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JohnnyDeppReads - a place to discuss the news, books, plays, projects and materials relating to the works and interests of multi media artist Johnny Depp.
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Do you know what you're going to do opening night for Dark Shadows?
I'm probably going to be inconspicuously going around L.A. theaters with friends seeing how crowds are and maybe popping into a few screenings and watching it with an audience, hopefully. If I'm paralyzed by anxiety, I'll probably stay home, curl up into a ball, and turn my phone off [Laughs]. You can imagine you're in the back of a theater and people start rolling out or if you ask if the show's sold out and they say, "Nope, tickets available for every show!" [Laughs] There are so many things that could go wrong, and I'm pessimistic in nature.
I don't think you'd have to worry about people walking out. I know Burton doesn't like the idea of being a "brand," but when you buy a ticket for one of his movies, you know what you're getting.
To me, with Dark Shadows, this is a return to my favorite part of his brand: the Sleepy Hollow, irreverent, dark, weird, and comedic tone of movie; it's really hard to pigeonholed it in one genre. I know some people have been concerned about the trailer being too comedic and everything, but when you see the film there's a lot of high-drama and sweeping, Gothic imagery. There's a lot of bloody moments in the film; it's got a lot of everything. Mostly it's just got that infectious sense of fun weirdness all Burton movies have.
Even Burton seems to have a problem describing the tone and genre the movie fits.
I call it soap-operatic, which mean all emotions are dialed up to 11, whether it's the weepy dramatic moments or fish-out-of-water Barnabas' moments. Everything is heightened and fun. Look, it's 1972, which is the first time we get to see Tim Burton take on 1972, but it's still everything the series was too: Gothic, dark, multi-layered, and an ensemble. I try not to get too defensive about it because I'm really proud of the movie, but obviously people really love the original show and are worried. You see "Is Tim Burton going to ruin this?" in all the talkback and comments you're not supposed to read, but no one loves that original series more than when Tim and Johnny did when they were kids, which is why they pushed to get this movie made.
Even from the music to Danny Elfman's score to the imagery to the costume design, there's so much tribute in the movie. It's also an update, though. We could've remade House of Dark Shadows or Night of Dark Shadows, and just committed 100% to a dark and brooding tone throughout, but that movie is not for a lot of people these days; it's not something I would've had as much fun participating in. I've never worked on anything of this scope and size before. When we were making the movie I would just wander around Pinewood, and just look at the backlot where we built the entire town of Collinsport, the harbor, and the boats floating on a fake ocean in the middle of nowhere, all these incredibly detailed sets. For me, it was amazing how detail and love went into this film. I think people will get the film.
When you write for a director like Burton, do you write emulating his style or do your own thing and let him interpret?
No, I would write as a fan, in some ways. His films have been some of the seminal films of my life, and made me want to work in movies. I can remember, like a lot of us, seeing Batman four times in the summer of '89. You know, I was there wearing my Batman shirt at school [Laughs]. I can remember my mom picking me up after seeing Edward Scissorhands in the middle of winter. You know, Beetlejuice and Pee-wee's Big Adventure too. These movies were just touchstones of my childhood. You know the sensibility, that it's a dark and weird of sense of humor. You also know what the movie is going to look and feel like.
The other advantage I had on Dark Shadows was I got in early on in the process where I got to sit around a table with Tim and Johnny, and just talk about the movie and what moments could be fun for Barnabas. Johnny would act the scenes out, and he was already working on his voice and mannerisms. When you're writing, not only do you know the actor you're writing for, but also how is going to speak. It's an incredible advantage because it lets you write dialog that you know is going to sound grand or funny coming out of his movie. I also knew what Barnabas was going to look like early on. I remember in one of the first meetings we had Tim came up with the idea of extending his fingers, and Johnny took that [idea] and said he could very delicate in the way he touches things and apprehensive towards the world around him. Those meetings really shaped everything out.
Johnny was the only piece of casting I knew when I wrote the draft. I wasn't writing for Helena [Bonham-Carter] or Michelle Pfeiffer, since they came on later. Once they came on, I was able to make some adjustments for things I thought they could do really, really well.
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Angelica to Jack - "How is it we can never meet without you pointing something at me?"
Producer sez relationships key in BritWeek summit keynote
By CYNTHIA LITTLETON
Graham King and Variety editor-in-chief Tim Gray.
For producer Graham King, the mathematics of the movie business is easy -- it's all about the relationships. In his keynote convo Friday at the BritWeek Film and TV Summit, King emphasized that the long-term relationships he's developed has been crucial to his success during the past 15 years.
As an example, he noted that backing Johnny Depp's passion to play Hunter S. Thompson in "The Rum Diary" led his GK Films to be part of Warner Bros.' "Dark Shadows." His work on "The Tourist" led Angelina Jolie to bring him her directorial debut, "In the Land of Blood and Honey." And Sacha Baron Cohen approached him on the set of "Hugo" with the pitch that he would play Queen frontman Freddie Mercury ina biopic.
And of course, the cornerstone of GK Films has been his fruitful relationship with "Hugo" helmer Martin Scorsese.
"Without him, I'm not sitting here," King said in the QandA with Variety editor-in-chief Tim Gray at Century City's InterContinental Hotel.
King spoke of his eclectic approach to making movies that intrigue him and his creativ e partners.
"It's not always about the financing, and it's not always about one movie," he said.
He's happy to stay out of the tentpole biz, though he did note that "Dark Shadows" is his first four quadrant project. (And he said there's already talk of a "Shadows" sequel.) "I'm not a comicbook guy," King said. "I appreciate what the studios do. They've kept me in business by not greenlighting the kind of movies I do."
King said he's found it very satisfying to back the vision of talented people, especially those looking to grow, as Ben Affleck did in helming "The Town" and Jolie did with "Blood and Honey."
"I get very excited about being able to give birth to someone's new career," he said.
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Angelica to Jack - "How is it we can never meet without you pointing something at me?"
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for the interview clips!
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10 January 2008: The day I met Johnny Depp 29 June 2009: The day I held Johnny's Hand 25 February 2010: The day Johnny called me *Sweetheart* 12 May 2011: The day Johnny dedicated my autograph 9 May 2012: The day Johnny was touched by my presents
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Dark Shadows updates - part 2, TRAILER pg 20,NEW TV spotp29,30
for the last 2 articles Karen--very interesting to read. 
She has a good attitude about celebrity in my opinion. 
I know johnnygirl--I have to be very picky about what I watch now 
