It was Tim Burton's 'Batman' in, what, '89, I think? What we could see was there was someone behind the curtain controlling all of this, and you could see it from one Tim Burton film to the next, that the guy who made 'Edward Scissorhands' also made 'Batman.' You could connect the dots because his style was so distinct.
My worst audition was for Tim Burton for 'Batman.'
When I was younger, I used to love Tim Burton's 'Batman.' I was, like, 15, and even then, I was aware, 'This is really the Joker's film.' It's like, the Joker just takes over, and Batman, you really don't learn too much about him.
The first movie I fell in love with was Tim Burton's 'Batman,' which isn't Chicago, obviously, it's Gotham.
I think Batman Returns is right for riffs. I love it but it's the ultimate Tim Burton movie. There is so much that happens that's crazy and there are a ton of things to riff.
I am definitely a Tim Burton fan. I had seen 'Edward Scissorhands' enough times to know it by heart. That's exciting: to work on something you feel like you really get.
I kind of stumbled into comics in a roundabout way. One of the first films my father introduced me to was the 1989 'Batman,' the Tim Burton one.
Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.
Michelle Pfeiffer in Tim Burton's 'Batman' was one of the most inspiring - I saw that and I was like, 'I want to be her, I want to do that.'
I went and met with Tim Burton for the role of Batman. But I just couldn't really take it seriously; any man who wears his underpants outside his pants just cannot be taken seriously.
Because the world of this film begins and ends in the imagination of Tim Burton, you're not seeing a movie that's been shot on locations that you've seen a million times. Because this world has no rules, you're seeing so many different and separate brushstrokes and colors and characterizations somehow getting combined through Tim.
Ever since the Tim Burton Batman of 1989, it has been de rigueur in movies to focus on the freaky alienation aspect of the superhero's life: This is how talented people make movies for 14-year-olds while retaining their self-respect.
When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.
One of the reasons Batman works as a character is that it's not beyond possibility that he could exist - you could become Batman if you had a billion dollars at your disposal. There's nothing paranormal or superhuman or supernatural about that character. And I think his villains work the same way. You could be one of his villains just as easily.
What I really learned from Tim Burton is that it's important to have your own person in a role because you can't play a character unless there are elements of human behaviour that you yourself understand. I was really struck by how Tim Burton would like to sit and chat about you... or question things which then you had never thought about. It is a good thing to always step back a bit with things like that. But I try my damned hardest to learn something from everything I do.
Working with Tim Burton is like a psychic experience -Tim waves his hands and says, 'I don't know,' and you go home and do it. He's the most articulate nonverbal person in the world. He doesn't say a word, and you know exactly what it means.
Tim Burton's 'Sleepy Hollow' has got to be the most gorgeous, sumptuous, painterly movie ever made about multiple decapitations.