text Giovanni Bogani
photo cover Steve Schofield
Tim Burton in Florence: an exclusive encounter between art and imagination
The American director and artist recounts his creative universe between poetic darkness and fantasy
At the great exhibition of international artists at the Florence Biennale, five rooms were devoted to him, Tim Burton. 67 years old, the director of global cult films: Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas and more recently the Netflix series Wednesday, Burton says: “For me, imagination is more real than reality itself.”
The exhibition, curated and conceived by Tim Burton himself together with Sarah Brown, titled Light and Darkness, explored his monstrous and fragile, unusual, desolate, beautiful creatures. Burton also received the award named after Lorenzo the Magnificent. We met with him at the Savoy Hotel: punctual, with wild hair, a serene expression. And a modesty that you wouldn’t expect from one of the most successful directors in the history of cinema, awarded with a Golden Lion for Lifetime Achievement, one Golden Globe and two Academy-Award nominations. “I am impressed, honored and thrilled to be in Florence with an exhibition dedicated to me. Being celebrated in this city, which shines with art in every corner, means a lot to me,” he says.
Nightmare Before ChristmasCould Florence be a possible setting for one of your films?
Definitely. There is a lot of beauty in this city, I could find a lot of inspiration here. And also many dark places. A city where every stone oozes with history and art. Twenty years ago, I used to come to Florence often. Walking around this city is a constant wonder, because where I was born, in Burbank, California, the most sacred monuments are the shopping malls (he smiles).
The exhibition that you curated for the Florence Biennale is called Light and Darkness. What do these two terms mean to you?
I believe that light and darkness exist in everyone. Each of us has a dark side: I have been lucky because I have been able to bring it out through my drawings. Drawing has been my salvation. Light and darkness are like Yin and Yang: one cannot exist without the other.
The ExhibitionHow important is the handmade aspect to you, meaning your drawings, illustrations and sketches?
For me, it all starts with a drawing, which then develops into different artistic forms: whether an animated film, a live-action film or an object. But everything begins with drawing. Drawing is my way of communicating, of defending myself against my fears, of reconnecting with myself. Like children. But I, instead, have the privilege of doing it even as an adult.
From Edward Scissorhands to Charlie and the Chocolate Factory, from Corpse Bride to Big Eyes.How would you describe your filmmaking style?
An ideal club for eternal boys who love losers, freedom, aliens and women who follow you with a suitcase in hand.
La sposa cadavereOne of your most amazing films is Edward Scissorhands…
The film describes my childhood feelings. I felt different from the others, a loner, a ‘weirdo’. Being different wasn’t very fashionable back then… Edward, from being a marginalized character, eventually became the symbol of growing up and feeling isolated from everything and everyone. When I think of him, it still brings tears to my eyes.
What is your relationship with Hollywood?
It has always been weird. I’ve been living in England for twenty years, and I’ve shot my latest films in Europe. My strongest connection is with Italian cinema. As a kid, I devoured Fellini, Bava and Dario Argento films at the Burbank film clubs. I often think of Fellini, who always carried a notebook to jot down his dreams and fantasies. I do the same thing: I draw everywhere. This is my joy, so within reach.
