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Viewing: Blog Posts Tagged with: Tim Burton, Most Recent at Top [Help]
Results 1 - 25 of 41
1. a sweetly shy scarlet haired seamstress...

©the enchanted easel 2014
just about done!

here's a peek at some crops of my painting (in progress) entitled, "moonstruck"...featuring the very beautiful and bashful, sally from tim burton's masterpiece, the nightmare before christmas.

©the enchanted easel 2014

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2. these sweet faces....

©the enchanted easel 2014
on the easel this week!

yes, that is a cat. for those who know me, well nothing more needs to be said except "deep breaths". i thought if i made *it* cute, i'd be able to overcome my fear....well, for as long as it takes me to complete the painting anyway.

feeling brave...;)
©the enchanted easel 2014

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3. IDW Publishing to Release An ‘Edward Scissorhands’ Comic Book Series

IDW Publishing will release a comic adaptation of the 1990 hit movie, Edward Scissorhands.

Author Kate Leth has been brought on as the writer. Illustrator Drew Rausch has been hired to create the interior art. Artist Gabriel Rodriguez designed the cover for the first issue.

The story of this series takes place twenty years after the ending of Burton’s beloved film. According to the press release, “Kim’s granddaughter, Meg, grows up with Edward Scissorhands only being a legend, a bedtime story. But when weird things start to happen in her sleepy little town, it reawakens her curiously and she decides to search out for the mysterious Edward Scissorhands.”


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4. ‘Mouse in Transition’: The CalArts Brigade Arrives (Chapter 9)

New chapters of Mouse in Transition will be published every Friday on Cartoon Brew. It is the story of Disney Feature Animation—from the Nine Old Men to the coming of Jeffrey Katzenberg. Ten lost years of Walt Disney Production’s animation studio, through the eyes of a green animation writer. Steve Hulett spent a decade in Disney Feature Animation’s story department writing animated features, first under the tutelage and supervision of Disney veterans Woolie Reitherman and Larry Clemmons, then under the watchful eye of young Jeffrey Katzenberg. Since 1989, Hulett has served as the business representative of the Animation Guild, Local 839 IATSE, a labor organization which represents Los Angeles-based animation artists, writers and technicians. Read Chapter 1: Disney’s Newest Hire Read Chapter 2: Larry Clemmons Read Chapter 3: The Disney Animation Story Crew Read Chapter 4: And Then There Was…Ken! Read Chapter 5: The Marathon Meetings of Woolie Reitherman Read Chapter 6: Detour into Disney History Read Chapter 7: When Everyone Left Disney Read Chapter 8: Mickey Rooney, Pearl Bailey and Kurt Russell “Chief has to DIE,” Ron Clements said. “The picture doesn’t work if he just breaks his LEG. Copper doesn’t have enough motivation to hate the fox.” Ron looked at me intently, shaking his head. He was a supervising animator on The Fox and the Hound, and was just then in the process of making a jump into the story department. He was something of a perfectionist and (for some reason) wanted the story to be better. Ron had worked for a season at Hanna-Barbera and then entered the Disney training program, apprenticing with veteran animator Frank Thomas. Within a decade he would be co-directing Disney’s breakout blockbuster The Little Mermaid, but at this moment he was unhappy with the story arc of The Fox and the Hound. “I agree with you, Ron,” I said. “Agree completely. But do you think Art Stevens will buy a change like that?” “I don’t know. But we have to try. The picture needs to be stronger.” The Fox and the Hound had a three-act structure. The second act had the fox, Tod, involved with a railroad accident. The old dog Chief gets knocked off a tall bridge by a thundering locomotive, and Tod gets unfairly blamed for the accident. Chief dies in the book on which the movie is based, but in the Disney version, the elderly dog only suffers a broken leg. Even so, Copper (the young bloodhound) angrily vows revenge against his friend Tod. Ron and most of the younger story crew thought Copper’s anger and lust for revenge was several clicks over the top, considering Tod’s minor sin. So Ron and the rest of us pleaded the case to the lead director: “Please let’s have Chief DIE.” Art was skittish about it, and said no. No surprise there. So the same argument was hauled upstairs to Disney’s management, with the same reaction: “You can’t kill off a lovable central character! Children will FREAK OUT! Parents will hate us! WE’LL GET LETTERS!!” Neither tearful pleas nor the example of Bambi’s mother catching a bullet could change the directors’ or the top brass’s minds. They wouldn’t kill Chief, and that was final. Ron Clements was not a guy who easily took “No” for an answer, but after a protracted campaign, he dropped the issue. Arguing was as pointless as jousting with windmills. (I had dropped the issue earlier. I am not a big believer in banging my head against hard, thick walls.) But it was one more point of dissatisfaction between the recently-arrived Young Turks and the Disney Animation establishment. The old timers from the 1930s were gone, but the generation that had rolled in during the 1940s and 1950s was finally holding the tiller, and they were bound and determined not to cede their newly acquired power and leverage to a bunch of goddamn kids in their goddamn twenties. Many of the “kids” were from California Institute of the Arts, the Disney-funded college in Valencia, California that served as a training ground for a lot of the animation industry. Walt Disney Productions had, in recent years, skimmed off the cream of the CalArts crop, and recent grads like John Musker, Henry Selick, Brian McEntee, Bruce Morris, Joe Ranft, Mikes Cedeno, Mike Giamo, Tim Burton, Jerry Rees, and an ebullient CalArts star named John Lasseter (among numerous others) populated the animation building. A 1980 volleyball game between the Disney producers and artists. The color commentary and play-by-play by John Musker reveals the underlying tensions between the two camps. Video by Randy Cartwright. Most of the CalArts group groused about the old-timers’ stodgy, moldy fig attitudes, and the stodgy, moldy fig product that resulted therefrom. They had been against the Bluth forces; now they chafed against the veterans’ tightly-held reins. Brad Bird had already gotten his ass fired for making his gripes too loud and too public, but the general mood of frustration and desire to try something fresh, new, and different continued. Even with the bad feelings, various CalArts graduates were being groomed for better things. Early on, John Musker jumped on a career track pointed toward director. John Lasseter was assigned to different projects in development. Bruce Morris and Joe Ranft quickly worked their way into story development. But the veterans remained territorial…and a touch paranoid. I remember Art Stevens saying, “Who do these pipsqueaks think they ARE?! They’re not geniuses. They can’t come in here and have their way after fifteen minutes!” (Another old-timer told me: “Art spent years in John Lounsbery’s unit as his key assistant. And Art would get furious if artists in their group tried to move up and out. He always wanted everybody to stay where they were, to not change anything. He’d get offended if anybody tried to jump ship.”) Tim Burton, bent over a light board down on the first floor, was becoming known for his very un-Disney character sketches. Joe Ranft, Darrell van Citters, Brian McEntee, Mike Giamo, Jim Mitchell, and …

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5. ‘Mouse in Transition’: Cauldron of Confusion (Chapter 10)

Steve Hulett recounts his role in the the confusing and chaotic production of Disney's most un-Disney-like feature, "The Black Cauldron."

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6. sweetness....

©the enchanted easel 2014
sewn together at the seams.

a peek at what's up next on the easel. can you guess who she is?

{hint-she's a red head (yay!). super shy. super sweet. stuffed with fall leaves...and is the female love interest of a certain skeleton by the name of jack.}

video below...just in case you couldn't figure it out. one of my favorite movies of all time! :)

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7. “Frankenweenie” teaser

“Sparky” lives – Tim Burton’s stop-mo feature will open October 5th, 2012. Here’s our first look at the animation:

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8. Ypulse Essentials: ‘The Lorax’ Sets Box Office Records, Understanding Millennials’ Language, ‘The Real Housewives of Disney’ Spoof

Dr. Seuss’ ‘The Lorax’ nabbed the top spot at the box office this weekend (garnering $70.7 million — the best opening of the year so far — and becoming the best debut ever for a non-sequel animated film! Although the movie didn’t... Read the rest of this post

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9. Abraham Lincoln: Vampire Hunter Trailer Released

A new trailer has been released for the adaptation of Abraham Lincoln: Vampire Hunter, a big screen adaptation of a mash-up novel by Seth Grahame-Smith.

Produced by the great Tim Burton, the film comes out in June–what do you think? Here is a concise plot summary: “Abraham Lincoln, the 16th President of the United States, discovers vampires are planning to take over the United States. He makes it his mission to eliminate them.”

Way back in 2010, we interviewed Grahame-Smith about his Abraham Lincoln: Vampire Hunter novel, exploring how the bestselling monster mash-up Pride and Prejudice and Zombies had changed his life. Click here to listen to the interview.

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10. Monstrous cake animation from Alexandre Dubosc, via Colossal. An...

Monstrous cake animation from Alexandre Dubosc, via Colossal. An homage to Tim Burton.

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11. “Frankenweenie” Trailer #2

A newer trailer with footage we haven’t seen before for Tim Burton’s Frankenweenie. Between ParaNorman, Hotel Transylvania and this, it’s monsters, monsters, monsters… (and I mean that in a good way):

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12. “Frankenweenie” talkback

I’ll be seeing Tim Burton’s Frankenweenie on Saturday afternoon with my Asifa-Hollywood peeps at a screening on the Disney lot. Looking forward to it – especailly as Betsy Sharkey in The Los Angeles Times says “the artistry reaches absolute perfection… and Burton has never done it better” (though she notes, “it’s the story that poses some problems”). A.O. Scott in The New York Times simply calls it “a sweet and creepy homage to classic monster movies”.

It’s out today and you can see it yourself. How does it compare to The Corpse Bride or Nightmare Before Christmas? Where does it stack on the list next to ParaNorman and Hotel Transyvania? Give your opinions here (and, as usual, this discussion is only open to those who have actually seen the film).

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13. “Frankenweenie” Debuts Weakly, “Hotel Transylvania” Stays Strong

Tim Burton’s Frankenweenie debuted weakly last weekend in fifth place with $11.4 million. The opening is significantly lower than Burton’s last stop motion feature, The Corpse Bride, which debuted with $19.1M in 2005.

The opening of Frankenweenie concludes this year’s great stop motion experiment. It was the third major stop motion feature this year, following Aardman’s The Pirates!: Band of Misfits and Laika’s ParaNorman. None of the three films were able to crack a $15 million opening. In fact, no stop motion feature has ever had an opening north of $20 million. It begs the question, Are stop motion films simply incapable of grossing as much as CG or has no one ever made a stop motion film with mass audience appeal? In a year with more stop motion features than usual, it’s a question worth considering.

Meanwhile, Genndy Tartakovsky’s Hotel Transylvania is on its way to becoming one of Sony’s biggest animated hits. The film dipped a modest 36% in its second weekend, grossing $27.1M and pushing its U.S. total to $76.7M.

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14. Artist of the Day: Rustam F. Hasanov

A look at the work of Rustam Hasanov, Cartoon Brew’s Artist of the Day.

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15. TIM by Ken Turner

Remember Tim Burton’s homage to Vincent Price, Vincent? Canadian animator Ken Turner returns the favor in this cute stop motion tribute:

(Thanks, Bernard Joaquin)

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16. Tim Burton Picks Weirdest Christmas Images

In a guest essay on The Huffington Post, director Tim Burton picked the 11 of the weirdest holiday art pieces featured in his book, The Art of Tim Burton.

A few of the images featured Jack Skellington from The Nightmare Before Christmas. Burton explained: “Christmas has always been one of my favorites. I love the gaudy decorations people strew everywhere and the idea of snow before I ever got to experience it. My other favorite is Halloween, and the combination of the two was where the inspiration for The Nightmare Before Christmas came from.”

The book features 1,000 illustrations. The standard edition costs $69.99. The $299.99 deluxe edition features a slipcase, a signed lithograph, and Burton’s signature on the inside cover.

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17. Slacker

So if we consider the figures, I appear to be a slacker this weekend. No work on the NaNoWriMo novel. Early last week, I considered trying to hit 60,000 words by the 30th, but my conscience urged me to take the weekend off and finish up and edit a short story with a December 1st deadline. And I just did. I can't add any words to my official word count as I spent today in third draft territory and then line editing, but Dehydrated Human Heart is on its way to...Rejectionville. Hey, best to be prepared.

In other news, froze my butt off at a railway station this morning. After overnight babysitting duty for my niece and nephew and waking up to minus 4 degrees (brr! Still chipping the ice off my eyeballs), the train to Liverpool was cancelled and then the next was cancelled, and they only run every half hour. So, it was a trip across the road to the taxi station and an expensive journey home. I do love British transport.

In worse news, I fell asleep during the last fifteen minutes of Sweeny Todd. I hang my Tim Burton loving head in shame.

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18. 15. Movie Magic. Three Books.

Harry Potter: A Pop-Up Book Based on the Film Phenomenon, illustrated by Andrew Williamson, paper engineering by Bruce Foster, Insight Editions, $34.95, all ages, 12 pages. Flying off shelves since its November release, this lush pop-up puts the drama of Harry Potter films into 3-D scenes you'll want to get lost in. Illustrated by the lead concept artist on all eight Harry Potter films and engineered by the creator of this year's A Christmas Carol: A Pop-Up Edition, the book feels not only wonderfully familiar -- matching up with film footage we've grown to love -- but has a cinematic quality that doesn't often appear into pop-ups. Warm, glowing colors and deep shadows replicate the lighting effects around Diagon Alley and Hogwarts (one of the most dramatic pop-ups, towering above the book with spires and minarets). You feel instantly swept into the drama and want to stick your head down into the locations of Hagrid's Hut and the Forbidden Forest, as if somehow you could shrink to fit inside.

There's also a sense of the impending in every scene. As you open pop-ups for the Triwizard Tournament and a clash between Harry and Lord Voldemort, you feel like the action is only on pause and could start all over again. Sprinkled among five main pop-up are smaller, charming surprises: lift one flap and the red jaws of a howler open to deliver a message or peer into a cage to see Harry's snowy owl, Hedwig. Fun movie facts and three small movie posters add to the magic and by book's end, you're ready to look at it all over again. This is a book you'll be tempted to display open on a shelf.

Disney's Alice in Wonderland: A Visual Companion, by Mark Salisbury, with a foreword by Tim Burton, Disney Editions, $50, ages 9 and up, 256 pages. Fans of renowned director and producer Tim Burton won't want to miss this spectacular inside look at the making of the movie, Alice in Wonderland. Packed with every snippet of artwork you could imagine, the book shows not only stills from the movie, but behind-the-scenes footage, concept artwork, movie stills marked with editing notes, set and costume designs as they evolve, and interviews with Burton and The Mad Hatter himself, Johnny Depp. Every so often, eye-popping photographs are overlaid with quotes by the movie's creators and actors talks about scenes or each other. The most intriguing part of the book is all the artwork that was created to guide the animation -- gorgeous sketches and paintings that never appeared in the film, for which, without this book, we might never see. One of my favorite photographs shows a series of clay heads used to make the prosthetics that give the king's court its facial distortions. Though pricier than most books, this is one that will be treasured long after your child grows up.

19. Scissorhands 20th If you’re an Edward Scissorfan,...

Scissorhands 20th

If you’re an Edward Scissorfan, you’ll enjoy this blog featuring illustrated tributes to Tim Burton’s film. This piece by Ken Turner.

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20. T Bone Burnett & Danny Elfman to Create Music for ‘The Hunger Games’

Oscar-winner T Bone Burnett and Grammy-winner Danny Elfman will create the music for The Hunger Games film adaptation. According to the release, this project is “an unprecedented film music collaboration.”

The two composers will work together on the film score. Additionally, Burnett will serve as the executive music producer for both the score and the soundtrack. Many Hunger Games fans have reacted happily to the announcement on Facebook.

Lionsgate’s head of film music Tracy McKnight explained: “The Hunger Games is such a special property – it has worldwide mass appeal, but it’s also sophisticated, cerebral, soulful, and rebellious. We needed a composer who can translate these qualities musically, and we have not one but two incredible artists in an absolutely thrilling first time ever collaboration.”


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21. My last day at 26

I spent the afternoon (3+ hours) at LACMA exploring the Tim Burton Exhibit. So so good. I got teary-eyed when I saw all the Vincent stuff. These art/animation exhibits always get to me here. I was tremendously inspired by his humor and work unrelated to his movies. I loved his number series so much I could eat it up! I purchased his book of illustrated poems, "The Melancholy Death of Oyster Boy & Other Stories" and sat outside for a couple hours to churn out some Burton-inspired pieces.

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22. Kathryn Leigh Scott Celebrates Her Novel & Dark Shadows

Writer Kathryn Leigh Scott recently hosted a lunch in New York City to celebrate her new novel, Dark Passages. The author starred in Dark Shadows, and called her novel a “love letter” to the vampire soap opera from the late 1960s.

Here’s more from FishbowlNY: “Set in the swinging ’60s, it tells the tale of an actress moonlighting as a Playboy bunny who just happens to be vampire and is determined to make it in New York City without her supernatural powers. While working on the cult hit Dark Passages, she meets her nemesis, a 300-year-old witch.”

The author had just returned from London after shooting a cameo for Tim Burton‘s Dark Shadows film.


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23. Ypulse Essentials: Mobile Millennials, Hyundai Gets Gen Y Drivers, Mandy Moore In ‘Oki’s Oasis’

Gen Y’s lifeline is their phone, and it’s one of marketers’ (best tools to reach them. More than just mobile ads, brands need to build mobile experiences for consumers; that means a mobile website, a mobile marketing plan, and... Read the rest of this post

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24. This Is Halloween

I finally made it to LACMA's Tim Burton exhibit, which was all the awesome that I was expecting. No one is allowed to take a camera into the exhibit, but people are permitted to take a photo of the entrance, which is suitably twisted. I am a huge Tim Burton fan, although I acknowledge that his work has been uneven (Planet of the Apes, anyone?). But in the spirit of Halloween, I thought I'd

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25. Tim Burton Could Direct ‘Miss Peregrine’s Home For Peculiar Children’ Film

Dark Shadows director Tim Burton may direct a film adaptation of Ransom RiggsMiss Peregrine’s Home For Peculiar Children.

According to Deadline, Peter Chernin, Dylan Clark and Jenno Topping will produce the film. Riggs released his YA novel back in June and has since gone on a “whirlwind trip around the country” in search of more peculiar photos for a planned sequel.

Here’s more from the article: “[The book stars] Jacob, a 16-year-old whose childhood was filled with stories his grandfather told him about an orphanage for unusual children. Among the residents: a girl who could hold fire in her hands, another whose feet never touched the ground, and twins who communicated without speaking.”


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