He supports his style by using certain cinematic techniques-especially lighting, flashbacks, and non-diegetic sound. In his movies Miss Peregrine’s Home for Peculiar Children, Edward Scissorhands, Charlie and the Chocolate Factory, and Big Fish, you really get to see his style manifest throughout the movies. Tim Burton relies heavily on the past in his movies. In Big Fish, Burton frequently
Were moving to the town of tarnish where your father grew up. tarnish sounded like a nice place, but Sterling would come to find that, that couldn’t be father from the truth. As the family car followed the moving truck, Sterling could slowly see the scenery change from very elegant to not so what he was use to. Finally the moving truck came to a screeching stop. As Sterling exited the family car he looked so shocked at his new neighborhood it was like he had been dropped off in a haunted town.
Imagine worlds of glorious chocolate fields, magnificent wonderlands of magical creatures, and legends of talented men with scissors for hands. Tim Burton, director of many films, puts darker twists on stories like the one’s mentioned previously. Burton’s past might be classified as dark or troublesome and so are the films he has directed. Nevertheless, there are always hints of brightness and hope in specific scenes of these films. In the Tim Burton films, Alice in Wonderland and Edward Scissorhands, the use of two contrasting settings and the traits of the protagonist contrasting a setting, Burton conveys that there is a brighter side to any situation.
He gives off this unique unorthodox dark style and theme of everything is not what it seems,or don’t judge a book by it’s cover. He uses lighting and editing techniques in his scenes to give you movies that shed a new light on the way we perceive the characters and scenes. Mr.Burton uses lighting in all of his movies to really show you it’s his movies because the way he uses it adds a spin to how we view it. In Charlie in the Chocolate Factory he portrays Charlie’s house as a dark dilapidated building that looks abandon like no one could live there or something could be lurking there. When he then shows us the inside it is run down and sparsely lit but it has the most loving, wise, and caring characters.
It was much too good to be true. In the text, “The Landlady”, seventeen year old, naive Billy stumbled upon a friendly looking bed and breakfast. The stay had a cozy bed all for himself, a gas fire to keep him warm, and fresh, cooked meals, for an oddly cheap fee which the landlady offered. It just seemed a bit too suspicious. As Billy Weaver comes in contact with the landlady and her bed and breakfast, he is deceived by her sweet appearance, her affectionate gestures and the atmosphere, capturing himself in a deadly situation.
The Bewitched Inn is about a man (played by Méliès himself) discovering a hotel room that has magical properties. Furniture disappears, a candle explodes when it is lit, and objects move of their own accord. According to Wikipedia, this "is the first known Méliès film to feature inanimate objects coming to life to tease their owners, a theme that would return time and again throughout his work." Of course, Méliès ' trademark splice trick shows up a few times to sell the idea of a magical room. This is all played more for laughs as opposed to trying to scare the audience.
In the two films Edward Scissorhands and Charlie And The Chocolate Factory, but relies on cinematic techniques such as editing and camera angles. These techniques in his films set a certain mood/tone based on the story. These are the things that consider him an amazing film director, and also unique. The most important cinematic technique in Burton’s films is sound or in other words music. The main effect
Gustave, the concierge of the once glorious Grand Budapest in 1932, when the nation of Zubrowka was in the verge of war (a subtle reference to WWII). Located in between mountains, Wes used several handmade miniatures for the wide shots of the hotel, and the interior was built inside an old department store, which they decorated to emulate the old classic European hotels. M. Gustave meticulously assures every client feels at home, sometimes in an exceptional kind of way, as he is known to have intimate relationships with some of his wealthy clients, the most notable being Madame D. The conflict begins when Madame D is mysteriously murdered and M. Gustave is left with an invaluable Renaissance painting as his inheritance, to which her family does not respond so well. There, we are left in this rollercoaster full of fun and drama, from action scenes to a love affair, and most importantly the friendship he develops with his newly become lobby boy, Zero – a young Mr.
German Expressionism deals with many characteristics ranging from storyline, to bold artistic styles, to dealing with “intellectual” topics, to set design & location, and even character appearance. All of these if not more, The films starts out with a simple yet creative storyline of a real estate agent (Thomas Hutter) who is sent to Transylvania to visit a new client (Count Orlok) to convince him to move to Wisburg. Now this “client”is also rumored of bringing a plague to this quiet town. During Hutters travels it is revealed the connection between Thomas Hutter, and the Count's new found obsession with Hutter's wife, Ellen – who happens to be the only one with the power to end the evil Count Orlok (aka Nosferatu). It is pretty evident that this plot and storyline deals with various underlying tones of madness and insanity.
This is something which has always intrigued me as a filmmaker, as I have always loved watching films with two or more dimensions, and learning about German Expression has made it clearer to me. One thing that I have learned from this form of expressionism is that film becomes art only to the extent when the film image differs from reality. The constant use of crooked shapes in larger than life and artistic sets, the overexaggerated movements of the actors, and focusing on making the film a more visual fest to the eye of the audience while having a deep metaphorical layer has really inspired me. This new information could really influence my filmography as prior to learning about German Expressionism, I always used to think that having a metaphorical layer is enough for your film to be poetic but now I have learned that to make that metaphorical layer more believable to the audience, you need to support it by creating a world which would emphasize on the metaphor and also with the help of artistic visuals, just like in the German Expressionist films. This would help in making the audience connect with the story and the characters more easily.