سلام بر دوستداران فیلم و سینما به ویژه طرفداران تیم برتون ،میدونم حداقل در تهران بسیارند.
این مصاحبه که چند ساعتی بیش ازش نمیگذره خیلی کوتاه و جالب است.
البته اینم بگ که آقای تیم برتون امسال به عنوان رئیس هیئت داوران در کن حضور دارند که این هم باز برای کسانی که طرفداران پرو پا قرص اقای برتون هستدند باید جالب باشد من که این طور فکر میکنم
یک نقل قول روز از Shekhar Kapur فیلم ساز هندی :
"Tim Burton to me is the Salvador Dali of filmmaking!"
نظر من هم با این فیلم ساز هندی تقریبا همسو ست شما چی؟
What is your first film memory?
It was Jason and the Argonauts.
What made you want to make films?
Watching monster movies… In Jason and the Argonauts, watching
Ray Harryhausen’s creations made me want to become both an animator
and/or a filmmaker.
Is there a film you never get tired of watching?
There are several. Ones you watch anytime you want. It’s strange,
there’s a weird one like Where Eagles Dare; it’s a movie that
everytime it’s on TV, I watch it, because there’s a mood to it, in the
snow, and you have the soundtrack and the quietness… Same thing with The
Omega Man. There are certain films I would watch anytime, even if I
had seen them the day before.
Which scene from a film gives you the greatest sense of emotion?
I can remember when I first saw King Kong falling off the Empire State
Building… I got very emotional about that! And it’s kind of the same at
the end of any monster movie when they die. I always get very sad and
emotional at the end of almost every monster movie!
Do you have a cult line of dialogue?
I always laugh when Charlton Heston says to the Zombies in The Omega
Man : “Are you fellas really with the Internal Revenue Service?”
There’s something about that line that always made me laugh!
Which film would you like to live inside?
The movies kind of create a mood… I guess any Mario Bava film. I always
liked the spirit, the look of those, so I guess I would like to live in
one of his films.
Which film would you show to someone if you were trying to
seduce them?
Well, I remember going on at a date in a drive-in, one of the first
dates I ever had, and there was a double bill of Clockwork Orange
and Deliverance… So I wouldn’t suggest that! It didn’t work
very well!
In which other filmmaker’s skin would you like to spend a few
hours?
I guess it would be people I never knew or met but whose films I liked,
like I would have loved to have known Mario Bava, what he was like,
because I like his films very much. So I guess I’ll never have the
opportunity to meet somebody like that.
Which actor or actress would you have liked to direct?
In history? I’ve always had a real soft spot for Peter Lowry or Boris
Karloff... But I’ve been lucky to be able to have people I admired, like
Christopher Lee.
Which book would you like to adapt?
I think books are quite difficult to adapt. It has to be a book that you
think is very good. I would be very leery of adapting a book that I
liked. But even if I did like it, I wouldn’t want to adapt it.
Which film ending would you most like to change?
Maybe The Sound of Music, I would kill them all off at the end.
The whole family!
In your opinion, which event or invention created a before and
an after in the history of cinema?
Like sound and colour? Any time a new technology is invented, there’s a
before and an after. But I don’t agree with things like saying 3D is a
turning-point, because I don’t think it’s the only tool. Even when
colour came in, I still like to do black and white. There are so many
elements, so many tools, it’s great that they’re all there. It’s like
animation: when computer animation came in, they stopped doing drawn
animation. And luckily, even after computers, there are still drawers in
animation. So it’s best to not think too much about before and afters
in my opinion.
In your opinion, just how far can cinema go?
The great think is, it’s all about emotion and story... That was there
at the beginning and that will be there at the end, no matter what the
technology is. That’s the great thing about it: it’s always got a very
simple, kind of human purity to it. That’s a good thing. It can
constantly change and everything can happen, and yet the core thing
about affecting somebody stays the same, which is beautiful.
Do you have any particular ritual or obsessive behaviour
connected with the Cannes Festival?
It’s just like a weird dream. So let’s just the dream happen! I think
it’s best not to plan too much. Don’t you think?
What do you most like doing when you are not making films?
I like having time where I’m not doing anything. That’s the time where
you actually create the most, when you’re just looking out the window or
looking at a tree. It’s at those times in life that you’re just like
spacing out, which is rare. So I like to have as much of that time as
you can have, because I think that’s the time where you are actually
doing the most work, in a strange way.
Is there any question that you would really want to ask and to whom?
I guess the whole British government, like “What’s the hell is going
on”? And I think the whole country wants to know what’s going on!
