Frankenweenie Press Conference

Director Tim Burton, executive producer Don Hahn, producer Allison Abbate and stars Martin Landau, Catherine O’Hara and Martin Short came together to discuss London Film Festival opening film Frankenweenie today. The panel were on good form, with Martin Short impersonating Burton and Martin Landau doing an impression of Alfred Hitchcock. Burton talked about working with the close-nit group. The director has worked with all of the panel on at least one previous occasion. The panel were asked to each offer their first impressions of Burton, which ranged from Catherine O’Hara being late for their initial meeting to Martin Landau seeing Beetlejuice at the cinema and him wanting to work with Burton because of the film.

Tim Burton also spoke about the importance of shooting Frankenweenie in black and white, stating that it gives the film the feel of an old horror movie, even for those too young to have watched them. The director remarked that he still considered himself to be outside the mainstream, despite the commercial success of his films. Martin Landau likened working with Burton to a ‘playground’, while Martin Short praised the director for giving actors the opportunity to express their thoughts.

The BFI London Film Festival runs 10-21 October 2012. Frankenweenie opens in cinemas on 17th October 2012.

 

10 Things To Be Grateful For In 2010

As with most years, 2010 has offered us the good, the bad and the ugly. The following is a highly subjective list of some of the best things to come out of cinema this year. Feel free to add your own entries in the comments below.

1. The Return Of Michael Keaton

Following appearances in such cinematic classics as First Daughter, Michael Keaton spent a number of years in the land successful wide releases forgot. That changed in 2010, with a memorable role voicing Ken in the hugely successful Toy Story 3, and scene-stealing as Captain Gene Mauch in The Other Guys. Although the latter was not exactly the film of the year, Keaton raised the bar with a fantastic comic performance reminiscent of his glory days. This served as a timely reminder of his charisma and aptitude for comedy in Night Shift and Beetlejuice among others. Welcome back, Mr Keaton!

2. Warner Bros Greenlit Inception

Despite its box office success, Inception is a film that has divided critics and audiences. Love it or hate it, we should all be grateful that the studio greenlit the big-budget production in the first place. Based on an original screenplay, Inception was a refuge from the barrage of sequels, remakes, spin-offs and adaptations. Inception was a blockbuster that was engaging yet accessible. For the film, Warner Bros expended the kind of marketing strategy usually reserved for pre-sold entities. Given the healthy box office returns, the gamble certainly paid off. Hopefully Inception‘s success will give more studios the confidence to follow suit.

3. Disney Released A Traditionally Animated Feature

The Princess and the Frog (released in February 2010 in the UK) marked the first hand-drawn animation film from Disney since 2004. The past five years have seen no shortage in animated films; however these have tended to be of the computer generated variety. While features such as Up look fantastic, there is something quintessentially Disney about The Princess and the Frog. The beautiful animation harks back to the golden age of the early and mid-nineties, when each year would see a now classic Disney animated feature. Only time will tell whether The Princess and the Frog will be appraised in the same way as films such as Beauty and the Beast and The Lion King. In the meantime, the film indicates at least some variety in Disney’s output.

4. Referencing The 1980s Is Still In Vogue

Certainly not a new trend for 2010, for a number of years now cinema has been harking back to the eighties. Be it long overdue sequels to 1980s hits (Indiana Jones and the Kingdom of the Crystal Skull), remakes or even choice of soundtrack, referencing that most magical of decades has been a fixture in Hollywood in recent years. 2010, however, may have pulled of a coup d’état with the gloriously nostalgic Hot Tub Time Machine. With an amazing soundtrack and a plethora of references to 1980s films, fashion and popular culture, Steve Pink’s film was the ultimate homage to the much-loved decade.

5. David Fincher Signed On To Direct A Film About Facebook

A film about the creation of social networking site Facebook sounded just about the most unappealing premise of the year. Interest was peaked when David Fincher was announced as director of the project in 2009, but many, like myself, remained unconvinced. All that changed when the film was released in October 2010. The Social Network was one of the most absorbing films of the year, brilliantly executed and visually handsome. A very welcome surprise.

6. Woody Allen Dusted Off A Script From The ’70s

Released in June 2010 in the UK, Whatever Works saw a return to form for prolific director Woody Allen. Based on his original script from the 1970s, Whatever Works featured all the hallmarks of a classic Allen feature; witty dialogue, well-written characters and the New York setting. The film served as a reminder of why Woody Allen is such a lauded filmmaker, and is reminiscent of some of his best-loved pictures of the 1970s and 1980s. Here’s hoping Allen has a few more scripts gathering dust in his attic.

7. Colin Firth Stepped Up His Game

A bastion of period drama and romantic comedies, in 2010 Colin Firth revealed his flair for more serious dramatic roles with two magnificent performances. Firth conveyed the aching tragedy of George in Tom Ford’s A Single Man (released in February 2010 in the UK), and was thoroughly convincing as George VI in The King’s Speech (screened at the London Film Festival in October 2010). Having won awards for A Single Man and already receiving nominations for The King’s Speech, these triumphs are almost enough for us to forget Mamma Mia. Almost.

8. Danny Boyle Produced One Of The Most Wince-Inducing Scenes In Film History

Collective squirming ensued in screenings throughout the world when Danny Boyle’s 127 Hours was released (screened at the London Film Festival in October 2010). Most viewers would have known what to expect, but the film excels in building tension right up until this point. The event itself was visceral enough to apparently induce vomiting and fainting amongst audience members. This may just have been good marketing, but what remains is one of the most memorable scenes of 2010.

9. The Bounty Hunter Was Released In March

Though it has faced some stiff competition, The Bounty Hunter was the worst film released this year. For an action comedy, The Bounty Hunter was painfully unfunny. Like a childhood trauma, time dulls the pain, although you never entirely forget.

10. Joe Dante Directed A ‘Family Horror’

The Hole (released September 2010 in the UK) may not be the greatest film of the year, but it was certainly one of the scariest. For a film with child protagonists and aimed at a family audience, the film was surprisingly frightening. The Hole played on the most primal of fears, which resulted in a film that was far more effective than many of the adult horrors released this year. Although The Hole has been rather overlooked in terms of critical acclaim, it is a must-see for horror aficionados.

Film Review: Alice in Wonderland

Tim Burton’s live action-CGI extravaganza is an entertaining escapade well worth the watch in 3D. A sequel to the Alice stories rather than a remake, it bares little resemblance to earlier cinematic adaptations. In this version, Alice is a nineteen year old who falls down the rabbit hole after running away from an undesired marriage proposal.

Burton’s film features a far more active Alice, one who eventually fights in battle against the Red Queen’s army. Whilst the film features the familiar Wonderland characters, the plot diverges greatly from the 1951 Disney animated feature of the same name. Screenwriter Linda Woolverton has created a quest narrative for the teenage Alice, which contrasts significantly with the whimsy of Carroll’s original stories.

The cast features many of the familiar Burton players, with Bonham Carter making a fittingly over the top Red Queen. Depp is suitably outrageous as the Mad Hatter, although he does play the character with a modicum of sadness. New blood is injected with the welcome presence of Mia Wasikowska and the delightful Anne Hathaway. A particular highlight is Stephen Fry voicing the enchanting Cheshire Cat.

As ever, Danny Elfman produces a score that compliments the visuals perfectly. Generally the 3D works well given the content, although it does look a little flat when compared to recent box office behemoth Avatar.

Alice in Wonderland‘s opening weekend success is unsurprising, considering its first quarter opening and the huge promotional campaign orchestrated by Disney (the publicity of the threatened boycott no doubt helped to boost audience awareness). Nonetheless, as a longtime Tim Burton fan, one can’t help but be disappointed by lack of originality in his recent work. With a reworking of Dark Shadows being reported as his next project, it looks like the days of Beetlejuice and Edward Scissorhands are long gone.