Armed with the knowledge that one of my favorite directors of all time, Tim Burton, would be getting a retrospective documentary was almost too exciting for words going into 2024’s iteration of the Tribeca Film Festival. Burton’s style as a creative was so unique that it would change the very fabric of filmmaking forevermore. Still untitled even as the first episode screened, the docuseries carries with it an impressive pedigree of interviewed talent, including Johnny Depp, Winona Ryder, Helena Bonham Carter, Michael Keaton, and so many more. This first installment, clocking in at almost exactly an hour in length, is presented as one of four; it follows Burton’s trajectory up from his childhood into Edward Scissorhands, the first of decades of Depp collaborations. Spectacularly structured and wisely sampling clips and artwork in the process, Untitled Tim Burton Docuseries highlights Hollywood’s unsung auteur with panache.
Unsurprisingly, everyone involved has nothing but the most glowing things to say about Burton, who remains absent from these interviews, yet his voice reverberates throughout. Many of these folks have become a sort of traveling troupe of actors, popping up in Burton’s projects throughout the years. Thusly, they have extra interesting takeaways about his creative process, such as how Tim’s brain works faster than the words will come out. Burton’s productions are never just a single-tiered affair for him—rather, he remains fascinated with every detail on set, obsessing over any type of visual that will be seen onscreen.
Growing up in sunny Burbank, California, little Tim definitely had a disconnect with his parents, and it was a challenge for him to bond with other people. Finding the beauty in the mundane would become a trademark of his work. Tim moved to live with his grandmother, articulating his feelings through drawings. Recalling this early part of his life, the interviewees double down on his uniqueness. It was with his grandmother that Tim was encouraged to pursue his passions. Even in the beginning stages around teenage years, Tim was being noticed for his artwork. He tried sending an illustrated manuscript to Disney, but they found it too derivative of Dr. Suess. I love that they had Burton’s school art teacher, always cited as a huge influence, to talk about what a talent he possessed even then. Creating memorable short films, particularly Vincent, would alter the trajectory of his life.
As lovely as the beginning will be to follow, I have no doubt that the majority of folks watching will long for insight on Tim’s prolific works. His distinct aesthetic began forming around the same time Tim’s wild and crazy ideas got him noticed by Disney for an animated short about dentistry, titled The Stalk of the Celery Monster. Who would have imagined Burton working on Disney’s The Fox and the Hound? His style definitely did not seem to gel with the cutesy Disney look. Eventually, Burton’s complicated relationship with Disney would see the greatest successes of his career, but perhaps distance makes the heart grow fonder? Shortly after his vision for The Black Cauldron was passed over, the studio, according to his own recollection, abruptly let him go.
From weird and surprisingly mainstream Pee Wee’s Big Adventure to unclassifiable dark comedy Beetlejuice to a decidedly fresher, gritty take on Batman, the works that Tim would create are specific enough to warrant entire episodes all their own. As such, this docuseries may be slightly less of a deep dive that expected. Each title does get their time in the sun, but finer details may be lost. Despite that caveat, the direction from Tara Wood makes wonderful connections between parts of Tim’s life and his later works, seamlessly weaving in direct dialogue or scenes to accompany its speakers. Who wouldn’t want to hear about goth Winona’s deep connection with the character of Lydia, or how Burton took her under his wing at just fifteen? The Beetlejuice section interested me the most, being one of my top five favorite films—it does not disappoint.
Both the opening and closing credits feature Tim’s outlandish drawings. Perhaps those familiar with Tim’s journey will find few surprises; however, for a more casual fan, I can see this working particularly well. Burton’s work has never before been highlighted in this fashion. As an avid supporter of his movies, I felt such a nostalgic joy in revisiting each of them in this way. Furthermore, I would love to see the remaining three episodes, especially given the tease of Depp’s constant presence in the final scene. The legacy of Tim Burton gets a passionate love letter, courtesy of Tara Woods’s Untitled Tim Burton Docuseries.
Untitled Tim Burton Docuseries premiered its debut episode at 2024’s Tribeca Film Festival.
