Burton, Tim (I)

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biography of Burton, Tim

Timothy William Burton
25 August 1958, Burbank, California, USA
5' 11 1/2"
His early film career was fueled by almost unbelievable good luck, but it's his talent and originality that have kept him at the top of the Hollywood tree. Tim Burton began drawing at an early age, going on to attend the California Institute of the Arts, studying animation after being awarded a fellowship from Disney, for whom he went on to work. Although he found that the mainstream Disney films he worked on (_The Fox and the Hound (1981)_ (qv)) were far removed from his own sensibility, Disney let him have the freedom to work on his own personal projects, the six-minute animated black-and-white Gothic 'Vincent Price (I)' (qv) tribute _Vincent (1982)_ (qv), and the 27-minute live-action _Frankenweenie (1984)_ (qv), which was judged unsuitable for children and never released. However, 'Paul Reubens (I)' (qv) (aka Pee-Wee Herman) saw it and decided that Burton, still only in his mid-twenties, would be the ideal person to direct his feature debut, _Pee-wee's Big Adventure (1985)_ (qv). An enormous (and surprise) box-office hit, it led to the supernatural comedy _Beetle Juice (1988)_ (qv), which in turn led to Burton being entrusted with the reins on the hugely expensive _Batman (1989)_ (qv). Although his least personal film, it was one of the most successful films of all time, and gave him unprecedented power in Hollywood considering the originality and adventurousness of his work thus far. _Edward Scissorhands (1990)_ (qv), another hit, saw him at the peak of his creative powers and established a fruitful working relationship with actor 'Johnny Depp' (qv). _Batman Returns (1992)_ (qv) was a far darker and quirkier film than the original, a reflection of how much creative freedom Burton had won (though Warner Bros were reputedly unhappy with the final result). And although _Ed Wood (1994)_ (qv), his loving tribute to the life and work of the legendary Worst Director of All Time, 'Edward D. Wood Jr.' (qv), was a box-office disaster, it garnered some of the best reviews of Burton's career, and suggests that he'll continue dazzling audiences for many years to come.
Michael Brooke

Tim Burton was raised in Burbank, California. He spent most of his childhood as a recluse, drawing cartoons and watching old movies (he was especially fond of films with 'Vincent Price (I)' (qv)). When he was in the ninth grade, his artistic talent was recognized by a local garbage company when he won a prize for an anti-litter poster he designed. The company placed this poster on all of their garbage trucks for a year. After graduation from high school, he attended California Institute of the Arts. Like so many others who graduated from that school, Burton's first job was as an animator for Disney. He worked on such films as _The Fox and the Hound (1981)_ (qv) and _The Black Cauldron (1985)_ (qv), but had some creative differences from that of his colleagues. Nevertheless, Disney recognized his talent, and gave him the green light to make _Vincent (1982)_ (qv), an animated short about a boy who wanted to be just like 'Vincent Price (I)' (qv). Narrated by Price himself, the short was a critical success and won several awards. Burton made a few other short films, including his first live-action film, _Frankenweenie (1984)_ (qv). A half-hour long twist on the tale of Frankenstein, it was deemed inappropriate for children and wasn't released. But actor 'Paul Reubens (I)' (qv) (aka Pee-Wee Herman) saw _Frankenweenie (1984)_ (qv), and believed that Burton would be the right man to direct him in his first full-length feature film, _Pee-wee's Big Adventure (1985)_ (qv). The film was a surprise success, and Burton instantly became popular. However, many of the scripts that were offered to him after this were essentially just spin-offs of the film, and Burton wanted to do something new. For three years, he made no more films, until he was presented with the script for _Beetle Juice (1988)_ (qv). The script was wild and wasn't really about anything, but was filled with such artistic and quirky opportunities, Burton couldn't say no. _Beetle Juice (1988)_ (qv) was another big hit, and Burton's name in Hollywood was solidified. It was also his first film with actor 'Michael Keaton' (qv). Warner Bros. then entrusted him with _Batman (1989)_ (qv), a film based on the immensely popular comic book series of the same name. Starring 'Michael Keaton' (qv) and 'Jack Nicholson (I)' (qv), the film was the most financially successful film of the year and Burton's biggest box-office hit to date. Due to the fantastic success of his first three films, he was given the green light to make his next film, any kind of film he wanted. That film was _Edward Scissorhands (1990)_ (qv), one of his most emotional, esteemed and artistic films to date. _Edward Scissorhands (1990)_ (qv) was also Burton's first film with actor 'Johnny Depp' (qv). Burton's next film was _Batman Returns (1992)_ (qv), and was darker and quirkier than the first one, and, while by no means a financial flop, many people felt somewhat disappointed by it. While working on _Batman Returns (1992)_ (qv), he also produced the popular _The Nightmare Before Christmas (1993)_ (qv), directed by former fellow Disney Animator 'Henry Selick' (qv). Burton reunited with 'Johnny Depp' (qv) on the film _Ed Wood (1994)_ (qv), a film showered with critical acclaim, 'Martin Landau' (qv) won an academy award for his performance in it, and it is very popular now, but flopped during its initial release. Burton's subsequent film, _Mars Attacks! (1996)_ (qv), had much more vibrant colors than his other films. Despite being directed by Burton and featuring all-star actors including 'Jack Nicholson (I)' (qv), 'Glenn Close' (qv), 'Pierce Brosnan' (qv) and 'Michael J. Fox (I)' (qv), it received mediocre reviews and wasn't immensely popular at the box office, either. Burton returned to his darker and more artistic form with the film _Sleepy Hollow (1999)_ (qv), starring 'Johnny Depp' (qv), 'Christina Ricci' (qv) and 'Casper Van Dien' (qv). The film was praised for its art direction and was financially successful, redeeming Burton of the disappointment many had felt by _Mars Attacks! (1996)_ (qv). His next film was _Planet of the Apes (2001)_ (qv), a remake of the classic of the same name. The film was panned by many critics but was still financially successful. While on the set of _Planet of the Apes (2001)_ (qv), Burton met 'Helena Bonham Carter' (qv), to whom he is now currently engaged and has a son with. Afterwards, Burton directed the film _Big Fish (2003)_ (qv) - a much more conventional film than most of his others, it received a good deal of critical praise, although it disappointed some of his long-time fans who preferred the quirkiness of his other, earlier films. Despite the fluctuations in his career, Burton proved himself to be one of the most popular directors of the late 20th century. And as of this writing, he is currently signed on to direct 'Johnny Depp' (qv) once again, this time in _Charlie and the Chocolate Factory (2005)_ (qv), a film that promises to be just as quirky as anything he's ever done.
Mr_Beale_11-14

- 'Lena Gieseke' (qv) (24 February 1989 - 31 December 1991) (divorced)

- Often does the beginning credits sequence with the camera going throughsomething(_Batman (1989)_ (qv),_Beetle Juice (1988)_ (qv),_Edward Scissorhands (1990)_ (qv),or following something(_Batman Returns (1992)_ (qv),_Mars Attacks! (1996)_ (qv),_Sleepy Hollow (1999)_ (qv),_Charlie and The Chocolate Factory (2005)_, _and_Sweeney Todd: The Demon Barber of Fleet Street (2007)_).

- His films often have a Gothic feel to them, often including Christmas and/or Halloween scenes.

- Plot often focuses around a misunderstood outcast.

- Frequently uses composer 'Danny Elfman' (qv).

- Frequently casts 'Jeffrey Jones (I)' (qv), 'Paul Reubens (I)' (qv), 'Glenn Shadix (I)' (qv), 'Michael Keaton' (qv), 'Lisa Marie (I)' (qv), 'Johnny Depp' (qv), 'Helena Bonham Carter' (qv), 'Michael Gough (I)' (qv), 'Deep Roy' (qv) and 'Christopher Lee (I)' (qv).

- Frequently features dead or dismembered dogs.

- He often likes to open his films with a quiet night time snowfall.

- Many of his films feature townspeople who misunderstand and/ordistrust the lead character.

- Obsession with horror actors: he makes movies about them (_Vincent (1982)_ (qv), _Ed Wood (1994)_ (qv)), or he actually casts them in his films (e.g. 'Vincent Price (I)' (qv), 'Michael Gough (I)' (qv), 'Christopher Lee (I)' (qv), 'Christopher Walken' (qv)).

- Often shows scarecrows in his movies.

- His movies always opens with a personal version of the studio's logo.

- Usually includes fantasy elements in his films.

- Often looks into the main character's past through a series offlashbacks (i.e._Edward Scissorhands (1990)_ (qv), _Sleepy Hollow (1999)_ (qv), _Charlie and the Chocolate Factory (2005)_ (qv) and Sweeney Todd: The Demon Barber of Fleet Street (2007)).

- Fathers are portrayed in a negative light in his films. Whether they be dead (_Batman (1989)_ (qv)), purposely ditched their children (_Batman Returns (1992)_ (qv)), the main characters have remorse against them because of bad childhood memories (_Sleepy Hollow (1999)_ (qv), Charlie and the Chocolate Factory (2005) or weren't there while their child was growing up (Sweeney Todd (2007))

- Stripes: characters often wear striped clothing, particularly black-and-white stripes (for example, Beetlejuice, Sweeney and Mrs. Lovett in "Sweeney Todd," Katrina in "Sleepy Hollow," and Tweedledum and Tweedledee in "Alice in Wonderland.")

- Often shows factory assembly line sequences (e.g. _Edward Scissorhands (1990)_ (qv), _Charlie and The Chocolate Factory (2005) _, _9 (2009/I)_ (qv)).

- Most his films tend to be either dark or colorful, and sometimes contain scenes of both.

- At the end of _Beetle Juice (1988)_ (qv), Beetlejuice metamorphoses into a bizarre creature with a merry-go-round on his head. On the top of this merry-go-round is a smiling skull which became Jack Skellington in _The Nightmare Before Christmas (1993)_ (qv). The latter movie had been a pet project of Burton's since his days as an animator at Disney.

- He has an interest in clowns, and his films will often include them or make reference to them.

- Credits his former fiancée, 'Lisa Marie (I)' (qv), as his muse. She is often in his projects (_Ed Wood (1994)_ (qv), _Mars Attacks! (1996)_ (qv), _Sleepy Hollow (1999)_ (qv), _The World of Stainboy (2000)_ (qv), _Planet of the Apes (2001)_ (qv)) or is paid homage in them (she was the inspiration for _The Nightmare Before Christmas (1993)_ (qv)'s Sally).

- Engaged to 'Lisa Marie (I)' (qv) from 1992-2001.

- Used the song "It's Not Unusual", performed by 'Tom Jones (I)' (qv), in _Edward Scissorhands (1990)_ (qv) and then in _Mars Attacks! (1996)_ (qv).

- Lives in Ojai (California) and New York.

- Is a "Bollywood" fan.

- Nearly everywhere he goes, he carries a pocket-size sketchbook and a small watercolor kit.

- Usually dresses in black, because he doesn't like spending too much time matching colors.

- Younger brother Daniel Burton is also an artist.

- Was voted the 49th Greatest Director of all time by Entertainment Weekly, being the youngest director on this list of 50.

- He was hired as the director of the failed _Superman (1997)_ (qv) movie.

- Among his cinematic influences are 'Mario Bava' (qv), 'Vincent Price (I)' (qv), 'Roger Corman' (qv) and 'Barbara Steele (I)' (qv) whom he homaged in _Sleepy Hollow (1999)_ (qv).

- Is a big fan of "nudie" director 'Russ Meyer (I)' (qv).

- He once said he never remembers his dreams, apart from five recurring dreams, one of them involving the girl he was in love with when he was a teenager and another involving his parents' bedroom.

- Played water polo and swam for Burbank High School in California.

- Has made seven films with 'Johnny Depp' (qv): _Edward Scissorhands (1990)_ (qv), _Ed Wood (1994)_ (qv), _Sleepy Hollow (1999)_ (qv), _Charlie and the Chocolate Factory (2005)_ (qv), _Corpse Bride (2005)_ (qv), _Sweeney Todd: The Demon Barber of Fleet Street (2007)_ (qv), and _Alice in Wonderland (2010)_ (qv).

- Ranked #6 on Tropopkin's Top 25 Most Intriguing People [Issue #100].

- Is a big fan of Italian director 'Mario Bava' (qv). He once said he would like to remake Bava's classic _La maschera del demonio (1960)_ (qv) with his former partner 'Lisa Marie (I)' (qv). He also appeared in two documentaries about Bava.

- Member of jury at the Cannes Film Festival in 1997.

- Grew up in Burbank on Evergreen Street, and his family lived in the 2000 block, near Valhalla Cemetary. Attended Providencia Elementary School in Burbank, California.

- Was working on a documentary about 'Vincent Price (I)' (qv), called "Conversations with Vincent". After Price's death in 1993 he shelved the project and it has never been completed.

- Was slated to direct _The Fly (1986)_ (qv) with 'Michael Keaton' (qv) in the lead role, but he backed out and 'David Cronenberg' (qv) took over.

- Was originally set to do a re-make of _Das Cabinet des Dr. Caligari. (1920)_ (qv) in the early 1980s.

- Is scheduled to direct the Broadway musical version of his film _Batman (1989)_ (qv).

- Bought the rights to a Topps trading card series with the intention of turning it into a film, but couldn't decide between calling it "Dinosaurs Attack!" and "Mars Attacks!". _Jurassic Park (1993)_ (qv) then came out, and to avoid comparison, he made it as _Mars Attacks! (1996)_ (qv) instead, but then it faced comparison to _Independence Day (1996)_ (qv).

- While at WDFA, he shared an office with 'Andreas Deja' (qv).

- In October 2001, he began his current relationship with actress 'Helena Bonham Carter' (qv), whom he met while filming _Planet of the Apes (2001)_ (qv), and she has appeared in all of his subsequent films. They live in adjoining houses with a hallway that connects the two homes, they have a son, Billy-Ray Burton, born on October 4, 2003, and a girl, Nell Burton, born on December 15, 2007.

- 'Johnny Depp' (qv) is a godfather of his son Billy Ray Burton.

- After seeing his performance as 'Big Boy' Caprice in _Dick Tracy (1990)_ (qv), he always kept 'Al Pacino' (qv) in mind to cast as a villain in a future "Batman" installment. However, after _Batman Returns (1992)_ (qv), Burton moved on from the franchise.

- Engaged to 'Helena Bonham Carter' (qv) [2001-present] 2 children.

- As of 2009, every feature film he has directed has been nominated for some sort of Academy Award, with the exceptions of _Pee-wee's Big Adventure (1985)_ (qv), _Mars Attacks! (1996)_ (qv) and _Planet of the Apes (2001)_ (qv).

- Has his look-alike puppet in the French show _"Les guignols de l'info" (1988)_ (qv).

- His favorite films are _Dracula A.D. 1972 (1972)_ (qv), _The Wicker Man (1973)_ (qv), _The Golden Voyage of Sinbad (1974)_ (qv), _Furankenshutain no kaijû: Sanda tai Gaira (1966)_ (qv), and _The Omega Man (1971)_ (qv).

- TV commercial for Timex starring 'Lisa Marie (I)' (qv) (2000).

- Worked on the development of the film adaptation of The Death of Superman, _Superman/Doomsday (2007) (V)_ (qv), for about a year, even storyboarding the entire film. Left the project due to budget and creative differences.

- Portrait of 'Vincent Price (I)' (qv) (Interview [USA], December 1990).

- Wrote book of short stories "The Melancholy Death of Oyster Boy and Other Stories".

- Directed TV commercial for Hollywood chewing-gum (France) in 1998, where a modern Snow White appears nude to a digital-made garden dwarf.

- He did the series of short animated flash films for shock wave.com named _The World of Stainboy (2000)_ (qv).

- He shot a series of photographs featuring 'Lisa Marie (I)' (qv), for the "Horror" issue of BIG magazine.

- Featured in the MTV series _"Never Before Scene" (2004)_ (qv) about his film _Corpse Bride (2005)_ (qv). Also featured were 'Johnny Depp' (qv) and 'Helena Bonham Carter' (qv).

- Directed 'The Killers' (qv) music video "Bones" (2006).

- Book (ed., Paul A. Woods): "A Child's Garden of Nightmares", 2002.

- Helmut Merschmann. _Tim Burton._ Berlin: Bertz Verlag, 2000. ISBN 3929470756

- Tom Burton, with Mark Salisbury. _Burton on Burton._ London, England: Faber & Faber, 1995.

- Ken Hanke. _Tim Burton: An Unauthorized Biography of the Filmmaker._ Los Angeles: Renaissance Books, 1999.

- Tim Burton. _My Art and Films._ London, England: Harper Perennial, 1994.

- Colin Odell, Michelle LeBlanc. _Tim Burton._ London, England: Pocket Essentials, 2001.

- Jim Smith, J. Clive Matthews (eds.). _Tim Burton._ London, England: Virgin Books, 2002.

- Paul A. Woods. _Tim Burton: A Child's Garden of Nightmares._ Revised and updated edition. London: Plexus Publishing, 2007. ISBN 085965401X

- Gallo, Leah. _The Art of Tim Burton._ Los Angeles: Steeles Publishing, 2009. ISBN 9781935539018

- Christian Heger. _Mondbeglänzte Zaubernächte. Das Kino von Tim Burton._ Marburg, Germany: Schueren, 2010. ISBN 978-3-89472-554-9

- You don't know whether chimps are going to kill you or kiss you. They're very open on some levels and much more evil in a certain way.

- [commenting on the demolition of the Landmark casino in Las Vegas for the film _Mars Attacks! (1996)_ (qv)] "It was like watching something die."

- [genres] "I had never really done something that was more of a horror film, and it's funny, because those are the kind of movies that I like probably more than any other genre. The script had images in it that I liked ."

- [memories] "I remember when I was younger, I had these two windows in my room, nice windows that looked out onto the lawn, and for some reason my parents walled them up and gave me this little slit window that I had to climb up on a desk to see out of. To this day I never asked them why; I should ask them."

- Anybody who knows me knows I would never read a comic book. And I certainly would never read anything written by 'Kevin Smith (I)' (qv).

- [suburbia] "I think the atmosphere that I grew up in, yes, there was a subtext of normalcy. I don't even know what the word means, but it's stuck in my brain. It's weird. I don't know if it's specifically American, or American in the time I grew up, but there's a very strong sense of categorization and conformity. I remember being forced to go to Sunday school for a number of years, even though my parents were not religious. No one was really religious; it was just the framework. There was no passion for it. No passion for anything. Just a quiet, kind of floaty, kind of semi-oppressive, blank palette that you're living in."

- [the approach you have to take in movies] " . . . you always have to feel like it's gonna be the greatest, even if it's a . . . you know . . . piece of crap."

- [Talking about the Batman characters]: "These are some of the wildest characters in comics and yet, they seem the most real to me."

- [About working with 'Jack Nicholson (I)' (qv) on _Batman (1989)_ (qv)] "By the time Jack walks onto the set, he feels very clear and strong about the character. So when you're shooting it's great, because that's when you toy around with the levels of how broad to go."

- I'll always remember this image of being in line to see _When Dinosaurs Ruled the Earth (1970)_ (qv), and all the younger kids were like, 'Dinosaurs are so cool!' and all the older kids were like, 'Oh, man, I hear there's this really hot babe in this movie!'

- [on WB's lame suggestions for _Charlie and the Chocolate Factory (2005)_ (qv)] "They thought the Charlie character should be more proactive and that Wonka should be more of a father figure, and I'm sitting there thinking, 'Willy Wonka is NOT a father figure! If that's your idea of a father figure, yikes. Willy Wonka's a weirdo.' "

- [on the stress of delivering a summer movie in an era when release dates are often set by studios before a script is finished] It's like you're a runner and they beat the shit out of you and break your legs right before you're supposed to race, and then they say, 'Now go win the race.'

- [on cult director 'Edward D. Wood Jr.' (qv)] "Nobody had his style. That's something I try to do in my films. You have your own kind of cryptic messages in there - cryptic things that most people wouldn't understand but are important to you. Things that kind of keep you going through the process."

- [on picking screenplays] I wouldn't know a good script if it bit me in the face.

- [on style] I remember, I was at Cal Arts and I wasn't a good life-drawer; I struggled with that realistic style of drawing. And one day I was sitting in Farmer's Market sketching, and it was this weird, mind-blowing experience. I said, 'Goddamit, I don't care if I can't draw, I'm just gonna draw how I feel about it.' All of a sudden I had my own personal breakthrough, and then I could draw, and satisfied myself. I've had very few experiences like that, and I'll never forget it.

- In Hollywood, they think drawn animation doesn't work anymore, computers are the way. They forget that the reason computers are the way is that Pixar makes good movies. So everybody tries to copy Pixar. They're relying too much on the technology and not enough on the artists. The fact that Disney closed down its cel animation division is frightening to me. Someday soon, somebody will come along and do a drawn-animated film, and it'll be beautiful and connect with people, and they'll all go, 'Oh, we've got to do that!' It's ridiculous.

- [Becoming a movie director] "There was one moment, and it happened in school. I had a big final exam--we were supposed to write a 20-page report on this book about Houdini ['Harry Houdini' (qv)]. I probably would have loved reading it, but I didn't, so I just decided to make a little super-8 movie based on it. I tied myself to the railroad tracks and all that. I mean, this is kid stuff, but it impressed the teacher, and I got an A. And that was maybe my first turning point, when I said, 'Yeah, I wouldn't mind being a filmmaker.' "

- It is unfortunate that Disney closed down its drawn-animation unit. I find it quite upsetting, because they made a few drawn movies that weren't successful and they went, `Well, that is dead, so we have to go to computers.' They forget that the reason that they have been successful is because Pixar [whose films Disney distributes] makes good movies. Success is the real reason people try to copy things in Hollywood. Someday someone will do a beautiful cell- animation film that connects with people and then someone will say, `We have to go and do that again.' The number-one priority should be that the story and the medium are compatible.

- I've always been misrepresented. You know, I could dress in a clown costume and laugh with the happy people but they'd still say I'm a dark personality.

- I grew up watching things like _The Brain That Wouldn't Die (1962)_ (qv) on Saturday afternoon television. There's a guy with his arm ripped off and blood smeared all over the wall. I never saw it as negative. I find that stuff, when it's not rooted in reality, to be cathartic.

- I've always loved the idea of fairy tales, but somehow I never managed to completely connect with them. What interests me is taking those classic images and themes and trying to contemporize them a bit. I believe folk tales and fairy tales have some sort of psychological foundation that makes that possible.

- I always liked strange characters.

- [on _Batman Begins (2005)_ (qv)] "I saw a tape of it. It was very touching. Very good."

- If you've ever had that feeling of loneliness, of being an outsider, it never quite leaves you. You can be happy or successful or whatever, but that thing still stays within you.

- All these kinds of stories, whether it be _The Wizard of Oz (1939)_ (qv) or _Alice in Wonderland (2010)_ (qv), are an internal journey. I think that's a fairly universal concept. These characters represent things inside the human psyche. I think that's what every child does. You try to work out problems as you go along. Same thing as an adult. Some people get therapy, some people get to make movies.

- [On living in England] I love the weather more than in California. I am serious! You know, you can go for a walk in any kind of weather. In Los Angeles you immediately arouse suspicion when you're out without a car.

- (September 2008) Cornwall/Devon filming _Alice in Wonderland (2010)_ (qv).

- "The Independent Arts & Books" (UK), 26 February 2010, Iss. 7293, pg. 12 - 13, by: Gill Pringle, "Boyhood traumas of a director"

- "Starlog" (USA), March 2008, Iss. 363, pg. 62-66, by: Ian Spelling, "Bloody Ballads"

- "RTV" (Germany), 24 April 2004, Iss. 17/04, "Jeder befindet sich im Surrealen"

- "Cinema" (Hungary), September 2001, Iss. 118, pg. 63, by: Scott Orlin, "A majomház királya"

- "Playboy" (USA), August 2001, Vol. 48, Iss. 8, pg. 59-65+140, by: Kristine McKenna, "Playboy Interview: Tim Burton"

- "Diário de Notícias" (Portugal), 3 March 2000, pg. 40, by: Eunice Goes, "«Não sei bem se sou gótico»"

- "Reperages" (France), March 2000, Vol. III, Iss. 10, pg. 31-32, by: Nachiketas Wignesan & Nicolas Schmerkin, "Tim Burton; Une cible émouvante à Hollywood"

- "Total Film" (UK), February 2000, Iss. 37, pg. 50-56, by: Mark Salisbury, "Graveyard Shift"

- "Film Review" (UK), February 2000, Iss. 590, pg. 62-63, by: Roald Rynning, "Sleepy Hollow"

- "Diário de Notícias" (Portugal), 6 March 1997, pg. 39, by: Nuno Henrique Luz

- "Première" (France), March 1997, Iss. 240, pg. P. 54, by: Jacques-André BONDY, "Ak! Ak! Ak! Les Martiens attakkks!"

- "Neon" (UK), March 1997, pg. 36-41, by: Bill Warren, "Stop The World I Want To Blow It Up"

- "Starlog" (USA), January 1997, Iss. 234, by: Bill Warren, "Tim Burton Attacks"

- "Expresso, Cartaz" (Portugal), 1997, Iss. 1271, pg. 8-9, by: Joao Lopes

- "Stern" (Germany), 1997, Iss. 10, pg. 200-201, by: Claus Lutterbeck, "Angriff der Glubschaugen"

- "Empire" (UK), 1997, Iss. 93, pg. 68-75, by: Steve Goldman, "Spaced Invaders"

- "TV Filmes" (Portugal), 1997, Iss. 8, pg. 18-22, by: Avik Gilboa

- "Variety's ON Production" (USA), December, 1996, Vol. 5, Iss. 11, pg. 20-24, by: Gregory Solman, "Worldbeater!"

- "Cinema" (Hungary), October 1995, Iss. 47, pg. 74-75, by: Heiko Rosner, "Tim Burton: Az iszonyat bábjátékosa"

- "Fangoria" (USA), November 1994, Iss. 138, pg. 66-70, by: Mark Salisbury, "King of the Offbeat"

- "Positif" (France), September 1992, Iss. 379, by: Michel Ciment & Laurent Vachaud, "La chauve-souris, le chat et le pingouin"

- "Starlog" (USA), July 1992, Iss. 180, by: Marc Shapiro, "Dark Knight Director"

- "Positif" (France), June 1991, Iss. 364, pg. 16-17-18-19-20-21-22, by: Michel Ciment & Laurent Vachaud, "Vincent, Beetlejuice, Edward et les autres"

- "Starlog" (USA), March 1991, Iss. 164, by: Dan Yakir, "Director's Cut"

- "Interview" (USA), December 1990, Vol. 20, Iss. 12, pg. 110-113, by: Graham Fuller, "Tim Burton & Vincent Price"

- "Starlog Yearbook" (USA), 1990, Vol. 6, pg. 29, by: Marc Shapiro, "'Batman': After the Fact"

- "Starlog" (USA), August 1989, Iss. 145, pg. 37-40,+58, by: Adam Pirani, "The Lord of Gotham City"

- "Starlog" (USA), May 1988, Vol. 11, Iss. 130, pg. 42-47, by: Marc Shapiro, "Explaining 'Beetlejuice'"

- "The New York Times" (USA), 28 April 2010, Vol. 159, Iss. 55,024, pg. C2, by: Dave Itzkoff, "Tim Burton a Hit at MoMA"

- "The New York Times" (USA), 20 November 2009, Vol. 159, Iss. 54,865, pg. C25 & C30, by: Ken Johnson, "A World of Macabre Misfits"

- "Metro" (Netherlands), 10 April 2008, by: Metro, "Award Tim Burton geeerd op Fantastic"

- "Erga kai imeres" (Greece), 17 March 2007, Iss. 114, pg. 15, by: Alexandra Rapti, "Ksaderfaki tou anderovgalti o Johnny Depp"

- "Le Soir" (Belgium), 26 July 2005, Iss. 172, pg. 26, "Tim Burton toujours en tête"

- "MAD" (Belgium), 13 July 2005, pg. 2, by: Fabienne Bradfer, "Tim Burton, choco prince"

- "The New York Times" (USA), 12 March 2005, by: Sharon Waxman, "Rummaging for a Piece of Tim Burton"

- "Film Comment" (USA), November 2003, Vol. 39, Iss. 6, pg. 14, by: Dave Kehr, "Tim Burton Comes Home With A Story About Tall Tales And Simple Truths"

- "Radio Times" (UK), 17 August 2002, Vol. 314, Iss. 4093, pg. 42, by: Barry Norman, "Tim Burton's adventures in Hollywood"

- "Ciak" (Italy), September 2001, pg. 100-101, by: Giulia D'Agnolo Vallan

- "The Washington Post" (USA), 29 July 2001, pg. G1+G6, by: Alona Wartofsky, "For Tim Burton, 'Apes' Is Enough"

- "Paper" (USA), July 2001, pg. 49, by: David Hershkovits, "Ape Crusader: Director Tim Burton Reinvents A Classic"

- "Diário de Notícias" (Portugal), 4 March 2000, pg. 3, "Magic Negra"

- "Cinema" (Hungary), March 2000, Vol. 1, Iss. 100, pg. 30-34, by: Peter Lau, "A sötét lovag küzdelmei"

- "VOX" (Hungary), March 2000, Vol. 1, Iss. 35, pg. 46-47, by: Eszter Szikora, "Tim Burton: Utazás egy koponya körül"

- "Le Jour" (Belgium), 11 February 2000, Vol. 106, Iss. 35, pg. 13, by: Cédric Flament, "Tim Burton perd la tête"

- "Diário de Notícias" (Portugal), 1998, Iss. 33, pg. 11, by: José de Matos-Cruz, "O estranho mundo de Jack"

- "Diário de Notícias" (Portugal), 7 March 1997, pg. 17, by: José de Matos-Cruz

- "TV Filmes" (Portugal), 1997, Iss. 12, pg. 48, by: Manuel Pereira

- "TV Filmes" (Portugal), 1996, Iss. 5, pg. 29

- "Positif" (France), December 1994, Iss. 406, pg. 6-7, by: Laurent Vachaud, "La mort lui va si bien"

- "Noorus" (Estonia), February 1993, Iss. 2, pg. 20-21+ 24-25+ 28, by: Ivar Kümnik, "Batman tuli tagasi"

- "Cinefantastique" (USA), February 1991, Vol. 21, Iss. 4, pg. 5+60, by: Steve Biodrowski, "Director Tim Burton, the Auteur of Weird, Does Something Really Off-the-Wall."

- "Metro" (Netherlands), 10 April 2008, "Award Tim Burton geeerd op Fantastic"

- "The Puppetry Journal" (USA), Winter 1993, Vol. 45, Iss. 2

- "Starlog" (USA), June 1992, Iss. 180