Intercourse Filmed Inside

ALICE IN WONDERLAND OF TIM BURTON Interview with the illustrator Dawn Brown

Dawn Brown is a designer for film. She was born in a suburb of Kansas City and then moved to Hollywood to make his way in the world of cinema. She is now an artist known for having participated in many blockbusters like AI, Star Trek, Ocean's Eleven, or Transformers.

For Tim Burton version of Alice in Wonderland, she designed all the furniture in the castle Red Queen ...

How did you become a designer for film?

All my life I always wanted to draw. After my degree, I went to California to pursue my career in animation. Despite hard work, it did not work and after a few years to follow up odd jobs, I finished a production assistant in the art department of the TV series SeaQuest. This was my first experience in this field. Decoration, illustration, model making, storyboarding, I found my place! Through this experience I have become a recognized designer. I concentrated on drawing and I learned from the best artists in the art. That said, over the years, the computer has taken over the design and decoration that does not interest me. I always preferred the traditional design. After years of insistence, I have finally become recognized as an illustrator in 2007 and I am delighted with this new direction.

Can you tell us about your first collaboration with Tim Burton?

I worked with him for the first time on Superman Lives in 1998. It was a story freely adapted from that of the Death of Superman comic book published some years ago. I worked on the tomb of Superman. Then I attended Planet of the Apes two years later. I loved watching the actors become monkeys by the art of makeup ... and try to eat in the cafeteria! They had to eat while looking in a mirror to guide their range through silicone implants!

In 2002, we went to Montgomery, Alabama to run Big Fish. Work on site is a bit like working in a traveling circus. You find yourself in different places every day and every night we packed up for another destination. Under these conditions, the film team becomes like a second family.

In 2008, Tim returned to Los Angeles for Alice in Wonderland after several films shot in London. It was great to find the faces of the teams Big Fish and Planet of the Apes . Of course, I really hope very soon to rework a draft Tim, whatever!

How did you joined the team of Alice in Wonderland?

Supervisor Artistic Director, Stefan Dechant invited me to join his team. I had worked with him in the past and we've been friends for quite some years. I worked on Alice from July to December 2008. I have extensive experience in furniture design for movies and it appealed to me specifically to work with the decorator Karen O'Hara.

How did you work with it?

It is fantastic to work with her. She knows exactly what she wants and left me enough freedom to incorporate my own ideas. I drew my concepts based on their suggestions and then she presented them to Tim and Production Designer Rob Stromberg. It was then up to me to make corrections. Once the concepts were approved, they then went to the shop to be manufactured.

Some furniture Castle Red Queen integrate animal figures.

This comes from the story, everything was in the script. There were animals for all furniture. Much, much more than what remains in the film. The idea was that Red Queen accumulates all these exotic creatures and made his slaves. To illustrate his obsession with control and power. And that these creatures are really afraid of her and are really unhappy. This is the kind of minute detail which proves essential in a story like this. One can watch the movie again and again and always find new details like that. I wanted really make this point clear through the body language of animals. Imagine two wild crocodiles reduced to support a table. What does this tell us about the queen? Is that it is more terrible than a crocodile! Put this world full of wild animals under his control not only illustrates how bad it is but also how strong is to get Alice to conquer! Unfortunately, much of what I created was deleted from the film and they have focused on monkeys, which does not really have the same effect! Finally, it's showbiz!

You also created versions of "Wonderland" genuine old master paintings.

was fun! Karen wanted there many works of art in the castle Red Queen. They gave me some original images to adapt. I do not know on what basis these tables have been chosen, but I have them all covered with the idea that these portraits represented members of the royal family, some with a large head, other hair heart shape and other details that would be weird sort of family brand. For landscapes background, I added the castle Red Queen. Always keeping in line with the original style tables. made me realize more than 25 tables.

How have you adapted to the personality of the Queen Red ?

I read the script, and I have worked with Helena Bonham Carter in Tim's other films. I really wanted to do something funny and weird in accordance with its interpretation of this character.

Have you original artwork inspired works of Lewis Carol?

Clearly, the wonderful illustrations by John Tenniel were part of our references and we have drawn our inspiration.

What are your memories of this production ?

I remember working very soon! Six months is very short to develop a world like that! We worked at full speed for that post production can have enough time to do its job. Personally, I do not think we had enough time, but you have to do with. I also remember having worked with top artists and designers in the art, and they inspired me every day.

Does the fact that Tim Burton was the head of project has influenced your approach to film?

Alice in Wonderland was my 4 th project with Tim. Each project has its own vibration, its own art direction. Sometimes it seems to me that people think that because he is a Tim Burton movie, we'll see spirals and stripes of black and white, it will be dark and gothic. I think they are unjustified expectations. It is the work of Production Designer that determine the appearance of the film, and it is a further challenge that incorporate the trademarks visual director.

Have you inspired by the classic Walt Disney?

Not at all.

You also worked in the field of comics, and you met Bob Kane, creator of Batman. Can you tell me about this meeting?

I worked as a decorator about Batman & Robin for Warner Bros.. The Prop Master, Brad Einhorn, told me that Bob Kane was coming on the tray and asked me to introduce myself. Brad knew that I was also in comic books and I loved Batman. I kept a copy of Dark Knight Returns by Frank Miller on my desk and I asked Bob Kane for me to sign. It was very nice. He seemed really impressed by the breadth of our platform. What might have been said about the movie, these scenes were really amazing! So far, I've never reworked a film that has so many decorations on this scale and magnitude. It gives me inspiration to see how one person can create something which can grow into something so huge. That motivated me to continue on this path and develop a story that kept running through my head for a while, about a bounty hunter who gets married with the devil. This idea came a series of comics called Little Red Hot, published by Image Comics in 1999 and 2001.

All artwork by Dawn Brown (c) Walt Disney Pictures

Bruce Black Bolt Tours

SISTER ACT - A DIVINE MUSICAL COMEDY: Interview with the music supervisor Michael Kosarin

In 1982, a brand new musical resonated with WPA Theater in New York. At a time when Broadway was struggling to renew Little Shop of Horrors by Howard Ashman and Alan Menken proposed for the first time an authentic musical, but based on idioms borrowed from rock and roll. And they proved it was possible to make sure to tell a true story about a good old rock.

27 years later, while Madonna was using samples of Abba and Broadway producers are seeking to renew-again-type by using the same tubes Swedish, it was time for someone to make really creative act in the matter!
And it was again Alan Menken! With his dream team-Glenn Slater and musical director Michael Kosarin-he turned this time to the idioms borrowed from the 70s/80s disco, funk and soul, to tell a new story full of meaning.

Indeed, Sister Act - A Musical Comedy Divine , which currently triumph at the London Palladium, is not only a show full of emotion and energy, but is truly a parable about redemption and opportunity to change his life.

It thus finds the familiar story of Deloris Van Cartier, who becomes, in spite of herself, witnesses a murder. What it is being integrated into the protection program witnesses and meet ... placed in a convent!
Also at ease at the outset that a fish out of water, she will finally find his voice by learning the song to her sisters and breathing new life into this community in decline, which in his grill cover. The gang will then trace him, but is not counting on his new family ...

Sister Act - A Musical Comedy Divine unusual in more ways than one, and that is precisely what we talked with his music supervisor (who doubles as a collaborator Alan Menken faithful and a recognized figure of Broadway), Michael Kosarin.

How was the musical Sister Act?
This was a few years already. Alan Menken and Glenn Slater have been approached some time ago about this. At that time, they were already working on another musical called Leap of Faith in gospel style. Moreover, we will launch the show next year, directed by Rob Ashford. We need to rotate a bit in America before joining Broadway. This will be an exciting score gospel! However, the original movie Sister Act was based on the gospel since it was the style that were singing sisters. For their part, Glenn and Alan wanted to do things differently. Then came the idea of making a musical disco. The action was then transposed into the 70's and Reno, we went to Philadelphia.

Oddly, Disney is not the producer.
Disney owns the rights. Therefore, it is a partner, but discreet. But this is not a Disney production itself. The producer is Stage Entertainment, which you need to know to be a big European production company.

What is the role of music supervisor of musical Sister Act?
That's about the same as for all production of Alan. He gives me his songs and I made arrangements from the point of view as the vocal accompaniments. In this case, it was very interesting because it is little more that women's voices, which is a real challenge. Arrangements for male voices are very few. Two or three sentences. There is the grand finale and two other numbers, but in general it really is to write for a female choir. It is both impressive and exciting because it takes more imagination to produce arrangements always interesting for one type of voice. So, I write these arrangements and then I proceeded to the orchestrator. I also write the score, instrumental music. For example, I made the introduction of songs, starting a dialogue, and the conclusion.

Little Shop of Horrors (you supervised the latest version a few years ago) and Sister Act are both based on the idea of writing a musical of musicals using a language derived from pop music. Can you talk about this fundamental aspect of the writing of these two productions? We're going
effect of a style and format originally created for radio. For Sister Act example, there are disco, funk, and elements borrowed mowtown also the musical classic. In this case, we have ensured that all these styles live as if they belonged to the same universe. Doug Besterman is our orchestrator and worked with him to ensure that our 16 musicians playing parts that sound as if they were from the same palette and all the songs are answered them in terms of style. As I said, all these styles were created to be heard on the radio and we had to adapt to be more dramatic, more theatrical, for the purpose of the scene, not those of the radio. The radio versions are provided as well as more theatrical versions should leave more room for voice, while interesting in terms of orchestration. So it was a challenge than adapting these styles to the scene, to find ways to ensure that they participate in what is played on stage.

In terms music of the 70s, what were your references? We listened
Donna Summer, The Pointer Sisters, The O'Jays, The Spinners, Wild Cherry, the Village People, then, for his songs of the men, Barry White and the Floaters. Finally, for the grand finale, we turned to Kool & the Gang. We listened to a lot of things solo or in groups to immerse ourselves in this particular well.

If Little Shop of Horrors were more parody Sister Act seems rather on the side of pastiche.
Yes. I do not think there is parody in Sister Act . Simply, by time, in deliberate wink. The aim is to ensure that the listener knows well in what universe is it in space and time, and how fast our characters dance. For example, there are some references to Shaft, but for the scene.

Sister Act does not require that disco. We find, as you mentioned earlier, elements borrowed from the musical classic, especially around the character of Sister Mary Robert.
The disco is a framework. It is used especially when the religious learn to sing. When you go to most of the songs in connection with history, "book songs", they are different styles that come in. Thus, when Sister Mary Robert sings what she feels the deepest his heart, we turned to a more traditional style because when it's the heart that speaks, there is no question of decorum.

How did you determine the style of each song?
is primarily the prerogative of Alan. All creators, composer, lyricist and writers sat down and reflected on the most appropriate style for each song, then we discussed it with Alan. It was essentially his choice. Some choices were determined by the characters, like the songs of Sister Mary Robert. But others were determined by the situation. For example, there are three lawsuits in the show, and there it is a key Shaft. So there is a certain balance between styles for characters and styles related situations.

What is your favorite song in this show?
Honestly, it changes all the time. Most often, it is one on which I work. If not, when I attend a performance, I especially love seeing the audience react and enjoy a song. My favorite is the one that the public likes for the best time for me is that I see people have fun.

For you, what makes Sister Act a musical like no other? What I
passionate and motivated me to push myself, it is primarily the type of music, which I do not often get to rub me. This is the first time I worked on the disco so it was a wonderful opportunity. This prompted me to find creative ways to write arrangements that are large exciting and unique at a time. And then there is, as I said, the fact that it is a partition predominantly female. All this has made it a very original project and really exciting!

What are you working now?
Right now, I focused almost exclusively Rapunzel for Walt Disney Pictu . This is another collaboration between Alan Menken and Glenn Slater and this is a film and 3D computer animation that will be out in a little over a year. Everything goes very fast. The songs have just been finished and am working on the arrangements. Mandy Moore will be the star as Rapunzel. It will be a different partition for Alan. In the style of guitar songwriters. Alan is currently writing music is absolutely beautiful. What we did on Enchanted was more the order of pastiche. This time, it will really be something new, with a range of sounds totally different from what you know with Beauty and the Beast and The Little Mermaid. It is a great pleasure to be part of it! That's my main project at present. We also Leap of Faith which will open next summer and we're working on as well. And then there are a number of personal projects. I accompany the Broadway legend Barbara Cook for a series of concerts around the world: Belfast, London ... and here in New York, I'm developing a show for Jane Krakowski, we will do in the context of Barbara Cook's Broadway Series at the Kennedy Center, then at Feinstein's. I finally have two other projects with Alan Menken, but it is too early to talk about it yet. All I can say is that we will bring the musical of Hunchback of Notre Dame on American soil he really deserves it! The version of Berlin was amazing! And I also work on a stage version of Newsies . When you see who are the artists who will participate, you will not believe ...