The Huffington Post marked the 25 years old release of Edward Scissorhand (that’s being re-released via restored, special-edition Blu-Ray) in a phone chat with screenwriter Caroline Thompson and production designer Bo Welch. On the chat they talked how was the approach with Tim Burton, how they dealt with shooting in a real neighborhood, and how was to deal with the studio back then.
On crafting the story:
Thompson: “Tim had just done ‘Pee-wee’s Big Adventure’ and I had written a novel that was sort of an angrier, more adolescent precursor — a ‘Frankenstein’-style story — to ‘Edward Scissorhands,’ and we were represented by the same agency. The agents didn’t know what to do with him and they didn’t know what to do with me, so they introduced us. We had lunch together and we immediately felt a bond and became very good friends. Tim told me about a drawing he had made in high school of a character who had scissors instead of hands and I said, ‘Stop right now. I kind of know exactly what to do with that.’ And three weeks later, I gave him a 70-page prose treatment version of what actually was very close to the movie that we made.”
On adding to Tim Burton’s aesthetic:
Welch: “I had done ‘Beetlejuice’ with Tim, which was a learning experience for me, so by the time I did ‘Edward Scissorhands’ with Tim, I totally got his aesthetic. I’m there basically to serve his vision of the film. Tim draws very well, so mainly he’d draw characters. I remember, early on, looking at the drawing of Edward Scissorhands that he had done, and like all of his drawings, it ended up looking just like the character looks in the film, more or less. I looked at those as my cue on where to go design-wise, but in reading the script, I’d read about where Edward lives and where he comes from and his adjacency to a model suburban neighborhood. And I asked, ‘So these two things that are so different are going to coexist in the same film?’ And Tim goes, ‘Yes!’ First I designed where Edward lives, and then we scouted neighborhoods, by photographs, all over the U.S. looking for new suburbs. We landed on Florida because it just looked more graphic and it had interesting skies. Those two elements, I think, create kind of a friction next to one another. That’s the magic of that.”
On writing Edward:
Thompson: “I based the character of Edward Scissorhands on a combination of my dog and Tim. It was a love letter to Tim, really. The character was based on a dog that I had who was so ridiculously present that if she had had the physiological ability I swear she could have talked. And if you examine Edward, that’s what he’s like. He’s this dog that’s like, ‘What do you need? Here I am.’ Somebody once counted the number of words that he says in the script and I can’t recall it precisely, but I think it’s something south of 150 words. He’s basically a nonverbal character. He’s a beautiful, wild-eyed dog. Johnny nailed my dog.”
To read the full interview, head over The Huffington Post.
Winona attended last night a Experimenter screening at the New York Film Festival. She was joined by co-stars Peter Sarsgaard and director Michael Almereyda in a Q&A held before the screening. A party was held after, in which she attended with boyfriend Scott Mackinlay Hahn.
Check over 100 HQ pictures added in our gallery. Experimenter is set for limited release (check theaters) and on demand on next October 16.
Winona was last night in New York, attending the Spring Fashion Show of her friend Marc Jacobs during the New York Fashion Week. She was being expected to attend, since she’s part of Marc latest campaign – and let’s hope they can work together on future ones as well.
I have 39 HQ pictures added in our gallery, thanks to Claudia for some help. Check it:
Screencaptures of the two final parts of Show Me a Hero, that aired yesterday, are now uploaded in our gallery.
Also watch below the Inside the Series Parts 5 & 6
The Atlanta Journal Constitution is reporting that Stranger Things is going to be shot in Atlanta, with production scheduled to start this fall.
Winona yet its the big name attached to the project, which is set in the 1980s and is about a mystery surrounding a boy who vanishes into thin air and the ever-expanding government conspiracy that unravels in its wake.
The mini-series will have 8 episodes, and Netflix will air it in 2016.