Today we Presented our PechaKucha, my team mates Lauren and David spoke very well. Lauren and I split up Jessica’s slides as she unfortunately could not be with us on the day. Personally I didn’t read well, I got caught up in my que cards and when the slides changed prematurely due to us being behind when reading it really threw me off. I wish i could have got the information I wanted to share out. I will have to spend more time practising for the next presentation like this so I can redeem myself.
Jessica’s slides I read (amended due to time restraints)
4th picture- ….
One of those scripts was Beetlejuice. Released in 1988 it was one of the biggest selling movies of the decade. It was intended to be darker, he changed the original murder and rape scenes resulting in the humorous movie we know today. Tim continued to try for a sequel since the original was released, even hinting this year that a script has been written…
5th picture- …
After beetle juice’s success Burton formed his own production company and went on to direct Batman in 1989. He never wanted to follow the original comic books for the movie, which annoyed a lot of people, but it resulted in a fresher look for the franchise. Batman heavily features Prince on it’s soundtrack, who created an entire album for the movie, of which only half was used.
My original five
SLIDE ONE – Inspirations
Burton’s inspiration for his work comes from many sources. Much of his work is inspired by drawings he created as a teenager. Mars attack, which he directed was based on a series of violent trading cards from the 60’s and also from personal art work which displayed elements of social commentary. His films often have settings of the Halloween season accentuating his signature gothic style.
SLIDE TWO – Inspirations
Burton has always identified himself as an outsider which has a significant influence in much of his work. This is captured in one of his most popular movies, ‘Edward scissor hands,’ with the protagonist being a total social outcast. He wanted to cast an actor who ‘got the idea, that sadness of being misperceived’, which he found in Johnny Depp.
SLIDE THREE – Collaborations
Burton is know for recasting actors in the films he directs. he seems to share an affinity with Johnny Depp who has featured in eight of his movies. His ex wife Helena Bonham Carter and Christopher Lee have featured in 7 and 6 films respectively. The reasoning is that he likes actors who bring something to the table.
SLIDE FOUR – Collaborations
Danny Elfman is the composer behind the majority of Burtons films, as in Tim’s words they share a ‘similar approach’ when working. Burton has also collaborated with the likes of Vincent Price, Danny Devito and Michael Gough. He also worked with puppet manufacturers Mackinnon & Saunders three times.
SLIDE FIVE – Techniques
Burton’s attraction to stop motion lay in it’s ability to lend weight to characters, he utilised this method at disney creating ‘Vincent.’ He wrote the very successful Nightmare before Christmas proving an old method such as stop-motion could succeed alongside new and exciting computer animation. Burton continued his stop motion work in James and the giant peach, The Corpse Bride and Frankenweenie.
Lauren, David, Jess and I split Burton’s life up to do more specific research before we started making our slides. I’m focusing on his life and work in the 1990’s
-Mars Attacks! (producer)
-1996 James and the Giant Peach (producer)
-1995 Batman Forever (producer)
-1994 A Visit with Vincent (Video documentary) (executive producer)
-1994 Ed Wood (producer)
-1994 Cabin Boy (producer)
-1993 The Nightmare Before Christmas (producer)
-1993 Family Dog (TV Series) (executive producer – 10 episodes)
-1992 Batman Returns (producer)
-1989-1991 Beetlejuice (TV Series) (executive producer – 94 episodes)
– Not So Peaceful Pines (1991) … (executive producer)
– Journey to the Centre of the Neitherworld (1991) … (executive producer)
– Catmandu Got Your Tongue (1991) … (executive producer)
– King BJ (1991) … (executive producer)
– Relatively Pesty (1991) … (executive producer)
– 1990 Edward Scissorhands (producer)
Q. That can be deeply disheartening at that age, to learn that you’re bad at something.
A. It’s the same with drawing. If you look at children’s drawings, they’re all great. And then at a certain point, even when they’re about 7 or 8 or 9, they go, “Oh, I can’t draw.” Well, yes, you can. I went through that same thing, even when I started to go to CalArts, and a couple of teachers said: “Don’t worry about it. If you like to draw, just draw.” And that just liberated me. My mother wasn’t an artist, but she made these weird owls out of pine cones, or cat needlepoint things. There’s an outlet for everyone, you know?
Q. When you worked with Johnny Depp for the first time, on “Edward Scissorhands,” what was it that connected you to him?
A. Here was a guy who was perceived as this thing — this Tiger Beat teen idol. But just meeting him, I could tell, without knowing the guy, he wasn’t that as a person. Very simply, he fit the profile of the character. We were in Florida in 90-degree heat, and he couldn’t use his hands, and he was wearing a leather outfit and covered head to toe with makeup. I was impressed by his strength and stamina. I remember Jack Nicholson showed me this book about mask acting and how it unleashes something else in a person. I’ve always been impressed by anybody that was willing to do that. Because a lot of actors don’t want to cover [theatrical voice] “the instrument.”
Q. Having a life with Helena Bonham Carter, do you have to be more careful about how you use her in your films?
A. The great thing about her is that, long before I met her, she had a full career. She’s also willing to do things that aren’t necessarily glamorous or attractive [Laughs], and I admire her for that. We’ve learned how to leave things at home, make it more of a sanctuary. But I probably take a slight, extra moment to think about it. On “Sweeney Todd” it was quite rough. Nobody was a singer, so I looked at lots of people. Everybody had to audition for it; she did as well. That one was a struggle, because I felt like, jeez, there’s a lot of great singers, and it’s going to look like I gave this one to my girlfriend. She really went through an extra process.
I met with team mates Lauren and David to start planning what we would be looking at for our Tim Burton PechaKucha. Lauren drew up our ideas, she was really on the ball for this task and had lots planned already. After Lauren left myself and David stayed on for another while to refine our designated sections for the presentation in our sketchbooks.
Our class was set the task of creating a PechaKucha in our groups. First things first, what is a PechaKucha?
What is PechaKucha 20×20?PechaKucha 20×20 is a simple presentation format where you show 20 images, each for 20 seconds. The images advance automatically and you talk along to the images.
Who invented the format?The presentation format was devised by Astrid Klein and Mark Dytham of Klein Dytham architecture. The first PechaKucha Night was held in Tokyo in their gallery/lounge/bar/club/creative kitchen, SuperDeluxe, in February, 2003. Klein Dytham architecture still organize and support the global PechaKucha Night network and organize PechaKucha Night Tokyo.
Why invent this format?Because architects talk too much! Give a microphone and some images to an architect — or most creative people for that matter — and they’ll go on forever! Give PowerPoint to anyone else and they have the same problem.
My team’s PechaKucha will be on the well known TimBurton which is exciting. I learned some nice tips from the videos such as;
- Have a crisp message, use time wisely
- Be passionate, it’s infectious
- Have a key message which is easy to remember
- People don’t remember facts as well as they remember a story
- Don’t say too much
- Do rehearsals
- Speak in a relaxed fashion
- Cover up if you make a mistake
- Make it fun, interesting, unique!