Joseph Gatt, who plays Neils Skellig (head of security for Michael Keaton’s Vandemere) in the film, feels similarly: “I don’t think I’ve ever worked with a director that cares about everything so much. It’s just a joy, and he’s just really kind to everyone.” To watch him on the set, and how engaged he is, and how frenetic at times his energy can be, and how he moves. “The idea of something as sweet and fantastical and otherworldly, while being grounded in some recognizable world that we can relate to, under the direction of Tim, was a dream … I’ve always been looking for something of that ilk,” he added.Īs for working with Burton, that lived up to every expectation: “He’s just really wonderful to work with. “I’ve been such a fan of Tim’s work for the longest time,” said Colin Farrell, when asked what played a role in his decision to star in Dumbo. It was there that the cast of Dumbo gave us some glimpses into why it is such a privilege to get the chance to be directed by the imaginative and legendary director. This was confirmed recently when we visited the set of the upcoming Dumbo, directed by Burton. It arrived in theaters mere weeks before the second World War and served as the last big hit for Disney for nearly a decade.Colin Farrell, Danny DeVito, and Joseph Gatt talk about working with the visionary director on Disney’s Dumbo, in theatres March 29.īeing that movies like The Nightmare Before Christmas and Alice in Wonderland are some of our favorite Disney movies of all time, we have always suspected that working with Tim Burton must be a rare and magnificent treat. It’s a film that has weathered plenty of controversy due to its racial stereotyping, and a film that has created one of the most recognizable icons in Disney history, if not film history overall. But that main dish was set up by the film that arrived a year earlier. Next month, I’ll tackle arguably the saddest of all moments, the be-all and end-all of tearjerking animation with Bambi. We don’t need to name-check the examples from Pixar, especially because the most core, most unforgettably sad moments in animation come primarily - though not entirely - from the Golden Age of Disney Animation. That these films have become tearjerkers is de rigeur, to the point of feeling like a lazy cliché of family storytelling. The idea that a Pixar movie is going to make you cry, or will try to make you cry, is now pretty much old hat. Sadness has become a perhaps too-easy emotion for modern animation to lean upon, especially within the House of Mouse. There is plenty of Joy and Disgust and Anger, too. Fear is at the heart of many of the most iconic moments of Disney’s Golden Age, from the journey into darkness that Snow White takes through the forests outside of the Evil Queen’s castle to Pinocchio’s trip to Pleasure Island and its descent into body horror. Just as that film presents the human mind as being governed by a handful of key emotions, sometimes on their own or sometimes as a blend, I argued that many of Disney’s animated films are anchored by emotions in the same way. When I kickstarted this series back in July by talking about Snow White and the Seven Dwarfs (naturally), I framed it by connecting Disney’s animated films to the emotional concepts at the heart of the Pixar film Inside Out.
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