# data[].attributes.body
this might be used for the idea behind the nightmare before Christmas

# data[].attributes.attachment_link.readable_text
Christmas is a time for donning festive garb, singing holiday songs, festooning your home in decorations, and giving thoughtful gifts. Of course, all those tasks turn out a bit more twisted when assigned to the denizens of Halloween. Mixing light and dark, jolly and macabre, is The Nightmare Before Christmas. But even if this holiday mash-up movie is part of your Yuletide tradition, we'd roll Oogie Boogie's dice that you don't know all these secrets from behind the scenes.

1. Tim Burton did not direct The Nightmare Before Christmas.

It is a common misconception spurred by the film's alternate title: Tim Burton's The Nightmare Before Christmas. Burton was busy with Batman Returns and handed this hefty responsibility to his old Disney Animation colleague Henry Selick, who made his feature directorial debut here. Burton's name goes above the title for serving as producer, creating the story, and coming up with the look and the characters for The Nightmare Before Christmas. It probably doesn't hurt that his name was much better known than Selick's, thanks to the success of Pee-Wee's Big Adventure, Beetlejuice, and Batman.

2. Jack Skellington resurfaces in Selick's later films.

1996 saw the release of Selick's follow-up, a stop-motion/live-action adaptation of Roald Dahl's James and the Giant Peach. It also saw the resurrection of Nightmare Before Christmas' bare bones protagonist, who appears in one spooky scene as a skeletal pirate captain. He's much harder to spot in Selick's 2009 translation of Neil Gaiman's Coraline, but if you look closely as the Other Mother makes breakfast, you'll see Jack's smiling skull hidden in the yolk of a cracked egg.

3. The plot was inspired by the recurring collision of holiday store decorations.

In the film's DVD commentary, Burton explains that his childhood in ever-sunny Burbank, California was not marked by seasonal changes, so holiday decorations were an especially important factor in the year's progression. When it came to fall and winter, there was a melding of Halloween and Christmas in stores eager to make the most of both shopping seasons. This, he claimed, planted the seed for his tale of the king of Halloween intruding on Christmas.

4. A Burton poem predated The Nightmare Before Christmas.

While Burton was working as an animator at Disney on productions like The Fox and the Hound and The Black Cauldron, he began toying with cartoon projects of his own. This eventually led to animated shorts like "Vincent," as well as the penning of a poem called "The Nightmare Before Christmas." A sort of parody of Clement Clarke Moore's "A Visit from St. Nicholas" (also known as "The Night Before Christmas"), this poem focused on Jack Skellington's inescapable ennui and featured his ghost dog Zero as well as Santa.

5. Rankin/Bass were the inspiration for the stop-motion approach.

In the same DVD commentary, Burton admits the animated Christmas specials from Rankin/Bass Productions were hugely influential.

6. Burton originally imagined The Nightmare Before Christmas as a television special.

Like Rankin/Bass's Rudolph The Red-Nosed Reindeer or Santa Claus Is Comin' To Town, Burton envisioned his take on Christmas could play well on television annually. This turned out to be true, but in a way he had not expected. He initially pitched the animated effort to TV studios. When that failed, he tried book publishers. No one bit until he pitched it as a full-length feature film. On the commentary track, Burton estimates that roughly 20 years passed between the project's earliest inception and its theatrical debut on October 29 th, 1993.

7. Ronald Searle and Edward Gorey were also influential.

In a behind-the-scenes video about The Nightmare Before Christmas' s backbreaking creation, a narrator notes that the production design team took a page from the pen and ink drawings of these two memorable artists, aiming to create in the physical set designs the kinds of cross-hatching and textures found within their works. Selick explains that they'd smear sets in plaster or clay, then scratch lines into this material "to give it that sort of etched texture or feel to make it look like a living illustration."

8. Shooting began before the script was completed.

Stop-motion demands a great deal of time, so when Danny Elfman had mastered most of the film's songs, Selick plus a team of 13 specially trained animators and an army of prop makers, set builders, and camera operators got to work without a final screenplay. Animators began by crafting Jack's big moment of discovery with "What's This?"

Shooting 24 frames per second meant the animators had to create unique motions for 110,000 frames total. One minute of the movie took about a week to shoot, and The Nightmare Before Christmas took 3 years to complete.

9. Selick is responsible for Jack's signature suit.

In Burton's original sketches, Jack was dressed all in black. It is revealed in the film's commentary track that it was director Selick who gave Jack a marvelous makeover that added white stripes to his slim-fit suit. More than a smart sartorial choice, the addition of the pinstripes was needed to help Jack pop. In early camera tests, it became a major concern when Jack's flat black suit blended in to the dark backdrops of Halloween Town.

10. Disney fought for Jack to have eyes.

Because of the dark and deeply weird nature of Burton's Nightmare Before Christmas, Walt Disney Studios decided it was too off-brand to be released under their banner. So the film was made through their branch Touchstone Pictures. But this didn't keep Disney from dropping some serious studio notes, including the insistence that Jack Skellington's empty sockets be filled with a pair of friendly eyes. A common guideline in animation and puppet-creation is that eyes are crucial to having an audience connect to a character, but Selick and Burton wouldn't budge, and ultimately proved their anti-hero didn't need oculars to connect.

11. The most difficult shot was opening a door.

Because of the filmmakers' dedication to be as true to shooting like live-action as possible, one Nightmare Before Christmas shot proved especially challenging. When Jack discovers the part of the forest with pathways to other holiday worlds, he looks longingly at the Christmas tree door. A close-up of its shiny golden knob reflects this mournful skeleton as well as the trees behind him as he advances to open it. Getting the reflection just right took a great deal of time, care, and attention.

12. Vincent Price was nearly Nightmare's Santa.

Burton had previously worked with the renowned horror icon on Edward Scissorhands and "Vincent." From there, Price had agreed to give voice to the plump and flustered Santa who is kidnapped by treacherous trick 'r treaters Lock, Shock, and Barrel. However, this plan was derailed when Price's wife Coral Browne passed in 1991. Selick explained in the commentary track that the actor was so grief-stricken that the director felt he sounded too sad for Santa. Edward Ivory was then brought in to replace him.

13. Patrick Stewart was cut from the film.

Early on, The Nightmare Before Christmas planned to rely heavily on its poetic inspiration. As such, the Star Trek: The Next Generationstar with the manly yet jaunty voice was called in to read poetry that was intended for the film's opening and closing narration. The lengthy monologues were eventually pared down to a few lines, and those were reassigned to the film's Santa, Edward Ivory. However, Stewart's version can be found in full on the film's soundtrack.

14. Tim Burton was supposed to have a cameo.

Unearthed in cut footage is an alternate version of the vampires playing hockey (roundabouts the 5:10 mark). In the theatrical and all subsequent releases, the ice-skating vampires swat a jack-o-lantern. However, the original version of this scene had them batting about a recognizable decapitated head. With its ghostly pallor, black spiky hair, angular shape, and deep bags under its eyes, the creepy creation is clearly Burton. But this seems to have been deemed too grisly for a kids' movie.

15. There are some hidden Mickeys.

Since the film became a success, Disney has become less shy about their association with Nightmare Before Christmas. But the commentary track reveals that, despite their reluctance, Disney allowed Selick and Burton to include a hidden Mickey in the form of a menacing toy. In the scene where Jack's Christmas gifts attack, there's a flying stuffed animal with a sharp-toothed grin that's meant to be the Burton version of Mickey Mouse. Also, the girl it attacks is wearing a Mickey print nightgown, while her brother's pajamas are covered in Donald Duck faces.

16. There's a hidden Ed Wood reference.

While The Nightmare Before Christmas was in production, Burton not only completed Batman Returns but also dug into pre-production on Ed Wood, a biopic about the notoriously untalented filmmaker. A nod to Wood's works is found tucked into the fearsome folk of Halloween Town-the burly, bald Behemoth is a sweet-natured brute who bears a striking resemblance-down to the scars on his face-to Swedish wrestler Tor Johnson as seen in Wood's Plan 9 From Outer Space.

17. There's a hidden Danny Elfman cameo.

The former Oingo Boingo front man began collaborating with Burton back in the early 1980s when he composed the score for Burton's feature directorial debut, Pee-Wee's Big Adventure. The pair reteamed for Beetlejuice, Batman and Edward Scissorhands before Elfman was called to write the music and lyrics for The Nightmare Before Christmas. He also lent his singing voice to Jack Skellington, and for all this he gets the dubious distinction of a cameo as the redheaded corpse tucked away in the upright bass of the ghastly Halloween Town band.

18. Burton called on other past collaborators to be heard.

Aside from Jack's singing voice, Elfman also lent his pipes to mischievous Barrel as well as the menacing clown with the tear-away face. Filling out the trio of trick 'r treaters was Pee-Wee's Big Adventure star Paul Reubens as Lock, and Beetlejuice'sCatherine O'Hara as Shock. O'Hara also voiced the stitched up and besotted Sally, while her former co-star Glenn Shadix played the two-faced mayor of Halloween Town.

19. Deleted scenes included Behemoth's solo and an alternate Oogie Boogie reveal.

On the DVD, storyboard presentations reveal deleted scenes that never made it to production. One of these has Behemoth belting beautifully about "pretty" presents during "Making Christmas." Another shows an abandoned concept of Oogie Boogie boogeying with the bugs that fill his stitched up form, and a third clip displays a very different finale. Instead of Boogie being torn up and reduced to bugs, he's unmasked to be evil scientist Dr. Finkelstein in disguise! In this version, his whole scheme was revenge-fueled because Sally loved Jack, even though Finkelstein made her to be his mate.

20. The set was built with secret passages for animators.

Reminiscent of the cut-out pathways used by Muppeteers, the animators behind and beneath The Nightmare Before Christmas had special trapdoors cut into the 19 sound stages worth of 230 model sets so they could more easily reach in and manipulate their peculiar puppets. From these vantage points, they can move the armatures hidden within the creatures or swap their faces out for one of hundreds made to allow for a wide range of emotion. Jack Skellington alone had more than 400 heads.

21. Burton rejected a CGI sequel.

Though Disney has found success pumping out straight-to-DVD sequels of their animated hits, Burton has no interest in making The Nightmare Before Christmas 2. He told MTV, "I was always very protective of [ Nightmare Before Christmas], not to do sequels or things of that kind. You know, 'Jack visits Thanksgiving world' or other kinds of things, just because I felt the movie had a purity to it and the people that like it. Because it's not a mass-market kind of thing, it was important to kind of keep that purity of it. I try to respect people and keep the purity of the project as much as possible."
All images courtesy of Walt Disney Pictures

# data[].attributes.attachment_link.title
21 Things You Didn't Know About The Nightmare Before Christmas

# data[].attributes.attachment_link.description
Christmas is a time for donning festive garb, singing holiday songs, festooning your home in decorations, and giving thoughtful gifts. Of course, all those tasks turn out a bit more twisted when assigned to the denizens of Halloween. Mixing light and dark, jolly and macabre, is The Nightmare Before Christmas.

# data[].attributes.body
this was used to maybe get some ideas to look into for topics aside from those i wanted to cover initially

# data[].attributes.attachment_link.title
107 Nightmare Before Christmas Facts You Should Know | Channel Frederator

# data[].attributes.body
this was used to look at the poem while listening to it and when looking for specific sections

# data[].attributes.attachment_link.readable_text
This is the poem Tim Burton wrote in his days as a Disney animator that was the basis of The Nightmare Before Christmas. The poem was later made into a children's storybook, with illustrations.

" I'm sick of the scaring, the terror, the fright.
I'm tired of being something that goes bump in the night.
I'm bored with leering my horrible glances,
And my feet hurt from dancing those skeleton dances.
I don't like graveyards, and I need something new.
There must be more to life than just yelling, 'Boo!'"

Then out from a grave, with a curl and a twist,
Came a whimpering, whining, spectral mist.

It was a little ghost dog, with a faint little bark,
And a jack-o'-lantern nose that glowed in the dark.

It was Jack's dog, Zero, the best friend he had,
But Jack hardly noticed, which made Zero sad.

All that night and through the next day,
Jack wandered and walked.
He was filled with dismay.

Then deep in the forest, just before night,
Jack came upon an amazing sight.

Not twenty feet from the spot where he stood
Were three massive doorways carved in wood.

He stood before them, completely in awe,
His gaze transfixed by one special door.

E ntranced and excited, with a slight sense of worry,

J ack opened the door to a white, windy flurry.

Jack didn't know it, but he'd fallen down
In the middle of a place called Christmas Town!

" My dear Mr. Claus, I think it's a crime
That you've got to be Santa all of the time!
But now I will give presents, and I will spread cheer.
We're changing places I'm Santa this year.
It is I who will say Merry Christmas to you!
So you may lie in my coffin, creak doors, and yell, 'Boo!'
And please, Mr. Claus, don't think ill of my plan.
For I'll do the best Santa job that I can."

And though Jack and his friends thought they'd do a good job,
Their idea of Christmas was still quite macabre.

Jack said, "Zero, with your nose so bright,
Won't you guide my sleigh tonight?"

And to be so needed was Zero's great dream,
So he joyously flew to the head of the team.

And as the skeletal sleigh started its ghostly flight,
Jack cackled, "Merry Christmas to all,
and to all a good night!"

' Twas the nightmare before Christmas, and all though the house,
Not a creature was peaceful, not even a mouse.
The stockings all hung by the chimney with care,
When opened that morning would cause quite a scare!
The children, all nestled so snug in their beds,
Would have nightmares of monsters and skeleton heads.
The moon that hung over the new-fallen snow
Cast an eerie pall over the city below,
And Santa Claus's laughter now sounded like groans,
And the jingling bells like chattering bones.
And what to their wondering eyes should appear,
But a coffin sleigh with skeleton deer.
And a skeletal driver so ugly and sick,
They knew in a moment, this can't be St. Nick!

From house to house, with a true sense of joy,
Jack happily issued each present and toy.
From rooftop to rooftop he jumped and he skipped,
Leaving presents that seemed to be straight from a crypt!
Unaware that the world was in panic and fear,
Jack merrily spread his own brand of cheer.

A monstrous train with tentacle tracks,
A ghoulish puppet wielding an ax,
A man-eating plant
Disguised as a wreath,
And a vampire teddy bear
With very sharp teeth.

There were screams of terror, but Jack didn't hear it,
He was much too involved with his own Christmas spirit!
Jack finally looked down from his dark, starry frights
And saw the commotion, the noise, and the light.
"Why, they're celebrating, it looks like such fun!
They're thanking me for the good job that I've done."
But what he thought were fireworks meant as goodwill,
Were bullets and missiles intended to kill.
Then amidst the barrage of artillery fire,
Jack urged Zero to go higher and higher.
And away they all flew like the storm of a thistle,
Until they were hit by a well guided missile.
And as they fell on the cemetery, way out of sight,
Was heard, "Merry Christmas to all, and to all a good night."

" My dear Jack," said Santa, "I applaud your intent.
I know wreaking such havoc was not what you meant.
And so you are sad, and feeling quite blue,
But taking over Christmas was the wrong thing to do.
I hope you realize Halloween's the right place for you.
There's a lot more, Jack, that I'd like to say,
But now I must hurry, for it's almost Christmas Day."
Then he jumped in his sleigh, and with a wink of an eye,
He said, "Merry Christmas!", and he bid them good-bye.

Back home, Jack was sad, but then, like a dream,
Santa brought Christmas to the land of Halloween.
The END

# data[].attributes.attachment_link.description
This is the poem Tim Burton wrote in his days as a Disney animator that was the basis of The Nightmare Before Christmas. The poem was later made into a children's storybook, with illustrations. It was late one fall in Halloweenland, And the air had quite a chill.

# data[].attributes.body
this goes into some of the thought process behind the songs and influences

# data[].attributes.attachment_link.title
Danny Elfman Discusses "Tim Burton's The Nightmare Before Christmas" In Concert Live to Film

# data[].attributes.body
you need a good understanding of the character in order to be able to view some of the tropes the fall in especially when it comes to the none human characters since appearance is less of a factor

# data[].attributes.attachment_link.readable_text
Our magic isn't perfect

You can help our automatic cover photo selection by reporting an unsuitable photo.

The cover is visually disturbing

The cover is not a good choice

Thank you for helping!

Your input will affect cover photo selection, along with input from other users.

# data[].attributes.attachment_link.keywords[]
list of the nightmare before christmas characters

# data[].attributes.attachment_link.title
List of The Nightmare Before Christmas characters | Wikiwand

# data[].attributes.attachment_link.description
You can help our automatic cover photo selection by reporting an unsuitable photo. The cover is visually disturbing The cover is not a good choice Thank you for helping! Your input will affect cover photo selection, along with input from other users.

# data[].attributes.body
it is very important to know of the writer and his experiences so you can get an understanding in why things might be the way they are in the movie

# data[].attributes.attachment_link.readable_text
Timothy Walter Burton was born in Burbank, California, to Jean Rae (Erickson), who owned a cat-themed gift shop, and William Reed Burton, who worked for the Burbank Park and Recreation Department. He spent most of his childhood as a recluse, drawing cartoons, and watching old movies (he was especially fond of films with Vincent Price). When he was in the ninth grade, his artistic talent was recognized by a local garbage company, when he won a prize for an anti-litter poster he designed. The company placed this poster on all of their garbage trucks for a year. After graduating from high school, he attended California Institute of the Arts. Like so many others who graduated from that school, Burton's first job was as an animator for Disney.

His early film career was fueled by almost unbelievable good luck, but it's his talent and originality that have kept him at the top of the Hollywood tree. He worked on such films as The Fox and the Hound (1981) and The Black Cauldron (1985), but had some creative differences with his colleagues. Nevertheless, Disney recognized his talent, and gave him the green light to make Vincent (1982), an animated short about a boy who wanted to be just like Vincent Price. Narrated by Price himself, the short was a critical success and won several awards. Burton made a few other short films, including his first live-action film, Frankenweenie (1984). A half-hour long twist on the tale of Frankenstein, it was deemed inappropriate for children and wasn't released. But actor Paul Reubens (aka Pee-Wee Herman) saw Frankenweenie (1984), and believed that Burton would be the right man to direct him in his first full-length feature film, Pee-wee's Big Adventure (1985). The film was a surprise success, and Burton instantly became popular. However, many of the scripts that were offered to him after this were essentially just spin-offs of the film, and Burton wanted to do something new.

For three years, he made no more films, until he was presented with the script for Beetlejuice (1988). The script was wild and wasn't really about anything, but was filled with such artistic and quirky opportunities, Burton couldn't say no. Beetlejuice (1988) was another big hit, and Burton's name in Hollywood was solidified. It was also his first film with actor Michael Keaton. Warner Bros. then entrusted him with Batman (1989), a film based on the immensely popular comic book series of the same name. Starring Michael Keaton and Jack Nicholson, the film was the most financially successful film of the year and Burton's biggest box-office hit to date. Due to the fantastic success of his first three films, he was given the green light to make his next film, any kind of film he wanted. That film was Edward Scissorhands (1990), one of his most emotional, esteemed and artistic films to date. Edward Scissorhands (1990) was also Burton's first film with actor Johnny Depp. Burton's next film was Batman Returns (1992), and was darker and quirkier than the first one, and, while by no means a financial flop, many people felt somewhat disappointed by it. While working on Batman Returns (1992), he also produced the popular The Nightmare Before Christmas (1993), directed by former fellow Disney Animator Henry Selick. Burton reunited with Johnny Depp on the film Ed Wood (1994), a film showered with critical acclaim, Martin Landau won an academy award for his performance in it, and it is very popular now, but flopped during its initial release. Burton's subsequent film, Mars Attacks! (1996), had much more vibrant colors than his other films. Despite being directed by Burton and featuring all-star actors including Jack Nicholson, Glenn Close, Pierce Brosnan and Michael J. Fox, it received mediocre reviews and wasn't immensely popular at the box office, either.

Burton returned to his darker and more artistic form with the film Sleepy Hollow (1999), starring Johnny Depp, Christina Ricci and Casper Van Dien. The film was praised for its art direction and was financially successful, redeeming Burton of the disappointment many had felt by Mars Attacks! (1996). His next film was Planet of the Apes (2001), a remake of the classic of the same name. The film was panned by many critics but was still financially successful. While on the set of Planet of the Apes (2001), Burton met Helena Bonham Carter, with whom he has two children. Burton directed the film Big Fish (2003) - a much more conventional film than most of his others, it received a good deal of critical praise, although it disappointed some of his long-time fans who preferred the quirkiness of his other, earlier films. Despite the fluctuations in his career, Burton proved himself to be one of the most popular directors of the late 20th century. He directed Johnny Depp once again in Charlie and the Chocolate Factory (2005), a film as quirky anything he's ever done.

- IMDb Mini Biography By: Michael Brooke <michael@everyman.demon.co.uk> and Mr_Beale_11-14
His films often have a Gothic feel to them, often including Christmas and/or Halloween scenes.

Plot often focuses around a misunderstood outcast

Frequently features dead or dismembered dogs

He often likes to open his films with a quiet nighttime snowfall

Many of his films feature townspeople who misunderstand and/or distrust the lead character

Often shows scarecrows in his movies

His movies always open with a personal version of the studio's logo

Usually includes fantasy elements in his films

Stripes: characters often wear striped clothing, particularly black-and-white stripes (for example, Beetlejuice, Sweeney and Mrs. Lovett in "Sweeney Todd", Katrina in "Sleepy Hollow", and Tweedledum and Tweedledee in "Alice in Wonderland").

Most his films tend to be either dark or colorful, and sometimes contain scenes of both

Affectionate homages to the films of his childhood

Long unwashed hair, black clothing and large sunglasses

His characters are often friendly and optimistic despite their bleak surroundings

Effective use of musical interludes

Extremely dark Gothic atmosphere in buildings and set design

Many of his films prominently feature castles, churches or other old buildings

His stories are often set in non specific locations and incorporate elements from Britain and America

His antagonists are often coldly superior, brutal and thuggish but avoid getting noticed by other characters

His heroes are often neurotic, somewhat cowardly and bizarre yet also intelligent and highly moral

Often includes an exterior shot of a house or other structure with a character peering out of a window

He has an interest in clowns, and his films will often include them or make reference to them.

Lives in Ojai (California) and New York.

Nearly everywhere he goes, he carries a pocket-size sketchbook and a small watercolor kit.

Usually dresses in black, because he doesn't like spending too much time matching colors.

Younger brother Daniel Burton is also an artist.

Was voted the 49th Greatest Director of all time by Entertainment Weekly, being the youngest director on this list of 50.

He was hired as the director of the failed Superman (1997) movie.

He once said he never remembers his dreams, apart from five recurring dreams, one of them involving the girl he was in love with when he was a teenager and another involving his parents' bedroom.

Played water polo and swam for Burbank High School in California.

Ranked #6 on Tropopkin's Top 25 Most Intriguing People [Issue #100].

Member of the 'Official Competition' jury at the 50th Cannes International Film Festival in 1997.

Grew up in Burbank on Evergreen Street, and his family lived in the 2000 block, near Valhalla Cemetary. Attended Providencia Elementary School in Burbank, California.

Was working on a documentary about Vincent Price, called "Conversations with Vincent". After Price's death in 1993 he shelved the project and it has never been completed.

There were conversations of directing the Broadway musical version of his film Batman (1989) in 2002. The opening night would have been after 2005 but the project was abandoned.

Johnny Depp is a godfather of his son Billy Ray Burton.

He has a phobia of chimpanzees.

His childhood dream was to be in a monster costume wrecking Tokyo but since he couldn't be Godzilla he decided to be an animator.

From November 22, 2009, to April 26, 2010, Burton had a retrospective at the MoMA in New York with over 700 "drawings, paintings, photographs, storyboards, moving-image works, puppets, maquettes, costumes and cinematic ephemera", including many from the filmmaker's personal collection. The show also included his amateur and student films, music videos, commercials and digital slide shows, as well as a complete set of features and shorts.

Received a lifelong ban from any and all Comic Con events after the release of his Batman (1989) film, due to it having some 'fundamental' deviations from the canon. He reveals this on a DVD commentary track for the film.

Was originally set to direct Spawn (1997).

Was attached to direct the now cancelled 'Superman Lives' film written by Kevin Smith.

Was considered to direct X-Men (2000).

He was originally offered the script for Drop Dead Fred (1991), but he declined to direct.

Member of the 'Short Films and Cinéfondation Jury' at the 59th Cannes International Film Festival in 2006.

President of the 'Official Competition' jury at the 63rd Cannes International Film Festival in 2010.

He owns some "Big Eyes" paintings by Margaret Keane. One of them depicts Helena Bonham Carter with their son Billy Burton and as a surprise Margaret drew Tim's face in the clouds, according to the book "Big Eyes: The Film, The Art".

He is of English, Scottish, German, Norwegian, Swedish, Croatian, and remote Dutch and French, ancestry.

He was thirty-one when Batman (1989) was released, making him the youngest person ever to direct a Batman film.

He has a very strong dislike of cats.

His then-partner Helena Bonham Carter inadvertently diagnosed him with Asperger's syndrome. While researching for a role about autism, she found several typical traits shared by him. Although he had no official diagnosis, he believes that he at least falls under the autism spectrum. His assumptions were strongly supported after he watched a documentary about autism.

On May 20, 2017, a Tim Burton-themed bar named Beetle House LA opened in Hollywood, California.

He was considered to direct Jurassic Park (1993) for Warner Bros.

He was offered a chance to direct How the Grinch Stole Christmas (2000), but could not due to a conflict with another project he was working on at the time. His version would've been darker, and the Grinch would've been a more despicable character.

He named Ed Wood (1994) as his favourite film of his own.

Many of his movies are shot in the taller 1.85:1 aspect ratio using 35mm standard spherical and Super 35 formats, and digital (Panavision Genesis and ARRI Alexa), although Mars Attacks! (1996) and his remake of Planet of the Apes (2001) were Filmed in Panavision (anamorphic), in the widescreen 2.39:1 aspect ratio.

You don't know whether chimps are going to kill you or kiss you. They're very open on some levels and much more evil in a certain way.

[commenting on the demolition of the Landmark casino in Las Vegas for the film Mars Attacks! (1996)] "It was like watching something die."

[genres] "I had never really done something that was more of a horror film, and it's funny, because those are the kind of movies that I like probably more than any other genre. The script had images in it that I liked ."

[memories] "I remember when I was younger, I had these two windows in my room, nice windows that looked out onto the lawn, and for some reason my parents walled them up and gave me this little slit window that I had to climb up on a desk to see out of. To this day I never asked them why; I should ask them."

Anybody who knows me knows I would never read a comic book. And I certainly would never read anything written by Kevin Smith.

[suburbia] "I think the atmosphere that I grew up in, yes, there was a subtext of normalcy. I don't even know what the word means, but it's stuck in my brain. It's weird. I don't know if it's specifically American, or American in the time I grew up, but there's a very strong sense of categorization and conformity. I remember being forced to go to Sunday school for a number of years, even though my parents were not religious. No one was really religious; it was just the framework. There was no passion for it. No passion for anything. Just a quiet, kind of floaty, kind of semi-oppressive, blank palette that you're living in."

[the approach you have to take in movies] " . . . you always have to feel like it's gonna be the greatest, even if it's a . . . you know . . . piece of crap."

[Talking about the Batman characters]: "These are some of the wildest characters in comics and yet, they seem the most real to me."

I'll always remember this image of being in line to see When Dinosaurs Ruled the Earth (1970), and all the younger kids were like, 'Dinosaurs are so cool!' and all the older kids were like, 'Oh, man, I hear there's this really hot babe in this movie!'

[on WB's lame suggestions for Charlie and the Chocolate Factory (2005)] "They thought the Charlie character should be more proactive and that Wonka should be more of a father figure, and I'm sitting there thinking, 'Willy Wonka is NOT a father figure! If that's your idea of a father figure, yikes. Willy Wonka's a weirdo.' "

[on the stress of delivering a summer movie in an era when release dates are often set by studios before a script is finished] It's like you're a runner and they beat the shit out of you and break your legs right before you're supposed to race, and then they say, 'Now go win the race.'

[on cult director Edward D. Wood Jr.] "Nobody had his style. That's something I try to do in my films. You have your own kind of cryptic messages in there - cryptic things that most people wouldn't understand but are important to you. Things that kind of keep you going through the process."

[on picking screenplays] I wouldn't know a good script if it bit me in the face.

[on style] I remember, I was at Cal Arts and I wasn't a good life-drawer; I struggled with that realistic style of drawing. And one day I was sitting in Farmer's Market sketching, and it was this weird, mind-blowing experience. I said, 'Goddamit, I don't care if I can't draw, I'm just gonna draw how I feel about it.' All of a sudden I had my own personal breakthrough, and then I could draw, and satisfied myself. I've had very few experiences like that, and I'll never forget it.

In Hollywood, they think drawn animation doesn't work anymore, computers are the way. They forget that the reason computers are the way is that Pixar makes good movies. So everybody tries to copy Pixar. They're relying too much on the technology and not enough on the artists. The fact that Disney closed down its cel animation division is frightening to me. Someday soon, somebody will come along and do a drawn-animated film, and it'll be beautiful and connect with people, and they'll all go, 'Oh, we've got to do that!' It's ridiculous.

[Becoming a movie director] "There was one moment, and it happened in school. I had a big final exam--we were supposed to write a 20-page report on this book about Houdini [ Harry Houdini]. I probably would have loved reading it, but I didn't, so I just decided to make a little super-8 movie based on it. I tied myself to the railroad tracks and all that. I mean, this is kid stuff, but it impressed the teacher, and I got an A. And that was maybe my first turning point, when I said, 'Yeah, I wouldn't mind being a filmmaker.' "

It is unfortunate that Disney closed down its drawn-animation unit. I find it quite upsetting, because they made a few drawn movies that weren't successful and they went, `Well, that is dead, so we have to go to computers.' They forget that the reason that they have been successful is because Pixar [whose films Disney distributes] makes good movies. Success is the real reason people try to copy things in Hollywood. Someday someone will do a beautiful cell- animation film that connects with people and then someone will say, `We have to go and do that again.' The number-one priority should be that the story and the medium are compatible.

I've always been misrepresented. You know, I could dress in a clown costume and laugh with the happy people but they'd still say I'm a dark personality.

I grew up watching things like The Brain That Wouldn't Die (1962) on Saturday afternoon television. There's a guy with his arm ripped off and blood smeared all over the wall. I never saw it as negative. I find that stuff, when it's not rooted in reality, to be cathartic.

I've always loved the idea of fairy tales, but somehow I never managed to completely connect with them. What interests me is taking those classic images and themes and trying to contemporize them a bit. I believe folk tales and fairy tales have some sort of psychological foundation that makes that possible.

I always liked strange characters.

[on Batman Begins (2005)] "I saw a tape of it. It was very touching. Very good."

If you've ever had that feeling of loneliness, of being an outsider, it never quite leaves you. You can be happy or successful or whatever, but that thing still stays within you.

[on living in England] I love the weather more than in California. I am serious! You know, you can go for a walk in any kind of weather. In Los Angeles you immediately arouse suspicion when you're out without a car.

(on Johnny Depp) Johnny's always wanting to sort of hide behind a character, become a character. I've always loved great character actors.

[After being asked what Batman Returns (1992) will be about.] Havent you heard? There is no plot.

(On Christopher Lee) Christopher has been an enormous inspiration to me my entire life. I had the honour and pleasure to work with him on five films. He was the last of his kind - a true legend - who I'm fortunate to have called a friend. He will continue to inspire me and I'm sure countless others for generations to come.

One person's craziness is another person's reality.

# data[].attributes.attachment_link.description
Timothy Walter Burton was born in Burbank, California, to Jean Rae (Erickson), who owned a cat-themed gift shop, and William Reed Burton, who worked for the Burbank Park and Recreation Department. He spent most of his childhood as a recluse, drawing cartoons, and watching old movies (he was especially fond of films with Vincent Price).

# data[].attributes.body
many songs tend to be used to convey a message so one of the key areas to look is in the lyrics so we can get some insight into the current situation the song is played in or see how the characters are represented through the song

# data[].attributes.attachment_link.title
The Nightmare Before Christmas soundtrack lyrics

# data[].attributes.attachment_link.description
The Nightmare Before Christmas soundtrack lyrics: 'This Is Halloween', 'What's This', 'Jack's Lament' etc

# data[].attributes.body
for this film Disney originally want nothing to do with it because it was too grim so seeing how it may have been change from the original poem seems important

# data[].attributes.attachment_link.title
The Nightmare Before Christmas - Tim Burton's Original Poem