Tim Burton Art Exhibit Opens in Prague

Original article from PraguePost.com by Raymond Johnson: http://www.praguepost.com/night-day/38024-exhibition-the-world-of-tim-burton-opens-in-prague

The famous director was in Prague to introduce a show of his props and drawings
In what is surely to be the most popular exhibition of the year, 500 items from film director Tim Burton’s archives of more than 10,000 film-related pieces are going on display in Prague. Some 150 of them have never been shown to the public before.

The World of Tim Burton
When: March 28–Aug. 3; Tues–Sun 10 a.m.–8 p.m.
Where: House of the Stone Bell
Tickets: 190 Kč, purchased in advance from Ticketpro (recommended)
Timburton.cz

The show includes not only props and sketches relating to his famous hit movies, but also drawings for unrealized projects ranging from another Batman sequel to Little Dead Riding Hood. Parts of comics he drew before he was famous, travel sketches and large-format Polaroid pictures round out the sections of the show.

Many of the items were never meant to be seen publicly, but were just part of the creative process. “It’s a strange thing to have things that are sort of private and personal showing in public. For me, drawings have always been a way of thinking, a form of communicating. … I was never a very good speaker, talker, so I always found it was easier for me to communicate through drawing,” Burton said at a press conference. “When I worked at Disney as an animator, I used to hide in the closet for most of the day.”

All of the items have his trademark dark sense of humor, or “carnivalesque interplay between comedy and the grotesque,” as curator Jenny He told the press.

The main theme of the exhibition is the well-meaning but misunderstood outcast who rebels against conformity by creativity, Jenny He said. “We invite visitors into Tim Burton’s world and hope they discover their own personal viewpoint of Tim’s unique and singular output,” she added.

Concept art for Planet of the Apes (2001)

Burton gave Jenny He and her team free access to his archives and let them “go through everything” to pick the items for the show. He helped to identify what pieces related to what films or unrealized projects.

A different version of the show was at the Museum of Modern Art in New York in 2009 and drew 800,000 visitors, making it that museum’s third-most popular show. “It is smaller than the other show. But … this is a unique city, so we tried to put pieces in that we felt were part of the spirit of what we feel about Prague,” Burton said. He also praised the work of the Czech designers that created the space for the show.

Concept art of Emily for Corpse Bride (2005)

He likes that the previous version of the show was popular. “Growing up in the culture I did, I didn’t go to museums a lot. The culture of art and museums was different, and not inviting. The thing that this show did was it got people that usually wouldn’t go to a museum to go to a museum and see stuff that they wouldn’t usually see in a museum,” he said.
Jenny He said that it was fitting to have the exhibition in Prague because of the city’s rich history with stop-motion animation. Burton used this technique in films like his production of Nightmare Before Christmas, which has many items in the exhibit. “At a time when we are going to infinity and beyond with CGI, Tim brought animation back to its roots,” she said.

Stop-motion puppet for Mars Attacks! (1996), which was eventually scrapped for CG creatures in the final film.

Burton cited Czech animator Karel Zeman as an influence. “[I saw] his films like [The Fabulous] Baron Munchausen, and I remember some dinosaur series. … And where I grew up in Burbank there was a documentary on Karel Zeman that showed his process. That was extremely inspirational to me. He and Ray Harryhausen were probably two inspirations in terms of wanting to remain true to doing stop-motion and [having] a handmade quality. They did that amazingly. You saw this process, and I’ll never forget that. It was very inspirational,” Burton said.

He also had praise for Czech filmmaker Jan Švankmajer. “He does amazing work. The history here in terms of animation, this is again why I am so happy to be here. There are so many amazing animators throughout the history of this country. As computers have taken over the world, this place still — as you walk around the city — this place has the feeling of art and handmade. It continues here; it’s incredible,” he said.

He also noted the mixture of darkness and humor in Czech art. “Without really thinking of it, I was very influenced by this place.”

Even further back in time, he was excited by children’s books. “Some of my earliest influences were [books by] Dr. Seuss. I loved his artwork and stories and his imagination. My influences came from lots of things, monster movies. Not so much art, but films were definitely an inspiration.”

The dark nature of Burton’s work is a form of therapy, he said. “For me it is getting feelings out that are sometimes trapped inside. … It’s always kept me alive,” he said. He began drawing as a child and just kept going with it, despite not being particularly good at it, in his own estimation. “It was a form of expression.” He also dabbled in filmmaking in his youth.

Stop-motion puppet of Victor from Frankenweenie (2012)

“I went to Cal Arts and worked at Disney because of the combination of film and drawing [in animation]. It made the most sense to pursue that,” he said, adding that it was a great way to learn about the entire filmmaking process.
He likes working with Johnny Depp because that actor takes risks. “He doesn’t mind looking ridiculous. It helps when an actor is willing to try to do things in different ways. He’s always been that way for me,” he said. But Burton isn’t concerned with wanting to work with particular actors. “For me it is all about the part. It really stems from what the piece is and who is the best person to play it. I always try to remain open minded. I do like people like Johnny who don’t mind looking ridiculous.”

Burton thinks all of his films are special in some way but says he likes Edward Scissorhands and Nightmare Before Christmas in particular. “Those are slightly more personal,” he said. But he likes all of his films, even though he seldom goes back to rewatch them. “They are all special in some way. Even if they are horrible films, there is something for me that in terms of making it or whatever is special,” he said.

Costumes for Deep Roy as the Oompa Loompa's in Charlie and the Chocolate Factory (2005)

While Prague is known for filmmaking, Burton only filmed here once. In 2000 he made two commercials for watch company Timex. “It was fun to shoot in Prague. It was a strange experience, it was great. Our production office was in brothel. I kept walking in, going in and out doing something, and I was going, ‘Who are these girls, and what do they do sitting here?’ and I found out. This was our production office,” he said.

“Because I knew of some of the artists like Karel Zeman, I was aware of the vibe of the city, and I always wanted to visit, so working here, it is always better to do something like that than to be a tourist because you can really get to know people, you can work with them, with the artists. … So that was very special. In some ways it is a better way to get a sense of the place and the city and people, working rather than touring,” he said.

Interview: "Frankenweenie" Animation Director Mark Waring

We Are Movie Geeks recently interviewed Frankenweenie animation director Mark Waring. Waring discussed how the stop-motion animation process on Frankenweenie was unique, what the crew was like, Tim Burton's influences, and more:

We Are Movie Geeks: Congratulations on FRANKENWEENIE. I took my daughters to see it and we loved it.

Mark Waring: Oh good, thanks.

WAMG: Did you grow up a fan of stop-motion animation?

MW: I was always interested on those things. Whenever there was something with stop-motion on TV I would always watch it, but it was never something that I thought I would end up doing. I was always interested in art and design and films as well but it wasn’t until I was in college that I was introduced to animation through a course. It was then I realized that this was what I wanted to do. It was design, art, sculpting, film, all combined and it was something I could do for a living. Then I started studying the history of animation and thought this was really wanted I wanted to do.

WAMG: I saw where you had recently participated in a panel discussion on Ray Harryhausen.

MW: Yeah, I’ve done a couple of those. Tony Dawson, who’s written four or five books on Harryhausen, runs the Ray Harryhausen Foundation, invited me to do that. Ray has never thrown anything away. He’s kept everything he’s created throughout his whole life right down to models he made when he was twelve. There’s a whole history and archive there and Tony is helping him look after that. He’s got me involved in various talks and panel discussions. Harryhausen has been such an influence and has helped me so much in my art. He was a pioneer and his techniques are still relevant. We still reference his monster characters. The animators all get together and look at his films and study what he did and how he worked.

WAMG: What are the key differences between what Harryhausen was doing decades ago and what you are doing with a project like FRANKENWEENIE?

MW: Technically it’s exactly the same. It’s basically down to, as an animator, you’re standing in front of a puppet that got an armature inside and you’ve got to bring it to life. Turn it into something that’s moving in a believable, if not necessarily realistic, way. You have to give it emotion, which I think is what Ray Harryhausen did best. He made them angry, or frightened, or whatever they were and we’ve got to do the same thing. We’ve obviously got more technology around us now.

WAMG: And more people. Harryhausen pretty much did everything on his own.

MW: Absolutely. He did all of that on his own. He made the puppets. His dad helped make the armatures. His mom helped make the costumes, but he shot it and did virtually everything on his own. With the technology we have now, we can check our work, which he couldn’t do. We can walk away, have a cup of tea, look at it, and come back and fix anything. He had none of that, he worked blind. He had no references whatsoever. Sometimes what we do is have our animators work blind like Harryhausen did, just for practice, to kind of get into the swing of it. It’s tricky. Harryhausen developed these metal pointers that he could measure exactly how far he moved, or would need to move, say one of the Hydra’s seven heads. We still use that tool today, in spite of all the technology at our disposal.

WAMG: Did you grow up a fan of monster movies?

MW: Sort of, yeah. If anything like that came on the TV, I would watch it. I don’t know if it’s a cultural thing but over here, in the UK, those sort of things weren’t really shown on TV like they were in America, but it was definitely something I was interested in.

WAMG: I noticed in FRANKENWEENIE Victor’s parents are at one point watching HORROR OF DRACULA with Christopher Lee on their TV. Who’s idea was that?

MW: Oh, I’m sure that was Tim Burton’s choice. After all, FRANKENWEENIE is Tim Burton’s childhood. Victor and Sparky are Tim and his dog. That’s what he based everything on, the whole idea of a boy and his dog and what that meant to him, he just packs FRANKENWEENIE with his world and I suppose HORROR OF DRACULA is just a film Tim remembers fondly from his childhood and that’s why he chose to include it.

WAMG: Did Tim Burton give you much creative leeway with FRANKENWEENIE, or was it strictly storyboarded?

MW: He was involved a lot, especially in the early development stages. All of the character designs come straight out of his sketchbooks. We’d worked together in the past and all of the inspiration comes through him. I think the storyboarding style as well. The early stages of the process set the tone and the film shows that. There’s very little in the film that doesn’t have his fingerprints all over it. That said, he’s very open to suggestions. He likes to surround himself with people who know him so a lot of the crew from THE CORPSE BRIDE also worked on FRANKENWEENIE.

WAMG: How many animators worked on FRANKENWEENIE?

MW: I guess around thirty. There are different levels of animators. We have four or five lead animators, then fifteen or so who are crafting every day doing their work. After that there’s a team of assistants who animate as well. Some are good at intimate character work, some are broader at animating the broader action scenes. So we mix and match and steer people towards their strengths.

WAMG: I remember when Tim Burton made MARS ATTACKS fifteen years ago and wanted to use stop motion, but decided he could make CGI look more like what he had in mind. Why do you think he went back to old school stop motion for CORPSE BRIDE and FRANKENWEENIE?

MW: I think partly stop motion is a physical thing, it’s a tactile thing. You can see the work that’s gone into it. I would have loved for MARS ATTACKS to have been stop motion. When I first heard about the film I thought it would be the perfect homage to ’50s sci-fi and B movies and flying saucers and all those things. It would have been perfect if they’d gone down that route. They had originally wanted to do it as stop motion. They had brought some puppet people in and had made armatures and I think it was quite last minute that they actually pulled the plug and went with CGI. They may have been worried about the time it was going to take with deadlines or whatever and I think if they would have gone that way, it would have been fantastic. There’s a magic to the art of stop motion that CGI just doesn’t have. It doesn’t mean that CGI is wrong or that one style is better than the other, I just think with stop motion you better see the craft on display.

WAMG: Had you seen the FRANKENWEENIE from the ’80s before you got involved with this project?

MW: Oh yes, we used that film as a reference for so many of the shots, but obviously the story has been fleshed out much more. I think it had its own mood and momentum but the feel of that short is what we were going for.

WAMG: There’s a short on the Blu-ray release of FRANKENWEENIE titled ‘Sparky vs the Flying Saucer’. What can you tell me about that?

MW: Well, I directed it and it was great to have the opportunity to do that. In the film itself, Victor is showing making a little film, a home movie with Sparky acting as a giant monster and the idea behind ‘Sparky vs the Flying Saucers’ is that this is another film that Victor has made with Sparky, and perhaps he has made a whole series of these films that he can show to his parents. This one is a Mars Attacks type of thing really with space aliens and Sparky in a space suit and all.

WAMG: Was this Tim Burton’s story?

MW: It was from Tim’s idea but the actual script itself was by Derek [Frey] who is Tim’s assistant and he and I discussed the idea and we fleshed it out with the storyboarders and made this little film. We made it towards the end of the shoot and thought about maybe tagging it on to the end of the film but it’s now on the DVD.

WAMG: Do you see possibly making some more Sparky shorts?

MW: I’d love to. I love the concept that there could be more of these films featuring Sparky hidden away in Victor’s attic. Who knows? I think we created a lovely world. Maybe we could make more shorts, perhaps a cowboy film or any classic film genres.

WAMG: What’s next for Mark Waring?

MW: I would love to work on more features. I’d love to work with Tim again. I love the stop motion format. In the meantime though I’m working on commercials in London and keeping busy.

WAMG: Good luck with your future projects and thanks for talking to We Are Movie Geeks.

MW: Thank you.

Video: "Frankenweenie" Cast & Crew at London Film Fest

ThisIsFakeDIY.co.uk has some highlights from the Frankenweenie cast and crew panel at the 56th BFI London Film Festival. Video provided by RedCarpetNews.

Tim, this film was made in London, and you are an adopted Londoner. How do you feel about opening the London Film Festival?
Tim Burton: It's amazing. It is special because it was made here. It's strange because when we started the film there was no Olympic Stadium and by the time we finished it was done. It just shows you how long a film like this takes to make!

This is a film that you've come back to. You started this as a live action short film in 1984 and now you've come back almost 30 years later. What made you want to make this Frankenweenie?
Burton: Looking at some of the original drawings at some point Don had mentioned the idea of it. It was such a memory piece, the drawings and doing stop motion and black and white and 3D, and kind of thinking about other kids I remembered from school and weird teachers and parents it just became a real memory piece. The purity of stop motion and for me the idea of seeing black and white in 3D stop motion was an exciting prospect. Obviously be able to work with all these people that I've worked with in the past just made it more special.

What's everyone's memories of their first impressions of Tim Burton?
Allison Abate: I just thought he was so energetic and so fascinating and so young!
Martin Short: On Mars Attacks I was so thrilled to meet Tim. I'm such a fan of Tim's, but what I was really excited about after my experience on Mars Attacks was how unbelievably collaborative Tim is. He really wanted to know what you thought and you kind of felt free to put out anything in the atmosphere and he would hone and refine it. It was a really ideal working situation for an actor.
Catherine O'Hara: I was called to meet Tim for Beetlejuice. I flew to L.A. and was told to meet him at Warner Bros. Boulevard and that's where Warner Bros. Studio is but I looked it up in the L.A. map book and I found a Warner Bros. Boulevard in Anaheim and I drove and drove and drove and I thought, 'whoever this guy is he is so far outside of where show business is really happening I'm not sure I want to work with him.' I finally phoned somebody and found out that I was in the wrong place and then finally got back there about two hours late and there was a note on the door [saying], 'I'm really sorry I missed you.'
Don Hahn: It was an odd time at the studio [Disney] and I think they didn't know what to do with Tim and to their credit gave him some money to make shorts called Frankenweenie and Vincent. It's amazing because they never knew what to do with those shorts, never quite knew how to release them, and didn't want to put the Disney name on them. And to come around full circle now a few years later and be able to revisit that and have the studio support and celebrate what Tim's trying to do is really odd in a way but terrific. It's interesting how a guy who's 25 years old can make a film that's as smart and interesting as Frankenweenie can turn around again and revisit that years later.
Martin Landau: I remember seeing Beetlejuice and I was very taken with the film. I saw it with my daughter and we left the theatre and I said, 'my God who directed this? I'd like to work with whoever it is.' I had no idea who Tim Burton was at that time. And here we are! It was a joyous experience working with him on Ed Wood with Johnny and Tim. I found that half the time he never finished a sentence or I did. We'd rehearse and he'd come up and say, 'you know what...' and I'd say, 'yeah.' He created a playground for the actors and he still does that and good directors do that. It's a fun place to work with Tim Burton and anytime he'd ask me to do something I would drop what I was doing, including my pants!

Legend has it you were fired by Disney, Tim. Are you surprised that your outlook is now considered part of the mainstream?
Burton: It wasn't like The Apprentice, 'you're fired!' It was a bit more Disney-friendly, 'here, let Goofy and Minnie show you out.' [Laughs] There's an exit with little cherubs on it, a magic forest door!
Short: [adopts Mickey Mouse voice] 'You're fired!'
Burton: It was a strange period in the company's history and it's obviously changed over the years. It's a whole different place. It was a low point for animation not just for Disney but for everything nothing was really going on. But at the same time I got the opportunity to do the films [Frankenweenie & Vincent shorts] so even though they weren't released the opportunity to do them was really great so I've always been grateful to them for giving me the chance to do it. [In terms of being considered mainstream now] I'm not so sure that's true.

What has it been like working with your heroes such as Martin Landau and Vincent Price?
Burton: It's so inspirational. When I talk to Martin and hear him talk about Alfred Hitchcock, or being on Space 1999 - I told him I had a Space 1999 lunchbox - you learn so much from people like him and it's just a joy. You love making films, meeting these people is why you like making movies. In terms of Catherine and Martin here, I've been a fan of theirs forever that's why I said 'guys do as many characters, do like three characters. It wasn't that we didn't want to pay other actors! It was because they're so great and interesting, it made it part of the creative process. They're coming in and doing things like a weird demon possession. Working with people that I've worked with in the past made it very special for me.



Martin and Catherine, you played three different characters and acted opposite each other which is unusual for animated films - what was that experience like?
Short: The parents Catherine and I did together which I thought was very smart but I think that Tim really had a very specific idea of what he wanted for those characters, very intimate and very real so by doing it together it was easy to achieve that. The other two characters that I did were just experiments that Tim and I would go on. Where you just kind of start with blank sheet but then you land in a Lionel Barrymore meets President Ronald Regan [place]. And then I'd say to Tim, 'what if he smoked 4 packs of cigarettes a day and just quit about two months ago?' That pre-emphysema sound.
Burton: I think we even talked about a constipated Raymond Burr.
O'Hara: I think it was smart on Tim's part, it cut down the amount of times he had to say, 'um... why don't you say it like a human being would say it?' I was so happy when I saw their scenes, they are so beautiful and private and the way they stay back, it's so discreet how we shoot this family. I'm so proud to be their voices.
Short: Tim's always respectful. He would just say, 'go with your instinct and then divide by 7.' Animation is usually in colour but you have chosen to film this in black and white. The black and white was a crucial element. It's something that is hard to put into words but for me it made it more emotional and the idea of seeing black and white and also the 3D element, to me just helps support the work that the people who worked on the film did. You look at these puppets and you see the reality and tactile nature of it. Every little prop and everything is handmade and drawn, the black and white and the 3D process really shows you all the work that the artist put into it. To me the black and white really shows off their work very well.

There's an exhibition opening in London. Could you tell us about The Art of Frankenweenie?
Abate: One of the exciting things Disney did for us was to realise how beautiful the artwork is and how special every prop is. We have a travelling show and it's an exhibition of three sets from the movie and puppets, to represent three little moments from the film in real life. It's at the BFI Southbank next week. There's also something called, 'At the Desk of Tim Burton.'
Burton: Yeah but the desk is a bit too clean. There's no used tissues or empty beer bottles!

Hollywood tries to reproduce what is successful, did you have any problems with Frankenweenie in terms of the tone and the style, presenting that when the Pixar films and style is so popular?
Burton: from my point of view I feel like all forms of animation survive. I remember a few years ago after Pixar took off and computer animation took off that they said that they weren't going to make any more hand drawn movies which I thought, 'oh that's really unfortunate.' Thankfully they changed that and I hope it's the same for stop motion, I think it's a beautiful art form and you just hope that all forms of animation can flourish.



How much would you say Frankenweenie is a tribute to horror films and how do you open that up to children who haven't seen those kinds of films yet?
Burton: It's an interesting point because obviously a lot of references are based on, for me, a love of those movies but we thought very hard throughout the film that we didn't want to make it reference dependent. That's why we tried to shoot it and make it feel like one of those movies so you can feel what those movies look like even if you didn't know the references. We just felt like you should be able to enjoy the movie without having to know exactly every reference. It was always something in the back of my mind to make it more of a feeling of those films so that people that didn't know those exact references would still enjoy the film.

Martin your character looks like Vincent Price but doesn't sound like him - was that a very deliberate decision on your part?
Landau: Well one of the things about this I was floored by was Tim sent me a picture of Mr Rzykruski - it's like an eye chart this name! The wonderful about it is behavior, when I'm acting it's part of everything. In this instance I had a picture of this character but I relinquish the behavior to the animators. When I saw the film I was dumbfounded because if I'd been on camera I would've played it exactly the same way and my mouth was agape actually because I was shocked. I knew the character looked a little bit like Vincent and I little bit like I did earlier in life but I saw him as a completely singular person and a wonderful teacher and not a very diplomatic person. I think that when I read it I also felt that he probably lasted two months in any school he taught in! Have a conversation with your student's parents and you call them stupid or simple. I don't think Vincent would've played it the way I did, I think it would've been a different thing but I think there's a physicality there's no question. I always felt too that Tim was attracted to Ed Wood in a sense because of Ed Wood's connection to Bela [Lugosi] and his appreciation of Vincent Price's work - which I loved as a kid as well, as a young actor I would always go out of my way to watch a Vincent Price movie.
Burton: Most good animators try to get the actor in there. Don, this iteration of Frankenweenie began with you in a strange way because you went to Tim with the idea.
Hahn: Yeah I did. It wasn't a big leap. All I did was go to Tim's office and say, 'look you made this really great story years ago, there's got to be more.' And there was more. I think just the Frankenstein mythology and be able to go back into some of the ideas that were turning around in Tim's head for probably years and all I had to do was mention the name and I think he took off running. We had great collaborators, that's the other thing about working with Tim that I love is that he surrounds himself with people he trusts and lets them do their work.

Danny Elfman's score in Frankenweenie is fantastic. How important was it for you work with him on the film?
Burton: I've worked with him from the beginning of my career basically and on my first feature film, both didn't know what we're doing - we're still pretty much in the same boat! So I feel quite close to him. I always feel like he is another character in the film and helps to solidify the emotions of whatever's going on, because there's usually a mixture of things going on and he's always felt very good at sort of guiding as another character and setting the tone of what the film is.

Death seems to play a prominent role in your animations. What is your fascination with bringing characters back to life?
Burton: When I was a kid I always wanted to be a mad scientist, a regular scientist was no fun. It's not so much about bringing dead things back to life; I find that quite creepy actually. It's more about creating. Creation, making things, that's why I think I always loved the Frankenstein story because it's partially about creation and making things and that's what filmmaking is and that's what stop motion is and so for me that's the fun of it. That's why you like doing it; it's not so much about the business or box office or reviews it's about actually making something. I think that's why this was so special, it's with a smallish group of people, real artists and a more pure version of why you like making movies.

Video: Elfman's 90 Minute "Dark Shadows" Q&A

Danny Elfman sat down for a 90-minute-long Q&A session in Los Angeles on Tuesday. Elfman comes on stage at about 16 minutes in. The composer was greeted by many fans, and discussed Dark Shadows and more, including how Johnny Depp used to steal guitar picks from him, the falling-out he and Tim Burton had that nearly destroyed their relationship, movie genres that he can't stand to compose for, the easiest and most difficult scores he has composed for Burton, the forthcoming Frankenweenie, among numerous other topics:

Video: Burton Receives Empire Legend Award

Tim Burton was the recipient of the Empire Legend Award at the 2012 Jameson Empire Awards. Danny DeVito presented the award to the filmmaker, and opens by talking about his fond memories and hilarious anecdotes of collaborating with Burton on three films: Batman Returns (1992), Mars Attacks! (1996), and Big Fish (2003). Here is the video for DeVito's opening and Burton's acceptance speech.

Tim Burton Collection Blu-Ray Exclusive Set

Amazon.com will be releasing an exclusive Blu-Ray box set on May 1st, 2012: The Tim Burton Collection. The box set will also include a book, and includes Tim Burton's seven films made with Warner Bros.: Pee-wee's Big Adventure (1985), Beetlejuice (1988), Batman (1989), Batman Returns (1992), Mars Attacks! (1996), Charlie and the Chocolate Factory (2005), and Corpse Bride (2005). Click this link for more details.

"Mars Attacks!" -- the Musical?

UPDATE: April Fools', apparently. Dang.


First, a stage musical version of Big Fish was announced to be in the works, followed by Alice in Wonderland, and now... Mars Attacks!?

While we don't know how much this theatrical production will be based on the Tim Burton film, Topps and IDW Publishing are indeed publishing Mars Attacks: 21st Century Slaughter, states Geeks of Doom. The production will be written by comic book veteran John Layman (Chew, Marvel Zombies vs. The Army of Darkness).

Layman said, "My approach to MARS ATTACKS on stage is sort of a science fiction version of West Side Story: a human and a Martian involved in a star-crossed romance, set against the backdrop of a violent interstellar war—with all of humanity caught in between! It’s going to be a rollicking good time, with songs that will make you want to get up and dance!"

The musical will be up on Broadway this year, in time for the 50th anniversary of the Topps macabre trading card series that inspired the 1996 film.

Reporting from the Set of "Dark Shadows"

Geoff Boucher of the Los Angeles Times wrote an article on his recent visit to the set of Dark Shadows in London. The article speaks with various cast and crew members (including Tim Burton, Johnny Depp, Helena Bonham Carter, and production designer Rick Heinrichs, among others) to get an inside view on this enigmatic new movie. Here is the article in its entirety:


Reporting from London — There’s a night and day difference between the soundstages of Tim Burton’s “Dark Shadows” and his previous movie, “Alice in Wonderland,” and, no surprise, this is a filmmaker far more comfortable in the darkness.

The digital ambitions of “Wonderland” required numbing weeks of work in a green-screen chamber, and by the end of it Burton was desperate to get back to his roots — building a cinematic house and then haunting it with his unique brand of cemetery cabaret. For “Dark Shadows,” an eccentric vampire romance starring Johnny Depp, Michelle Pfeiffer and Eva Green, he’s staged a minor one-man rebellion against CG imagery; the story has some digital effects, but where the script called for a Maine fishing town’s waterfront, circa 1972, Burton persuaded Warner Bros. and the film’s producers to build it on the back lot of England’s storied Pinewood Studios instead of on a computer screen.

“It’s so nice to come to work here — not everything is green,” Burton said last summer as he roamed the gothic, crushed-velvet trappings of the mansion that is home to Depp’s aristocratic bloodsucker, Barnabas Collins. “It’s a soap opera — or started as one — and that really means working with the actors. And the sets help everyone. And it’s just more fun.”

“Dark Shadows,” which doesn’t arrive until May 11, is a curious creature and an ongoing mystery. A trailer recently premiered to mixed reactions; its winking tone possibly suggested that the film is an elaborate goof on the overwrought “Twilight” movies, but actually, like so many Burton projects, this one is a fractured valentine to the pop-culture obsessions of his youth.

In the film, Depp plays Collins, the 18th century playboy of Maine’s high society whose lothario ways earn the wrath of Angelique Bouchard, a witch portrayed by Green. She transforms him into a vampire and dispatches him to an underground crypt where he is imprisoned until 1972. That’s when an unlucky construction crew sets him free, and in a world of lava lamps, glam rock and Richard M. Nixon, he finds purpose in the new era. The ensemble cast features a number of Burton’s regular players — in addition to Depp and Pfeiffer, there’s the director’s romantic partner, Helena Bonham Carter, Chloe Moretz and English horror legend Christopher Lee.


The setup and characters are taken from the truly weird TV series also called “Dark Shadows,” an ABC soap opera that logged 1,225 episodes before it went off the air in 1971. Created by Dan Curtis, who later did the landmark “The Winds of War” miniseries, the show starred Jonathan Frid as tortured Barnabas and brought ghosts and ghouls to the afternoon hours that usually belonged to handsome surgeons and conniving heiresses.

Unlike “The Addams Family” and “The Munsters,” this monster-mash of a show was a fringe taste, which is why it attracted the young outsiders who would be called goths today. Three of them were Burton, Depp and Pfeiffer, and they have nearly identical memories about racing home from school to catch the same strange transmission.

“It was a real thing for me, I had to watch it, and it was tough because you’d miss the beginning — it started at like 3 p.m., but that’s when we got out of school,” said Depp, who grew up in the sunbaked suburb of Miramar, Fla. “And then it moved later because all the kids wrote in letters. When you met someone who knew the show and loved it, there was an instant connection.”

That connection doesn’t exist with young moviegoers today, however, and the producers of the new movie aren’t going to encourage anyone to check out the originals because, well, it wasn’t, technically speaking, a great show. “I think,” Burton said evenly, “you could say it was actually awful.”

So what exactly was its appeal? The London-based filmmaker searched for the right words.

“It’s a different animal,” Burton said. “If I go back and watch something like ‘Star Trek,’ it’s not that hard to analyze what the appeal was, and even if the show is dated you identify what it was that made it work. The ‘Dark Shadows’ appeal was a little more abstract. What I loved about it was the fact that it was a melodramatic soap opera, and, well, that flies in the face of any modern studio’s interests as far as moviemaking. But what we’ve gone for is a mixture, and that’s always what I’ve been interested in; I think most of my movies are mixtures of light and dark and serious things and things that have humor in them.”

On the set, during one scene last summer, Depp emerged from the shadows — in costume and full makeup — with a sort of gliding majesty. He couldn’t hear Bonham Carter’s playful whisper teasing him about a previous role as she watched from a nearby corner.

“Just look at him,” she said with a wink. “He only does parts if he can wear eyeliner. ‘The Tourist’? Should have had more makeup.”

Depp has one of the most famous faces in Hollywood, but in many of his roles he hides it. “I don’t think about it that way, I just go to the role that feels right,” said the 48-year-old star.

Between takes, he offered his hands to a visitor for inspection — each of his fingers was extended into talons with rubbery prosthetics, and one held the weight of an especially opulent ring.

“There’s an elegance to this guy that’s kind of fun; Barnabas is a good one,” Depp said as, over his shoulder, Burton chatted with Bonham Carter next to a laboratory vat of vampire blood. “And just look around — there’s nothing like working with Tim.”

The filmmaker and star clearly adore each other — this is their seventh live-action collaboration. “Sleepy Hollow” producer Scott Rudin memorably quipped that Depp is “basically playing Tim Burton in all of his movies,” which doesn’t really hold to scrutiny — but the actor does know he faces a greater challenge each time he steps into Burton’s universe to play yet another spooky soul.

“Have I been in this arena before? That’s the thing you have to watch,” said Depp, who joked that Edward Scissorhands, Sweeney Todd and Ichabod Crane would enjoy a tour of the Collins mansion.

The actor paints portraits of his characters as he dials into their minds and hearts, and to get their voices right he counts backward from 10 — he’s himself at the top but the accent and affectations gather with each digit until he is a vampire at zero.

Costar Jackie Earle Haley, who plays caretaker Willie Loomis, said whatever tricks Depp uses, they are good ones.

“He was using those long fingers in one scene where he has to hypnotize me,” the “Watchmen” star said. “So I’m watching them and his eyes and listening to his voice and it kind of started to work a little bit. I was like, ‘Wow, this guy could be the real thing.’”

“Dark Shadows” is built around the comedic timing of Depp and the immersive world of Burton, the Edward Gorey of Hollywood. Just as he’s assembled many of his usual team in front of the camera, he’s relying on previous collaborators behind the scenes, including costume designer Colleen Atwood and composer Danny Elfman. Production designer Rick Heinrichs, who won an Oscar for his work with Burton on “Sleepy Hollow,” may be in the running again with his “Dark Shadows” sets. Yes, those were real boats in the water of the fake Maine harbor that was built on an elevated platform and covered a wide plain of the Pinewood lot — it was cheaper and logistically more practical to construct a fake port than use one in Maine, and the counterpart fishing harbors in England are constructed differently.

“A few months ago there was just string here to show where the road would be and the canneries and the pier,” Heinrichs said as he strolled past. “It’ll be a little sad when we tear it all down. These buildings say a lot about the families. Once there was a competition, but now the Collins Cannery is derelict — as is much of the town — but the AngelBay Cannery is thriving, and you get the feeling it’s sucking the life out of the town.”

Heinrichs smiles when asked if he was part of the “Dark Shadows” cult during the original run.

“I was in school when ‘Dark Shadows’ was on, but I didn’t particularly run home to watch it every day, but I know a lot of girls did. It was the ‘Twilight’ of its time, really…. What Tim and Johnny like is that there’s a slightly overwrought soap-opera feel to the families and the town and this gothic horror story beneath it all. There’s the innate humor in it too, the layering and juxtaposition of putting the courtly, 200-year-old Barnabas in that decadent post-hippie, pre-disco era.”

Burton’s previous movie, “Alice,” made more than a billion dollars worldwide, but the quirks of “Dark Shadows” has Hollywood wondering if this will be an overly eccentric misfire like his 1996 sci-fi spoof, “Mars Attacks!” (which, interestingly, was the last Burton film without Depp, Bonham Carter or both in the cast). Of course, many also doubted 2005′s “Charlie and the Chocolate Factory,” which made roughly $475 million.

All of Burton’s films since 2001 have been produced by Richard D. Zanuck, now 77. He has been making movies since the 1950s, but that understates his experience. As the son of Hollywood mogul Darryl Zanuck and silent-film beauty Virginia Fox, he grew up in the business and may be the only working producer today who can say he’s visited a movie set in nine decades.

“I’ve never seen a movie like this one; it’s like no other,” Zanuck said of the film, penned by Seth Grahame-Smith, a writer perhaps most famous for his literary mash-up novel “Pride and Prejudice and Zombies.” “It’s like five movies in one. It’s a comedy, it’s a romance, it’s got special effects, it’s got action, it’s got some horror elements of a kind. I think it’s got a lot of great things going for it. We just have to find a way to let people know what it is and what it offers.”

There have been dark shadows under Burton’s eyes every day of 2012 and with good reason. In addition to the exhuming of Barnabas Collins, he’s got two other films that reach theaters this year (he’s the director of October’s “Frankenweenie” and producer of June’s “Abraham Lincoln: Vampire Hunter”) and long-range projects (such as the just-announced “Alice in Wonderland” Broadway musical) always nibble at the corners of his mind and the edges of his schedule.

In late February, his exhaustion was clear even across international phone lines. “I forget how hard it is at the end, just to get the movie done, but that’s probably a good thing,” the 53-year-old said. The filmmaker knows that soon he will have to put his strange creation in front of the world and hope that it survives the searing judgments and bottom-line numbers.

“I can’t think about all that right now,” Burton said. “The thing with this one was trying to get it done right. And I think we have but, well, that’s what I think.”

– Geoff Boucher

Video: Tim Burton Masterclass

On Monday, March 5th, a masterclass with filmmaker Tim Burton was held at la Cinémathèque française in Paris. In the conversation, Burton took questions from the interviewer and from the audience, explaining his inspirations, various films he's made, making his works personal, his creative processes with his long-time collaborators, childhood movies and rare films (such as his unreleased documentary, Conversations with Vincent), and much more.

Here is the original english version:



And here is the french language version:

"Frankenweenie" Voice Cast Announced!

Tim Burton revisits some of his old ideas and collaborators. Not only is he finally making a feature-length version of his live-action short, Frankenweenie (and stop-motion, no less!), 26 years later, but his cast consists of actors that he has previously worked with.

Deadline.com has announced that Winona Ryder (Beetlejuice, Edward Scissorhands), Martin Landau (Ed Wood, Sleepy Hollow), Catherine O'Hara (Beetlejuice, The Nightmare Before Christmas), and Martin Short (Mars Attacks!) will be lending their voices to the animated film.

Ryder and Landau will play the characters of Elsa and Mr. Rzykruski, while O'Hara and Short will each play five supporting roles, including Victor's mom and dad.

Frankenweenie will be unleashed in theaters on March 9th, 2012.

Burton's Art at Cannes

Tim Burton is the president of 63rd Cannes Film Festival jury this year. Burton was a member of the Cannes jury in 1997 and on the short film jury in 2006. To celebrate Burton, Cannes has decorated some of the festival theaters with Burton’s art. Here are some photos of Burton's artwork on display in the theater lobby. The concept artwork is from such films as Batman, Batman Returns, Beetlejuice, Big Fish, Charlie and the Chocolate Factory, Edward Scissorhands, Mars Attacks!, and Sleepy Hollow. Photographs provided by /Film:













Acclaimed Indian filmmaker and fellow Jury member Shekhar Kapur recounts what has happened at Cannes so far, and spoke very highly of Tim Burton.

"Tim Burton is a compassionate and gentle person and so eager to learn about other people and cultures. He is also completely fascinated by India. So I have invited him to come and see if there is something he would like to shoot in India," Kapur, 64, posted on his blog www.shekharkapur.com/blog.

"India is a country that accepts mythology and magic realism as an essential part of it’s culture, as does Tim Burton in his filmmaking. It would be fascinating to see Tim Burton’s visual take on some of our tradition folk tales," said Kapur.

"It’s very exciting to be on the Jury of the Cannes film festival. Especially when the Jury is headed by the man I affectionately (but also seriously) call ‘the Salvador Dali of Cinema’," wrote Kapur.


Indian filmmaker Shekhar Kapur

He also attended a gala dinner inspired from Burton's works. "For the first dinner with the jury, the chef had designed the dinner as an ‘inspiration’ from Tim Burton’s movies! Everything looked like it was from the Mad Hatter’s dining table (from Alice in Wonderland)," he posted.

"And while it was terrific looking and delicious, I kept waiting for the rice! After all what’s a meal without rice and dal, or roti and dal?"

"Mars Attacks!" Blu-Ray this September

The Blu-ray version of Tim Burton's Mars Attacks! is expected to hit shelves on September 7th, 2010, says DVDTown.com.

Tim Burton's 1996 science-fiction spoof was based on the macabre Topps trading cards of the same name. The film stars Burton regulars Jack Nicholson, Danny DeVito, Sylvia Sidney, Lisa Marie, and Sarah Jessica Parker, and also stars Natalie Portman, Pierce Brosnan, Annette Benning, Glenn Close, Martin Short, Jack Black, Tom Jones, and many more.

The Blu-ray will carry an SRP of $37.77. Runtime is 107 minutes, and the film will be presented in its original 16x9 letterbox aspect ratio.

No word on what special features will be yet, and it should be noted that the release date is subject to change.

Watch Tim Burton on "The Charlie Rose Show"

In case you missed it, here is the superb interview with Tim Burton on The Charlie Rose Show, which premiered on Thursday, November 26th, 2009. This is most of the episode. It begins with the three curators from the Museum of Modern Art discussing Burton's art, then goes to the man of the hour himself. Rose describes Burton as the "perfect guest", as they enthusiastically talk about a plethora of topics including his most personal films, being a parent, children's artwork, his creative process, and much more:

Burton on "Twilight", MoMA; Exhibition Preview

MTV News spoke with Tim Burton at the Museum of Modern Art in New York City.

In this video, Burton discusses how this massive retrospective was such a "surreal" event for him:

Movie Trailers - Movies Blog

"It's so surreal that it's a bit of an out-of-body experience," he told MTV News at the MoMA. "So you don't actually feel like it's you; it's somebody else. But like I said, it's a cool honor. I got to see friends that I hadn't seen in many years. It's a real nice thing."

For the filmmaker, this artwork was meant to be more of a personal catharsis rather than made for public viewing. "I've been there [with therapists]. Done that," he joked. "Making movies is an expensive form of therapy, but it's better than therapy. I've had a couple of psychiatrists who were up there in that range."

Burton says he is not very good at drawing, but he likes the honest imperfections of his work. The flaws, the good things, the bad things — it's all a part of what makes it a piece of work," he explained. "I accept the flaws, as much as I may not like them. ... These things should be kept as they are. I grew up loving terrible movies, so you don't want them to change. You want them to be bad as ever."

The topic of the ever-popular Twilight series has been booming in the news. Jamie Campbell Bower, who will appear in the next installment of the saga, suggested Burton ought to direct the next movie. "He's being biased, because I worked with him on 'Sweeney Todd,' " Burton laughed. "But that's nice to hear. In case potential jobs run out, it'd be nice to know someone."


The grand retrospective "Tim Burton" will be open to the public on Sunday, November 22nd. Members of MoMA can catch a preview of it now. Here are a few samples of the vast array of movie props, paintings, personal photographs, sketches, and artifacts featured in the exhibition (all images courtesy of MTV News):


The gaping maw leading to the beginning of the gallery.


A personal letter from Tim to Johnny Depp.


A conceptual painting of Brainiac for the unrealized film Superman Lives.


Another illustration of Brainiac for Superman Lives.


A painting of the Joker from Batman, the quintessential insane menace.


The disembodied heads of Pierce Brosnan and Sarah Jessica Parker from Mars Attacks!


Artwork from the making of Mars Attacks!, partially inspired by classic B-grade science fiction movies and pulp comics, but very much of Burton's original imagination.


Burton's fear of clowns on a massive scale, in the form of an alien invasion.

A video from YouTube user FGuts123, featuring more previews of the exhibition and some words from Burton himself at the podium during the MoMA press preview:

Burton on MoMA Exhibit

Tim Burton on the set of Corpse Bride (Photo: Derek Frey)


From November 22nd, 2009 until April 26th, 2010, the Museum of Modern Art in New York City will open their exhibition "Tim Burton," the largest showcase of artwork by the visionary filmmaker. The exhibit will contain over 700 illustrations, sketches, paintings, puppets, photographs, and short and student films by the filmmaker, many of which have never been seen before. There will also be many artifacts from his career as a professional filmmaker, which spans nearly 27 years. Such artifacts will include original puppets from The Nightmare Before Christmas and Corpse Bride, severed head props from Mars Attacks!, and costumes from Batman Returns and Sleepy Hollow. Burton's features will also be screened at the museum from November 18-30.


A familiar sketch of Edward Scissorhands

At a press conference, Burton told reporters that he was excited, but felt a bit surprised by the idea, too. "I didn't grow up in a real museum culture," Burton said at a press conference Wednesday. "I think I went to the Hollywood Wax Museum as my first museum…I was of that generation where I got more out of The Beverly Hillbillies than Monet."

But Burton has found the experience of revisiting decades of his art to be a cathartic and energizing one. "Every now and then, and since I had never done it, it's good to kind of go back and reconnect with yourself," he told reporters yesterday. "It kind of re-energizes you and connects you and gets the nerve-endings going again."

Admission for the MoMA exhibit will be $20 for adults.

Limited Edition Expanded "Mars Attacks!" Score

There are less than 500 copies of this brand-new expanded rerelease of Danny Elfman's Mars Attacks! score! La-La Land Records has completely remastered all 74 minutes and 48 seconds of orchestral score from the film. The album contains linear notes by Dan Goldwasser and features comments from Elfman.

The price is $19.98, and units are going fast!

Special rerelease produced by MV Gerhard and remastered by James Nelson.

Click the La-La Land Records link to read more and hear some sample tracks.

Burton v. Marie: Legal Battle

Director Tim Burton has been ordered to stand trial in a lawsuit by his ex-girlfriend Lisa Marie, who claims she's owed millions of dollars.

Los Angeles Superior Court Justice Teresa Sanchez-Gordon ruled on the morning of Friday, July 18th, 2008, that a trial is the best means to determine whether Burton verbally agreed to bankroll Marie for life in return for her acting in his films (which include Ed Wood, Mars Attacks!, Sleepy Hollow, and Planet of the Apes) and serving as his personal manager, as her suit contends, before allegedly duping her into a much smaller payout.

Burton had fought to have his lawsuit tossed. There has been no immediate comment from neither his publicist nor his lawyer.

While Marie turned up for the proceedings in California, Burton participated on the phone, since he is in London, busy working on his upcoming Alice in Wonderland.


The article by Josh Grossberg continues as follows:

In his motion seeking dismissal, attorney Joseph Mannis argued that any sort of oral agreement was not applicable in this case, because Lisa Marie signed off on a $5.5 million settlement. Per the terms of that deal, Mannis argued, Lisa Marie relinquished all claims to Burton's assets and promised not to file a palimony suit.

But the model and actress, who appeared in small roles in many of Burton's films and whose real name is Lisa Marie Smith, claims she only received $2.7 million and was victimized by a conspiracy. She claims that Burton worked with her own advisers to shortchange her.

Burton filed a countersuit last September seeking a court declaration affirming she was obligated to live up to the prior deal.

One of the plaintiff's lawyers lashed out at the director's camp for a bullying tactic in which they threatened to take futher legal action against her if she fought Burton's petition to dismiss the case.

"They said that if we had the temerity to file papers in opposition to their motion for some reason that they would file a malicious prosecution action not only against Lisa Marie but also against me," cocounsel Judd Burstein told E! News. "It's going to be very interesting what the jury thinks of that kind of hubris."

Burstein added his camp was "very pleased" by the judge's ruling.

"It's not unexpected to us. Nice to know that just because you're a big celebrity you can't get your way by cheating and bullying."

The attorney also said that a chance for an amicable agreement was past.

"We've had some [settlement] talks, but it's not going anywhere," Burstein said. "We want our day in court, and it will be a very bad day for Tim Burton."

That day is now scheduled for August 11th.

"Music from the Films of Tim Burton" CD

Filmscoremonthly.com has posted information about a new re-recording by Silva Screen Records...



The article says the following:

"'Music from the Films of Tim Burton'

Tim Burton’s career as a director has provided some of the most original and distinctive films in cinema history.

His long working relationship with the musical genius of Danny Elfman is the main subject of this collection of the very best music from his films.

With a collaboration lasting over 25 years, Danny Elfman’s quirky music has more than matched the strange screen worlds of Tim Burton.

Highlights include Breakfast Machine from Pee-wee’s Big Adventure, Main Title/Ice Dance from Edward Scissorhands, Mars Attacks! and Beetlejuice.

Also includes selections from Burton’s most recent film Sweeney Todd, composed by Stephen Sondheim."

The tracklisting is as follows:

1. Main Titles – Sweeney Todd
2. No Place Like London – Sweeney Todd
3. A Little Priest – Sweeney Todd
4. Johanna – Sweeney Todd
5. Christmas Eve Montage – The Nightmare Before Christmas
6. The Piano Duet/Victor’s Piano Solo – Corpse Bride
7. End Titles – Sleepy Hollow
8. Themes - Batman
9. End Titles – Batman Returns
10. Main Title/Ice Dance – Edward Scissorhands
11. Finale – Charlie and the Chocolate Factory
12. Beetlejuice - Beetlejuice
13. Breakfast Machine – Pee-wee’s Big Adventure
14. Main Title – Ed Wood
15. Mars Attacks! – Mars Attacks


This CD is not composed of the same versions of the music by Danny Elfman, Howard Shore (Ed Wood), and Stephen Sondheim, that we're familiar with. Instead, these are new recordings of those pieces, played by the City of Prague Philharmonic.

The CD will be available in the UK on June 16th, 2008, and in the US on July 7th, 2008.


Catalogue No. SILCD1261
Format: CD
Barcode: 73857 2126124
Label: SILVA SCREEN
Street Date: 16/06/2008

Burton, Marie Go to Court in August

What was hoped to be a quick settlement has evolved into a drawn-out legal confrontation between director Tim Burton and his ex, Lisa Marie. The trial is set for August 12th, 2008.

Lisa Marie, 39, originally filed a lawsuit against the filmmaker in 2006.

Marie and Burton met in December 1991 and quickly moved in with one another. At that point, according to her complaint, the filmmaker promised to "share equally any and all property accumulated" and agreed to take care of her financial needs for the rest of her life.

Burton did assist Marie's career: the model appeared in four of his films -- Ed Wood in 1994, Mars Attacks! in 1996, Sleepy Hollow in 1999, and Planet of the Apes in 2001.

But while shooting their last film together, Marie's suit states, Burton dumped the model/actress for Helena Bonham Carter, who played the female lead in Apes. Bonham Carter and Tim Burton currently reside in England with their two children.

Lisa Marie's suit claims that while Burton and Bonham Carter pursued their romance, Marie felt "extremely depressed" for several months.



Marie, whose full name is Lisa Marie Smith, eventually received $2.7 million, but in 2004, she complained of a conspiracy preventing her from obtaining her fair share.

Burton fired back with his own petition, seeking a court declaration which would demand Marie abide by the original agreement.

You can read more details of the legal issue in this link.

Mark Salisbury Has Written Companion Book to "Sweeney Todd"

Mark Salisbury, who has interviewed Tim Burton for the book, Burton on Burton, and wrote who the companion book to the 2005 stop-motion film, Corpse Bride, has written the companion book to Burton's upcoming Sweeney Todd.






Salisbury said, "Call me biased regarding Tim Burton, if you like, on account of my long-standing relationship with the man forged through my many years of interviewing him for my book Burton On Burton, but I'm the first to admit I disliked most of his Planet Of The Apes. That said, I love almost everything else he's made, even Mars Attacks which, to my mind, is a work of subversive genius that will, in the not too distant future, finally get the recognition it truly deserves."



He continued optimistically, saying, "There's been some carping in certain online quarters about how Burton's lost it, and about how this is going to be a disaster. Wrong. Wrong. WRONG. I'm not really at liberty to say much about Sweeney, but, take it from me, this is going to be something very special. People are going to be surprised and really blown away when they see what Burton, Depp and co are serving up this time around. Trust me."



As with the book, Tim Burton's Corpse Bride: An Invitation to the Wedding, Tim Burton has provided a foreward to Sweeney Todd: The Demon Barber of Fleet Street.

The book is to be published by Titan Books, and will be available on December 4th, 2007.