who are the freakish monsters in the story,” says Abbate. “It’s normal school politics on a heightened level,“ Burton elaborates. “It's like that kid you always thought was weird at school, but here he also looks more like Boris Karloff or Peter Lorre. They’re basically all horrible people…”



Burton enthusiastically weaves in and out of his studio like it's his own laboratory. “It’s always quite surreal to see people working on them,” he marvels, “five people on this one house, it’s incredible.”

Some of the sets are even based on Burton's own childhood experiences. “This is the school I went to,” Burton winces, as we tour the local high school, its science lab replete with details like chemistry sets and Bunsen burners. “I can’t stay in this room, it brings back horrible memories!” He squints again at the building’s clean, oppressive outline and regimented rows of desks. “Jeez… is the school [designed by] Leni Riefenstahl?”

Burton has had the unique opportunity to make this film in black and white. Since all of the sets, puppets, and props exist in the real world, everything had to be handmade and shot in reality, with real-world physics to consider. In a sense, it's almost like making a live-action film in slow-motion, rather than a traditional or computer animated movie. “The great thing about this is we light it like it’s a real movie,” Burton enthuses. “Even frame by frame it helps the acting. You kinda feel like a giant on a live-action set, but with that classic black and white richness and depth of field.”

In addition to being in black and white, the film will also be presented in 3D. However, it will not be shot in stereoscopic 3D. But Burton has had experience with such a post-production conversion process on The Nightmare Before Christmas, and feels that it can work. “Knowing you’re going to do it and having the time to do makes sure it’s not a crappy conversion. We took time with Nightmare.”

“People want this ‘revolt against 3D,’” he says impatiently. “I don’t adopt that like it’s one way or the other. It should be a choice. To me, more choice is better than no choice. I’ve seen good 3D and bad 3D movies. I would understand people seeing a crappy 3D movie and feeling ripped off.”

Production Designer Rick Heinrichs on "Frankenweenie"

Collider recently caught up with Rick Heinrichs, production designer on Frankenweenie. The production designer has worked with Burton on numerous films in different capacities: Edward Scissorhands, Batman Returns, The Nightmare Before Christmas, Sleepy Hollow, Planet of the Apes, Dark Shadows, and their first black and white, stop-motion animated film, the short Vincent (back in 1982), as well as the original live-action Frankenweenie short in 1984, to name a few. Heinrichs discussed his role on the new black and white, stop-motion animated film which will be released in theaters on October 5th, as well as his working relationship and friendship with Tim Burton, which dates back to over thirty years ago when they were film students:

Question: How did you get involved with this project?

RICK HEINRICHS: Let’s see, 30 years ago, we did the live-action Frankenweenie, and it was a fruition of a certain period of development that Tim [Burton] and I had gone through from CalArts to Disney. That was the last thing we did at Disney, at that time. In fact, we did Frankenweenie after we developing another little TV show that we were trying to sell, called The Nightmare Before Christmas, and that ended up happening later, as well. I was actually surprised to find out that a stop-motion version of Frankenweenie was going to happen, but the more I thought about it, the more I thought, “What a great idea!” I loved the live action version, and there was something great about doing all of the design sets on stage, in addition to the location and the interiors, and it got my own wheels turning about doing live-action films, in the future, which I have continued to do. But then the idea of looking at this again, as much as I love it, there’s things that I wish we could have fixed about it. How often do you get to redo things like that? Doing it as a stop-motion animated film is appealing because that’s my passion. And, Tim and I did Vincent together, many years ago, as a kick-off for those. I think when you see the film, you can see how sophisticated it’s become. What I love about it is that it still feels handmade. You can still see the hand of the animator in there, and all of the passion that they’re putting into the character. You don’t necessarily think about it when you’re watching it, which is great. It does feel like the actors are really acting. Those animators are just amazing, the way they act through these puppets. In terms of design, it’s amazing to see it in black and white again, and really play with the tonal values in a much more controlled way, this time. When you’re doing a live-action film, you’re dealing with a lot more people and, as much as you want to control the sets and control the lighting, it’s like wearing boxing gloves to try to do something delicate. With stop-motion animation, the cinematographer is lighting the set, and the set decorators and the model makers and the animators are all people you’re talking directly to. You can fix things. It’s on a scale where it’s all fixable, and you can continue to manipulate things until it shoots. It’s a longer process of prep and production as well, so you can really bring more, continuity to bear, on the whole process.

What’s the most complex set in the film?

HEINRICHS: Well, the town is probably our most complex set. For any number of reasons of efficiencies, we really tried to restrict how that was going to get shot and be reasonable and, at the same time, give the sense of the character of the town, as a background of the people. Whenever we prepare for these things, we always design much more than we end up doing, so we have lots and lots of stores that we designed. It lives in this pseudo-Burbank world, which is where Tim grew up, coincidentally, but not exactly. It’s post-war Southwestern America. It shares a little bit of design similarity to Edward Scissorhands, in the scene of a neighborhood or a flat sense of normal with this one aberration, sticking up in the background, which is very much of a signature motif for Tim. A lot of what he tries to do is to establish a sense of what’s normal and show how that can be somewhat monstrous, in its own way. The idea of bringing your dog back to life is a nominally horrific idea, but it gets played out in this lovely way, and it ends up being a love story, really.

Did you use photo reference for it?

HEINRICHS: Yeah, we did what I would normally do on any film that’s live-action or animation. We did a lot of research. We pulled together a lot of that mid-century modern look of suburbia, that’s not really high-end stuff. It’s really more of the tract housing of the post-war era. It created its own rhythm and feel to it, and now I think it’s beautiful. It’s so flat and says so much about the people who live there. And then, the black and white just looks beautiful.

How did the New Holland idea come up?

HEINRICHS: New Holland occurred with Tim and John August, at the story stage. It was all about having Dutch day, and also about how American communities really take these Old World elements and they turn it into this flat, suburban thing. They knock down all the maple trees and they call it Maple Street. It’s this absconding of things out in the world, and making it your own thing. There was something characteristically American and charming about that, like Solvang. To be honest with you, I really think that it establishes a purpose for the windmill. Since we’re not making it part of a miniature golf course, as we did in the live-action film, we had to find another reason for it to be. But, that’s just my assumption.

Was there a reason why you made the sets were in color and the characters in black and white?

HEINRICHS: Yes, because the grass came that way. The reason why they’re in color is partly because we were replacing skies and set extending and using backgrounds, so there is a lot of digital work going on in the background. What I love is the fact that you don’t really think about that. All the stuff in the foreground is appropriately handmade and hand-animated. The look and feel of that, from the excellent visual effects people who did all the work on it, it’s part of their job to make it all work as one world, to make sure what they do is not photo realistically, which would be their normal bent. They’re actually matching a look and feel that’s already there. We were chromocene, so there were green screens behind elements. And, all of the black and white gets timed and sweetened in post-production. But, all the dailies were shown in black and white. As far as everybody was concerned, they were living in a black and white world. This is a much smaller range of graphic elements. We’re dealing with tone and shape and form and light, instead of color, and all the other stuff that comes with color. It’s out of that, that we’re trying to feeling and support the story. I think it looks beautiful. I think it does evoke a certain period of horror/science fiction films. It works in a dual way, and I know that Tim loves that stuff, as well.

Is that more liberating for you, or more challenging?

HEINRICHS: It’s both liberating and challenging. The challenge is that you have to pay much more attention to that specific stuff because you don’t have the other stuff to make it look great. Once you learn that and figure that out, then you realize that you are really dealing with elements. The tool kit is then atmospheric perspective, one foreground shape against another, lighting, texture and form. Originally, I was a sculptor, so that’s appealing to me, as well.

What was the process of taking Tim’s original drawings and translating them into these three-dimensional figures and creating a whole world from his sketches like?

HEINRICHS: I would have to go back to our early days of Disney when they were regenerating the studio. We were all working on The Fox and the Hound. It was initially exciting to be working on a Disney film, but then it just sagged in the middle, a little bit, although my kids like it. It’s a good movie. You’ve got to imagine this place with all these young animators, all of whom have been told that they’re special and are going to be amazing someday, and realize what it’s like to do the work of a big, corporate animated film. And, we would just do stuff on the outside. We’d make Super 8 movies, and do anything we could to keep our blood going. I’d always been a fan of Tim’s own work. I’m sure you’ve seen his sketches. What was appealing about them was the sense of character and beautiful line. I wanted to make it three-dimensional because I thought that his work was very three-dimensional, even though a lot of people at Disney thought it was very linear. Apparently, the hallmark of a Disney film is that they look very three-dimensional, back in those days. So, I just took it upon myself to make sculptures of his work, and there was just something different that happened. It was his intent and his look, but it was in light with form. It was just a very natural progression, to try to do those in a stop-motion animated film.

Has your job changed with like the advent of higher grade visuals and 3D?

HEINRICHS: Yes, it’s much harder to do our job because you see every pore. I think that it is an incredibly appropriate use of digital technology. It was amazing to see all of the improvements and progressions that had happened, by the time we did Nightmare in the early ‘90s with motion control, but that was with old film technology. Now, with digital cameras, which are much smaller, the ability to completely restructure the entire process using computers, you still end up with a very believably handmade product, but you’ve just helped yourself enormously with all the other things that happened. So, I’m a fan of technology. I’m not a Luddite. My problem has been with purely digital films. I feel the danger there is that the kind of short-cuts you end up having to take are the ones that are most telling in the main characters. I don’t feel that that’s the case with what we’ve been doing on Frankenweenie.

What were the discussions like, to differentiate the look of this film from everything else that Tim’s done?

HEINRICHS: There wasn’t a conscious effort to differentiate it. My feeling is that, if you do your due process and go back to the well, grab the original inspiration and just develop it from the ground up, it is just, by its own nature, going to be different. It wasn’t really intentional. With Tim, all of his films live in a Burton world, and there are different parts of that world that look a bit different. The point is never to intentionally make it not look like something else. The intent is always to go back to the source and figure out how that is informing this project.

Tim made the original Frankenweenie when he was a 25-year-old kid. Is it surreal to be revisiting it, this many years later, and to what degree are you trying to recreate what you did before?

HEINRICHS: You gain wisdom and you don’t make the same mistakes. When you’re that age, there’s a kind of energy to what you do. Because you don’t know enough not to make mistakes, there is something that is very infectious about the work. In the original Frankenweenie, there are a couple of things that are cringe worthy for me, like how we engineered the burning of the windmill. That’s always been a problem for me. But, it was a live-action film, and you’re on that rock, rolling down the hill. I do think back to that time with a lot of fondness about the young guys who were doing that stuff. It is so surreal to be able to go back and re-work something in a different way and, really, in a new way. Yes, it’s the same story, but it really is different and it has a different feel to it, as well.

What made you and Tim hit it off, all those, all those years ago, and how has your personal chemistry been, through all these films that you’ve done together?

HEINRICHS: It started because his talents and mine intermeshed, rather than competed. Probably a lot of it is that I just really dug what he was doing and wanted to see it develop. And, with any relationship over years, it evolves. We’ve gone our separate ways and done different things. I’ve worked with Tim for the last two and a half or three years, pretty consistently, and it feels great to be able to pick that up again. There’s a friendship there, and there’s been an evolution over the years, as well.

Did you meet working at Disney, or at CalArts?

HEINRICHS: Well, actually, he was at CalArts. I’d already gone through four years of art school, and I was the oldest guy in the first year there because I wanted to do animation. All these guys, who were years younger than me, including, you know, John Lasseter and Brad Bird, and other people like that, were in a grade level above me, so we didn’t actually start really working together until the studio.

Video Interviews: Producers on "Frankenweenie"

ClevverMovies spoke with Frankenweenie producers Allison Abbate and Don Hahn at the Disney D23 Expo. The two animation veterans discussed why revamping Burton's 1984 original live-action short film into a feature-length stop-motion animation is relevant to the storyline, what new ideas screenwriter John August is bringing to the project, and much more:



About.com has another video interview with Abbate and Hahn. In this video, the producers talk about how people (especially children) have responded to the black and white format of the animated film, why the film will be in 3-D, and more.

A small amount of footage of the animated film was shown to the D23 audience. While that footage has not been leaked, the response has been very positive. The Hollywood Reporter exclaimed that Frankenweenie "could be the coolest Tim Burton movie since the 1990s, maybe even since A Nightmare Before Christmas."

"BIg Fish": The Musical

The New York Times' Art Beat reports that Big Fish will be adapted into a Broadway musical, possibly by Spring 2012.

Susan Stroman, the Tony award winning director and choreographer of "The Producers," will direct. The musical also has Andrew Lippa ("The Addams Family") writing the music and lyrics and John August is writing the book for the show. August also wrote the screenplay for the 2003 Tim Burton film.

Dan Jinks and Bruce Cohen, who produced Burton's film adaptation of Daniel Wallace's novel, will also be producing the Broadway musical.

“John August and Andrew Lippa have taken inspiration from Daniel Wallace’s book and Tim Burton’s movie and completely re-imagined this ambitious story for the stage,” Mr. Jinks said in a statement. Added Mr. Cohen: “Susan Stroman has the artistic vision and talent to bring this tale of reconciliation between a father and son to the stage.”

Cast members and the design team will be announced later.

Confirmed: Burton Developing 'Monsterpocalypse'

Rumors were popping up online for a few weeks, but we now have official confirmation: Tim Burton is currently developing Monsterpocalypse. He is supposed to be directing and producing this film.

The Disney/DreamWorks movie is based on the game of the same name, which features epic battles of monsters played out on a board. Maybe Burton will exercise his fondness for Japanese Godzilla films in his project.

Game creator Matt Wilson will be a co-producer on the movie. John August will be the screenwriter, and is currently consulting with Wilson. It has also been revealed that visual effects master Ken Ralston (Return of the Jedi, Who Framed Roger Rabbit, Alice in Wonderland) will be on board on this 3D movie. Ralston and Burton are currently developing the look of the monsters.

/Film described the plot:

"The plot involves giant monsters who attack earth. After the humans fight back, the monsters retreat, but it is quickly discovered that they didn’t leave, but instead burrowed underground and are sending some sort of signal into space. The humans prepare for a possible future attach and developed giant robots that will fight the monsters if and when they return."


/Film's Peter Scierra spoke with producer Roy Lee (The Ring, The Departed, How to Train Your Dragon) over the weekend. Here's the interview, containing plenty of details about this forthcoming popcorn movie:


Peter: Hey Roy.

Roy: Hey Peter. How are you?

Peter: Good. So we’ve been hearing rumors that there is a film version of MONSTERPOCALYPSE with John August writing it and many have speculated that Tim Burton might direct? I wanted to see if you could confirm those rumors.

Roy: I can confirm that Tim Burton is developing it to direct. He’s working closely with John August on story. And this is the first time that Ken Ralston was brought in this early to do conceptual drawings and the visuals for the movie itself. I don’t know if you know Ken, but he’s won several Oscars for, I guess, maybe “Cocoon”, “Roger Rabbit”, “Back to the Future”, “Forest Gump”, all those, as well as working with Tim on “Alice in Wonderland”.

Peter: This is a board game, so what is the take on the film adaptation?

Roy: The general take on the film that I can give you is that the giant monsters come to earth and start wreaking havoc. The humans, at this point, fight back. And they feel like they’ve destroyed them, but they quickly learn that the monsters that come had actually not died and just sort of burrowed underground and are sending some sort of signal into space. Apparently, it is probably going to be a distress signal. So the humans know that something is going to be coming, they just don’t know what yet. And they know how big these monsters can be. Then it cuts to many years later when nothing has come back, but the humans have prepared for possible monsters coming back. And by this time, they have developed these giant robots that will fight the monsters when they come. That is what is going to take place. But most of the movie is going to be during that battle between the giant robots and the giant monsters.

Peter: So that part where the monsters return, is that just like the first 30 minutes of the movie?

Roy: Yes. The opening is just the basic present day, and then we go years into the future.

Peter: Wow. The MONSTERPOCALYPSE universe also encompasses other properties, like Voltron. Will those properties also be a part of the movie?

Roy: Not Voltron… The company that owns Voltron approached us, Matt Wilson, to be able to utilize the robots for the world of MONSTERPOCALYPSE. But we are not using anything from there to the movie, because a lot of the robots and monsters will be created by Tim himself and the cast.

Peter: OK, cool. So John August is…it sounds like you have a script, or you have a treatment right now?

Roy: He’s writing the script right now.

Peter: He’s writing the script right now. If this happens, when does this look like this happens in the schedule? This would definitely be after Dark Shadows, I assume?

Roy: That is something that we are not clear on, just because Tim has several opportunities that will be placed in front of him whenever these scripts are done, because both scripts of Dark Shadows and MONSTERPOCALYPSE are being written as we speak. So I can’t say what would happen if “Dark Shadows” comes in great and ours doesn’t, or the opposite. So it’s really just up in the air.

Peter: how big are these robots?

Roy: These robots would be the size of a very tall building, where the crew that is inside of each one of these robots…we’re not sure how many people are manning it. It’s almost as if, like, the robots are spaceships, but they are actually shaped like robots and walk around the Earth, where you have a crew inside them, like, with a captain, controlling different parts of the robot to fight these monsters.

Peter: Do we see that? Are we inside the bridge like Star Trek, or is it mostly outside seeing them fight the monsters?

Roy: Nope. You’ll be inside the robots and watching from outside.

Peter: Oh, really cool. And how big are the monsters, may I ask?

Roy: They will be just as big. Have you seen anything about the board game?

Peter: Yes, I’ve seen many photos of the board game, but I’ve never actually played it myself.

Roy: Well, yeah. Conceptually, the pieces are…you have like these buildings, and then the players are fighting against each other playing either the monsters or the robots. And those monsters and robots are the same size as the buildings.

Peter: Well, very cool. And is Tim doing any of the designs himself?

Roy: Oh, yes. Ken Ralston and Tim are working on the design. Tim has a very distinct style in the way he handles a lot of his creatures and the images that he uses in his movies that will be, I’m sure, reflected in our movie as well.

Peter: Well, very cool. Thank you for your time Roy. I know you are probably a very busy guy. I really appreciate it.

Roy: Sure. And a couple things. Tarik Heitmann, Gerald Moon, and Doug Davison are the exec producers.

Peter: And Matt Wilson, the creator of the game is…

Roy: Co-producer.

Peter: How involved is he?

Roy: He is very involved in the sense that the writer, John August, is consulting him and talking to him about just what choice he made in the game. He’s been very helpful in just explaining some of the mythology behind some of the creatures. Because we are using some of his creatures, as well as his robots. I mean it’s going to be sort of sub-everything.

Peter: And I assume that this is probably being developed as a 3D film?

Roy: That would be correct. I mean that’s where Ken is saying there is no reason why we shouldn’t, because seeing major cities destroyed and monsters fighting with robots would naturally lend itself to a 3D movie.

Peter: It sounds like it’s going to be lots of fun, so hopefully it gets made sooner rather than later.

Roy: I’d say there is a good chance that we would be in theaters by the end of 2012.

Peter: OK. Well, very cool Roy. Thank you very much. And again, I appreciate your time.

Roy: You are welcome. Sure thing.

New Shooting Date, Screenwriter for "Dark Shadows"

Deadline reports that Dark Shadows will begin filming in January 2011. The film also has a new screenwriter: Seth Grahame-Smith. Grahame-Smith is replacing regular Burton scribe John August (Big Fish, Charlie and the Chocolate Factory, Corpse Bride). Grahame-Smith is best known for the macabre novel Pride and Prejudice and Zombies, which will be adapted into a film starring Natalie Portman.

Dark Shadows marks the second collaboration for Tim Burton and Seth Grahame-Smith. Grahame-Smith will also be writing the screenplay for the cinematic adaptation of his novel, Abraham Lincoln: Vampire Hunter, which Burton is producing.

Dark Shadows will be based upon the gothic 1960s soap opera of the same name. It will star Johnny Depp as vampire Barnabas Collins. Depp, a major fan of the original television series, is also producing the film.

A Little More on "Dark Shadows"

Producer Graham King spoke with Shock Till You Drop's Perri Nemiroff on the current status of Dark Shadows and a bit of its development:

Can you talk a little about Dark Shadows?

King: [Laughs] I said to someone last week in L.A., I said, "You know, I think, you know the script's being rewritten – I know that the studios are hoping to move it next fall," suddenly it's on the internet everywhere I said the movie's going next October. Waiting for a script. I know Johnny wants to do it and Tim wants to do it and just has to get the script.

How'd you get introduced to the idea in the first place? Will you maintain the show's original tone in the film?

King: Through Johnny's company [Infinitum Nihil]. You know, I have a deal with Johnny's company and Johnny was really interested in it and we have a great great relationship. I didn't know of Dark Shadows. We didn't have it in the U.K., so I went out and got a bunch of DVDs. I started watching this thing and I said, yeah, I'd love to be involved. I'd love to come in and produce that. To answer your question, I think we have to wait to see.

There are over 1,200 episodes. Will you include a little of as many as possible or make an origin story?

King: I'll know as soon as I get the script.

So you're not dictating how this will come together?

John August is writing it. Yeah, again, this is me and more notes and I think when Johnny and Tim – I've never made a movie with Johnny and Tim - but when they make a movie, they've got it down pretty much what they want and you don't really get involved in that process.

"Dark Shadows" Begins Production Fall 2010

Tim Burton is keeping plenty busy as of late. Producer Graham King has announced that he'll begin production on Dark Shadows, his next live-action feature, in the fall next year:

We're actually going to shoot that film next September/October with Tim Burton and Johnny [Depp].

We've been working on the script a lot, even though he's working on Alice. We've been given a script. John August wrote the first screenplay. We're making some changes, but the film's going to be in production, as I say, September or October of next year.

Depp was a huge fan of the original TV series, and will be playing the lead role of the vampire Barnabas Collins.

"Frankenweenie" Character and Plot Details Revealed

Casting has begun on the new stop-motion animated version of Frankenweenie. Right now, Disney is looking for voices for characters between the ages of eight and eleven years old. Bloody-Disgusting.com has provided some information from an official fax. There are a few minor SPOILERS, but it gives you a good idea of how the new film will differ from Burton's original 1984 short:

[EDGAR] A Caucasian Male 8-11 years old. Edgar is a needy little kid who wants desperately to be accepted by the cool kids in his class. Naturally a little nerdy, he gravitates to Victor and basically annoys him until he agrees to let him be his lab partner. He is more than a little gullible and is easily tricked into giving away Victor’s precious secret and unwittingly starting the whole mess with the other monsters.

[TOSHIAKI] A Japanese Male 8-11 years old. Toshiaki is the natural leader of the cool kids in Victor’s class. He is a good athlete, and an avid little league baseball player but Toshiaki has a mischievous side. He is the one that ultimately manipulates E into giving up the secret of Sparky and it is his idea to turn the other animals into monsters. He is Japanese and his monster creation is a little Godzilla lizard.

[BOB] A Caucasian Male 8-11 years old. Bob is the dumb, jockey kid. He has more brawn than brains. He follows Toshiaki and Nassor around even when it means that he has to be the one to test the home made jet pack that Toshiaki has created.

[NASSOR] A Middle-Eastern Male 8-11 years old. Nassor is the star of the little league team and just goes along with Toshiak’s plan. He is a bit more serious than the others but still doesn’t see the impending chaos when he chooses to bring his hamster mummy back to life.

[WEIRD GIRL] A Caucasian Female 8-11 years old. She has a very dark and ominous take on even the most mundane occurrences and jumps at the chance to bring some dead animals back to life.

[ELSA] A Caucasian Female 8-11 years old. Elsa is a sweet girl who likes to follow the rules and not cause too much trouble. A bit of a “goody two shoes,” she is not afraid to speak up and even corrects the teacher when he makes a mistake. She is excited about the festivities planned for the town’s Dutch Day parade and even has a solo dance number in the show.


A shooting date has not been announced yet. John August (Big Fish, Charlie and the Chocolate Factory) will be writing the screenplay.

"Frankenweenie" Updates

John August (Getty Images photo)

It has been many months since we last heard anything about the upcoming stop-motion animated feature length remake of Tim Burton's Frankenweenie. But finally, more information has surfaced.

The film is clearly still in pre-production. John August (who wrote the scripts for other Burton movies) will be writing the screenplay. Allison Abbate, a producer on Corpse Bride and other animated films, will still produce Frankenweenie alongside Burton, and Disney producer Don Hahn will serve as an executive producer. Many other artists and crew members from Corpse Bride will be involved. Frankenweenie will also be shot in black and white at this point, like the original short film.

Burton has wanted to adapt his original 1984 live-action short Frankenweenie since it was first made nearly 25 years ago. From the looks of it, that will eventually become a reality. Frankenweenie is aiming for a release in Disney Digital 3D in participating theaters in 2011.

Burton + Depp + August = "Dark Shadows"?

IESB.net has stated that director Peter Segal recently said that John August has written a screenplay adaptation for the TV series Dark Shadows -- and that Tim Burton is attached to direct it and Johnny Depp is (supposedly) to star in it.

Dark Shadows was a television series which ran from 1966 to 1971. It was a popular gothic soap opera, featuring vampires, werewolves, and other ghoulish creatures.

An image from the original series Dark Shadows.

This could be the secret project that John August wrote on his website late last year.

John August wrote the screenplays of Tim Burton's Big Fish, Charlie and the Chocolate Factory, and Corpse Bride.

Rumors of Burton and Depp teaming up for a big-screen version of Shadows came up on the Internet months ago. And this more official claim seems to encourage those beliefs. But just because Burton is attached to direct the film, it doesn't mean that he necessarily will. Months ago, Warner Bros. had Burton attached to helm an adaptation of the fantasy novel The Spook's Apprentice. But eventually, Burton moved to other projects (his upcoming Frankenweenie and Alice and Wonderland at Disney), and Kevin Lima is now currently signed on to direct Apprentice.

We'll have to wait and see what the future holds for Burton, Depp, and this planned Dark Shadows movie.

John August: Hinting at Unknown Future Burton Films?

On his official website, screenwriter and Burton collaborator John August wrote in his blog that, contrary to claims made on such websites as IMDb.com (which have now been changed), he will not be writing the screenplay for Burton's upcoming stop-motion adaptation of the director's short film, Frankenweenie. August wrote the following on his blog:


"I had a meeting with Disney Animation about a year ago, in which they pitched the idea of doing a feature version of Tim’s Frankenweenie short film. They even had production art for it. Then, separately, I had a conversation with Tim about doing another stop-motion animation project like Corpse Bride.

"But they’re not the same thing. And as far as I know, I won’t be working on either one. (That said, I didn’t think I was working on Corpse Bride until I was halfway on a plane to London, so never say never.)"

John August first worked with Tim Burton when he wrote the screenplay for 2003's Big Fish. Directly after that fanciful odyssey, August wrote the screenplay for Burton's Charlie and the Chocolate Factory and the final draft for Corpse Bride, both released in 2005. August also helped composer Danny Elfman adapt and write the whimsical lyrics for both Charlie and Corpse Bride.

August's blog entry is made even more interesting in the following excerpt:

"To further confuse matters, there’s a different and as-yet-unannounced Tim Burton project (live action) which I almost certainly will be writing post-strike. And yes, I’d love to tell you what it is. But I can’t."

This project can't be Burton's upcoming Alice's Adventures in Wonderland, which will also be made at Walt Disney Pictures. Linda Woolverton already has the credit of writing the screenplay for that future literary adaptation. So John August seems to be hinting at possibly two unknown future Tim Burton films, one live-action, the other in stop-motion animation. What could these films be? We'll have to wait for future articles to appear...