I could film an ice-skating show and it would be too dark. I never asked Ransom if he was a fan of my work, but we had certain connections. Burton can sympathise with the intense feelings writers might feel seeing their creations reimagined by someone else as he has had a similar experience on the other side.
It's just a weird phenomenon — so I can imagine what it's like for people to have something they created translated like this. Cancel reply. Your email address will not be published.
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Share via Email. Search Submit Search. Actress Paula Maxa, the original Scream Queen, was killed and assaulted no less than 1, times in her career.
Audiences either relished the violence, fainted, or ran from the theater in horror, only to return the following week. Blood red dominated the macabre black and white shadowy backgrounds of sets and posters in Grand Guignol. As such, the combination of black, white and red is a deliberate choice by Burton in Sweeney Todd. In other films, Burton retained some of the theatrics and insanity of the Grand Guignol, but with only the suggestion that something horrific could, or is about to, take place.
Surprisngly, Burton successfully incorporated this trope into his work for Disney. Grand Guignol for children as it were. As is the emphasis of blood red against the black and white costumes, and sets. Burton spent his childhood in Burbank watching Hammer Horror Films, Universal Monster movies, and mid-century schlock sci-fi films.
He also uses low lying blanket of fog, a familiar trope in Hammer Horror, for one atmospheric scene. However, in most cases, imagery and tropes from these old horror and B-grade sci-fi movies served only as a starting point for Burton to create his own unique characters. Closely related to the Monster movie and the B-Grade s sci-fi flicks are the creepy carnival oddities.
A long tradition of sideshow marvels and circus performers spanned Europe for centuries. He shows empathy for many of these characters. Other characters, like Betelgeuse, completely accept themselves from the beginning, and take gleeful pride in terrorizing others. Betelgeuse is not strictly a villain. In fact, he helps to eradicate undesirable tenants from the house in Beetlejuice. Burton, of course, has also crafted great villains with deformities.
In the sequel, Batman Returns, Burton doubles down on the circus freak motif with his Penguin. Bright colors are not expected in Gothic tales, but the dark, greyscale palette of this world is often juxtaposed against a goofy, almost candy-colored world of pastels, stripes and swirls. These bright colors can be found in a number of traditions absorbed into the Burtonesque visual style including the Day of the Dead and the bright color schemes of the circus and carnivals.
The Gothic and gore often take place in bright, sunny, and oversaturated settings. The Gothic couple in Sweeney Todd taking a leisurely stroll on the pier on a cloudless day, the zany and colorful horror-house factory in Charlie And The Chocolate Factory, o r the landscapes of Wonderland in both Alice films, are all examples of this uniquely Burtonesque trait. In these worlds, colors are often bright, but the deeds are dark.
A particular scene that stood out for me in the Hobbit was the scene where Gandalf is walking around this dark terrain down stairs. This sudden contrast in colors emphasizes the difference between the real world Charlie is living in and the imaginative world that he just walked into. He uses the same strategy in Corpse Bride when Victor, the main character, travels into the land of the dead. The mood then drastically changes when Victor was unwillingly thrust onto the underworld, where the shades become brighter and the tinge of colors became more diverse and dynamic.
Obviously, Crooks is an easy target since he is looked down upon at the ranch. Even though Curley's wife is a weak character herself, she still has the authority over Crooks, given that he is black. Slow exposition of dark and bloody narrative preceding the play off takes the viewer into the darkest places of the human soul.
Although, Painless is beautifully filmed, it is rather unbalanced. It is primarily the combination of two narratives which does not perfectly work because they are visually and contextually distinct from one another. The flashbacks with their dark fantasy gothicism established from the opening scene is far more enthralling than the modern sections of the plot.
Frankenstein, there are very few differences. The most observable contrast between the two is the outward, physical appearance.
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