In the Tim Burton books that Mark has done, Johnny has written the forwards.
This time, Tim Burton wrote the forward and a good deal of it focused on their wanting to make ST in the manner of the old horror films.

Mark talks about that as well, what did say or what info did he provide that helped you see the homage to the classic horror films? Was there anything provided a "light bulb" moment for you?

The first "horror theme" item that was an "aha" tip was the description of Logan's decision to write the screenplay like a Hammer horror film that would include black humor which is TB signature for his films. Another item for me was on page 37 where Salisbury describes Tim's and Johnny's favorite silent screen actors and the plan to follow this theme for their ST. The chapter on page 52 does a great job of describing how the crew developed the silent screen horror look for the film. After reading this book I want to see if Netflix has The Bride of Frankenstein, The Return of Dr. X, and What Happened to Baby Jane? to explore this genre a bit further esp. the Dr. X film with Bogart. :) Anne r

I agree with Anne---this was very clearly evident throughout the book. Plus, just the makeup of Johnny/Helena looked like those old horror films. I would also like to find the HBogart film---I never knew he even did that type of movie until ST came out!

I also love that pic of Tim sitting in "the chair" with his forward. Just like him--nothing flashy, short and to the point--

-Donna

Oh my gosh...I'd forgotten about What Ever Happened to Baby Jane!

Another one that came out in the 60s was this wonderful, moldy old Southern one "Hush, Hush, Sweet Charlotte." When I heard Mrs L say the "hush love hush"....it took me a bit to remember what it reminded me of. Netflix it! Charlotte was accused of hacking up her boyfriend! B) Charlotte was played by Bette Davis.

The entire look of the film seemed like all classic horror to me. The make up, sets, everything. But its the characters ability to make you feel something for them that I thought was most interesting.
If you really take a look at some of those classics, Lon Chaney in the Hunchback of Notre Dame, Boris Karloff in Frankenstein, you knew they were monsters and what they did was wrong, but part of you felt sorry for them anyway. They were damaged goods and they didn't ask to be what they became.

I also think that when Mark uses the phrases like, the lack of dialogue and facial expressions being more powerful, was right on. ST was basically silent unless he was singing and that was so disturbing.

All I can say is, I only vaguely remember those Hammer films, and I don't think I've ever actually sat through one in it's entirety. I'm sure I came across them in my youth as I was truning the tv dial looking for my cowboys.
But, now I'm very curious to see Mad Love, and perhaps a few others.
I can say I have seen Whatever Happened to Baby Jane and Hush Hush Sweet Charlotte, as those came later, and of course all the movies of my early youth were black and white.
I do think that Sweeney Todd succeeded in it's hommage to those films, and Salisbury succeeded in making it clear how and why it does.

I absolutely agree.
I don't know that the book opened my eyes any more than the movie itself to the fact that it was an homage, but I really enjoyed reading about some of the details, like that they all had lengthy discussions about old silent film stars in preparation, and how Tim was thinking of Bette Davis when he envisioned Mrs. Lovett.