This weekend, director Tim Burton will bring his imaginative stop motion animated tale of a boy’s till-death-and-beyond love for his dog to audiences when Frankenweenie opens in theaters.
Based on his 1984 live-action short film of the same name, Frankenweenie is a coming home of sorts for Burton. It is a return to a story concept he came up with in his early days at Disney, an homage to the beloved horror films of his youth, and a remembrance of his upbringing in suburban Burbank, CA.
The film follows young Victor Frankenstein as he resurrects his beloved bull terrier Sparky, inadvertently inciting a chain of events which culminates in a monster-mash of epic proportions. It feels as if there is more emotional biography in this film than in almost any previous Burton endeavor (with the exception, perhaps, of 2003′s Big Fish).
The director went so far as to cast old friend and collaborator Winona Ryder (Edward Scissorhands) in a role that is very reminiscent of her turn as Lydia in the aforementioned Beetlejuice.
We had the opportunity to sit down with Burton in a lengthy two-on-one interview in partnership with Cinemablend’s Eric Eisenberg to talk classic films, the tendency for adults to misunderstand his work and forget their own childhood fairytales, as well as the pure love that exists between a man and his dog reflected in Frankenweenie.
Q: We were just saying that there is a purity and clarity in the stop motion animation and overall aesthetic to the film that reflects the purity and clarity in the love between a boy and his dog.
Tim Burton: “Yes, that’s what made it feel different than the short – which I loved doing and it was great to do live-action – but what I always loved about the drawings and what you can do in stop motion is that there is purity to the emotion. The black and white also added to that for me. If the studio had said to me, ‘Well, you can do the movie but only in color,’ I wouldn’t have done it because it was that important to me to impart that emotional stripping away of things so that you get that simplicity and the strength of what it’s about.”
Q: You originally intended to make the movie in stop motion, is that correct?
TB: “Well, not necessarily. My recollection of it now was that it was designed to go out with another film. Back in the old days when Disney was releasing an animated film, they would do these live-action [...] shorts. You know the crazy cougar comes to town or whatever. So that was what it was originally sort of designed to be. And I was happy to do it, and enjoyed doing it, but they quickly became freaked out about releasing it. Whatever, this happens.”
Q: What made now the right time to bring it back?
TB: “Well I wasn’t thinking ‘Okay, now is the time.’ It has to do with a few different things. Obviously, when I did it way back then, it did its thing and I went on and did other things. But it was such a memory piece for me in the sense that it was based on real emotions and real feelings and a love of certain kinds of movies and growing up in an environment. I started going back and thinking about other elements from that time in terms of like Burbank, where I grew up. I mean, we shot the original short in Pasadena, which is a slightly different vibe from Burbank, and also remembering certain types of kids in school and certain politics and certain weird teachers. So there were a lot more elements than the love of those classic monster movies. Also, if the original was the structure of ‘Frankenstein,’ then this was the structure of some of those later movies like ‘The House of Frankenstein’ or ‘Abbott and Costello Meet Frankenstein’ where they put more monsters in there. So that made it feel more of a natural expansion of an idea rather than taking a short and trying to pad it out. It’s like being able to have everything be from a real kind of place, the same kind of baseball field, the same kind of auditorium, the same kind of PE teacher and kids and all that. So that made it feel like a real package. Plus, it takes time to get the right kind of team together. When we’re working on an animated film, for some reason, it feels like we always have to start from scratch again because people go off and work for Pixar and wherever else and it’s such a rarefied form of animation that it takes quite a bit of time to put your team together.”
Q: It seems that, in looking at your work, many people have the idea that you have an interest in death, or the death impulse or darker elements. But I see such a life force in your work.
TB: “Well, thank you. That’s what always shocked me about people. I always find that kids can take quite a lot and that they’re quite intelligent. And I find that adults, as they get older, kind of forget what it’s like. Even with Disney movies. They think they’re all light and airy-fairy and yet from ‘Snow White’ on, ‘The Lion King’ and everything, death is very present. They’ve been killing animals for years.”
Q: They’ve been shooting them in the woods for years.
TB: “Yeah, I mean ‘Old Yeller.’”
TB: “Yeah, and that’s the whole point. I mean that’s why I always get a bit frustrated by that idea. Because I’ve had that my whole life, and the fact is that in my mind this is like a classic Disney movie structure. It’s not like going to new levels of darkness. In fact I find it quite light. But you know I went through that with ‘Nightmare Before Christmas.’ People said that it was going to be too scary for kids and then you’ve got three-year-olds coming up to you and singing the songs. I’m so sick of that. Even doing ‘Batman’ it was like, ‘It’s too dark, it’s too dark.’ Now it looks like a lighthearted romp. Jesus.”
Q: (Laughing) It’s so true. And Grimm’s fairy tales were certainly not airy.
TB: “They’re so dark. Even as a kid, I’m three years old and reading these stories and now even I forget how horrible they are. And hilariously horrible. But I find that the most fascinating dynamic with adults. It’s like, where have they gone in their mind? I mean, don’t they remember any of this stuff? It was around when they were kids. So it’s not like it’s some new thing.”