有哪位好人能给我介绍一下导演蒂姆波顿(tim burton)

谁有tim burton的英文简介啊~

Tim Burton
From Wikipedia, the free encyclopedia

Birth name Timothy William Burton
Born August 25, 1958 (1958-08-25) (age 49)
Burbank, California, U.S.
Timothy "Tim" William Burton (born August 25, 1958) is an Academy Award-nominated American film director, writer and designer notable for the quirky and gothic atmosphere of his films.
Early life
Burton was born in Burbank, California, the first of two sons to Bill Burton and Jean Erickson. His year of birth is sometimes mistakenly given as 1960, most notably in his own books, The Melancholy Death of Oyster Boy and the picture book of The Nightmare Before Christmas. Burton described his childhood self as quirky, self-absorbed and highly imaginative. As a child growing up in Burbank, he staged an axe murder with his brother to scare the neighbors, prompting them to call the police. He repeated the prank again with similar results. He found home life and school difficult, often escaping the reality of everyday life by watching horror and low budget films, to which he would later pay tribute in his biography of Edward D. Wood, Jr.. Another film figure of importance in Burton's childhood is Vincent Price, whose filmography would deeply influence the upcoming director's career. He was inspired early on by Ray Harryhausen's stop-motion films.

After high school, he won a Disney scholarship to attend the California Institute of the Arts in Valencia, California. He studied animation for three years. Burton's first job in animation was working as a cel painter on Ralph Bakshi's The Lord of the Rings.[1][2] Burton was then hired by the Walt Disney Studios as an animator apprentice. Burton's job was to draw for The Fox and the Hound, but he was dissatisfied with the artistic direction of the movie. He later commented on the refusal of Disney to use his design for The Fox and the Hound because his designs made the characters, in opposition to Disney's desires, "look like roadkill." Burton was not happy during his Disney period, but it was during this period that he wrote and drew the poem and illustrations that would be the basis for his celebrated The Nightmare Before Christmas.

Early career
In 1982, Burton made his first short, Vincent, a six-minute stop-motion film about a young boy who fantasizes that he is his (and Burton's) screen idol Vincent Price, with Price himself providing narration. This was followed by the live-action short Frankenweenie, starring Barret Oliver, Daniel Stern and Shelley Duvall (an early supporter of Burton's work). Shot in black and white and inspired by James Whale's Frankenstein, Frankenweenie features a boy who reanimates his dog Sparky who was hit by a car. Although the film won praise at film festivals, Disney was concerned that the film was too scary for children and, not knowing what to do with it, shelved the film. (Frankenweenie later received a video release in 1992).

Although Burton's work had yet to see wide release, he began to attract the attention of the film industry. Actor/producer Griffin Dunne, approached Burton to direct After Hours (1985), a comedy about a bored word processor who survives a crazy night in SoHo that had already been passed over by Martin Scorsese. However, when financing for The Last Temptation of Christ fell through, Burton bowed out of the project out of respect for Scorsese.

Not long after, actor Paul Reubens saw Frankenweenie and chose Burton to direct the cinematic spinoff of his popular character Pee-wee Herman, who had gained popularity with a successful stage show at the Roxy, which had been turned into an HBO special. The film, Pee-Wee's Big Adventure (1985), was made on a budget of $7 million and grossed more than $40 million at the box office. Burton, a fan of the eccentric musical group Oingo Boingo, asked vocalist/songwriter Danny Elfman to provide the music for the film. Since then, Elfman has provided the score for all but three Burton films, Ed Wood, James and the Giant Peach and Sweeney Todd.

After directing episodes for the revitalized TV series Alfred Hitchcock Presents and Shelley Duvall's Faerie Tale Theatre, Burton received his next big project. Beetlejuice (1988), a supernatural comedy about a young couple forced to cope with life after death, as well as a family of pretentious yuppies invading their treasured New England home. Starring Alec Baldwin and Geena Davis, and featuring Michael Keaton as the famously repulsive bio-exorcist Beetlejuice, the film grossed about $80 million on a relatively low budget. The film also snagged a Best Makeup Design Oscar.

Batman (1989 film)
Burton's ability to produce hits with low budgets impressed studio executives and he received his first big budget film Batman (1989). The mega-budget production, based in London, was plagued with problems. Burton repeatedly clashed with the film's producers, Jon Peters and Peter Guber, but the most notable debacle involved casting. Burton wanted to cast Michael Keaton from his previous role as Beetlejuice, despite Keaton's average physique, inexperience with action films, and reputation as a comic actor. Although Burton won out in the end, the furor over the casting provoked enormous fan animosity, to the extent that Warner Brothers' share price slumped. Burton had considered it ridiculous to cast a bulked-up he-man as Batman, insisting that the Caped Crusader should be an ordinary (albeit fabulously wealthy) man who dressed up in an elaborate bat costume to frighten criminals. Burton cast Jack Nicholson as the Joker (Tim Curry being his second choice) in a move that helped assuage fans' fears, as well as attracting older audiences not as interested in a superhero film. When the film opened in June 1989, it was backed by the biggest marketing and merchandising campaign in film history at the time, and became one of the biggest box office hits of all time, grossing well over $400 million worldwide and $250 million in the U.S. alone (numbers not adjusted for inflation). The film proved to be a huge influence on future superhero films, which eschewed the bright, all-American heroism of Superman for a grimmer look and characters with more psychological depth. The stylized gothic look of Gotham City was uniquely suited to a Tim Burton set.


The 1990s

Edward Scissorhands
In 1990, Burton co-wrote (with Caroline Thompson) and directed Edward Scissorhands, re-uniting with Winona Ryder from the "Beetlejuice" days. Johnny Depp, a teen idol at the end of the 1980s due primarily to his work on the hit TV series 21 Jump Street, was cast in the title role of Edward, who was the creation of an eccentric and old fashioned inventor (played by Vincent Price, in his last appearance on screen before his death). Edward looked human, but was left with scissors in the place of hands due to the untimely death of his creator. Set in suburbia (the film was shot in Tampa, Florida), the film is largely seen as Burton's autobiography of his own childhood in the suburb of Burbank. Price at one point is said to have remarked, "Tim is Edward." Johnny Depp wrote a similar comment in the foreword to Mark Salisbury's book, Burton on Burton, regarding his first meeting with Burton over the casting of the film. Edward is considered Burton's best movie by many fans and critics. Following this collaboration with Burton, Depp went on to star in Ed Wood, Sleepy Hollow, Charlie and the Chocolate Factory, and as a voice actor in Corpse Bride. Depp is also starring in Burton's adaptation of Sweeney Todd, to be released in December 2007.

Batman Returns
Although Warner Brothers had declined to make the more personal Scissorhands even after the success of Batman, Burton finally agreed to direct the sequel for Warner Brothers on the condition that he would be granted total control. The result was Batman Returns which featured Michael Keaton returning as the Dark Knight, and a new triad of villains: Danny DeVito (as the Penguin), Michelle Pfeiffer (as Catwoman), and Christopher Walken. Darker and considerably more personal than its predecessor, concerns were raised that the film was too scary for children. Audiences were even more uncomfortable at the film's overt sexuality, personified by the sleek, fetish-inspired styling of Catwoman's costume. One critic remarked, "too many villains spoiled the Batman," highlighting Burton's decision to focus the storyline more on the villains instead of Batman. The film also polarized the fanbase, with some loving the darkness and quirkiness, while others felt it wasn´t true to the core aspects of the source material. Tim Burton made many changes to the Penguin which would be applied to the Penguin in both comics and television. While in the comics, he was an ordinary man, Burton created a freak of nature resembling a penguin with webbed, flipper-like fingers, a hooked, beak-like nose, and a penguin-like body. Batman Returns grossed $160 million in the USA (number not adjusted for inflation) which, while a big success, was much less than expected.

Burton then went on to do preliminary work on the third installment in the franchise. Val Kilmer was cast as the title character (after Michael Keaton turned down the offer to reprise his previous role after Burton's departure from the project), Chris O'Donnell was cast as Robin, Jim Carrey was cast as the Riddler (after Robin Williams turned down the part), Tommy Lee Jones was cast as Two-Face, and Nicole Kidman was cast as love interest Dr. Chase Meridian. Warner Brothers ultimately threw out Burton after they realized the tone of the film was to be similar to Batman Returns. Burton left the Batman franchise (but returned as a producer for the Joel Schumacher–directed Batman Forever (1995), a movie which he said had a title "like a tattoo you get when you're on drugs").


The Nightmare Before Christmas
Next, Burton wrote and produced (but did not direct, due to schedule constraints on Batman Returns) The Nightmare Before Christmas (1993), originally meant to be a children's book in rhyme. The film was directed by Henry Selick and written by Michael McDowell and Caroline Thompson, based on Burton's original story, world and characters. The film continues to have a wide cult following. Burton collaborated with Selick again for James and the Giant Peach (1996), which Burton co-produced. The movie helped to generate a renewed interest in stop-motion animation.

Popular in gothic and young adult culture, Jack is seen as a modern role model and popular character. The film is still heavily referenced in popular culture and its main characters and visual styles are often reproduced on products in stores such as Hot Topic and in street boutiques. A combination of a child-like fantasy turned gothic visuals and musical numbers composed by long time collaborator Danny Elfman led The Nightmare Before Christmas to become a cult movie.

A deleted scene from The Nightmare Before Christmas features a group of vampires playing hockey on the frozen pond with the decapitated head of producer Tim Burton. The head was later replaced with a jack-o-lantern.

Ed Wood (film)
His next film, Ed Wood (1994), was of a much smaller scale, depicting the life of Ed Wood Jr, a filmmaker sometimes called "the worst director of all time." Starring Johnny Depp in the title role, the film is a homage to the low-budget sci-fi and horror films of Burton's childhood, and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Due to creative squabbles during the making of The Nightmare Before Christmas, Danny Elfman declined to score Ed Wood, and the assignment went to Howard Shore. While a commercial failure at the time of its release, Ed Wood was well received by critics and has since gathered a considerable fanbase, as well as helped revive the public interest for the films of Ed Wood Jr. Martin Landau also received an Academy Award, in the Best Supporting Actor category, for his portrayal of Bela Lugosi.

Mars Attacks!
Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science fiction trading card series, the film was a hybrid of 1950s' sci-fi flicks and 1970s' all-star disaster flicks -- an anarchic cacophony of clever satire and goofy mayhem. Coincidence made it an inadvertent spoof of the blockbuster, Independence Day, made around the same time and released five months earlier. Although the film boasted an all-star cast, including Jack Nicholson, Pierce Brosnan, Michael J. Fox, Sarah Jessica Parker and Rod Steiger, among others, the film was panned by American critics and mostly ignored by American audiences. It was however more successful abroad, and later managed to gather an American fan base from its television airings and DVD release.

Sleepy Hollow (film)
Sleepy Hollow, released in the autumn of 1999, was a return to vintage Burton, with a supernatural setting, unique sets and another offbeat performance by Johnny Depp as Ichabod Crane, now a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. An enthusiastic fan of the old horror movies from English company Hammer Film Productions, Burton paid homage to them with Hollow. Hammer veteran Christopher Lee is given a cameo role. A host of Burton regulars appeared in supporting roles (Michael Gough, Ian McDiarmid, Jeffrey Jones and Christopher Walken, among others) and Christina Ricci was cast as Katrina van Tassel. Mostly well-received by critics, and with a special mention to Elfman's Gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, Sleepy Hollow was also a turning point for Burton. Along with change in his personal life (separation from Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing Planet of the Apes which, as Burton had repeatedly noted, was "not a remake" of the earlier film.

Tim Burton's Lost In Oz
Conceived as an original television series based on the immortal works of L. Frank Baum, "Tim Burton's Lost In Oz" was never aired. Though a pilot script was written by Trey Callaway with direct input from Burton as an executive producer and a number of key scenes were filmed by veteran television producer/director Michael Katleman, budgetary constraints ultimately prevented the project from being fully realized. Now being put onto film.


The Melancholy Death of Oyster Boy: and Other Stories
His book The Melancholy Death of Oyster Boy: and Other Stories was published in 1996. The collection of verse is about misfit children such as Oyster Boy, Match Girl, Stainboy (which later became short animations), the Girl Who Turned into a Bed, and other such outcasts. The book was published by the publishing company Faber and Faber, which also published the original artwork of Sleepy Hollow in 1999.

The 2000s

Planet of the Apes
Planet of the Apes was a commercial success, grossing $68 million in its opening weekend. It was however panned by critics and widely considered inferior to the first adaptation of the book . The main criticism was that the movie went for a more watered down "popcorn" feel than the dark, cerebral and nihilistic tone of the 1968 film. The film was a significant departure from Burton's usual style, and there was much subsequent debate about whether the film was really Burton's, or if he was just a "hired gun" who did what he was asked.[3] Burton reportedly clashed with the studio during the whole making of the film, once going as far as abruptly leaving the set for the day. There were also many reports about last minute changes in the movie. Despite the commercial success of the movie and an ending that clearly suggested the possibility of a sequel, apparently there are no intentions from the studio or Burton to make another Apes movie.

Recent Years
Burton went on to direct Big Fish (2003) which received four Golden Globe nominations, Charlie and the Chocolate Factory (2005) and Corpse Bride (2005), for which he received an Academy Award nomination for Best Animated Feature Film. Charlie and Bride were Burton's most critically-praised movies in years. Charlie was a huge box office success that made over $207 million domestically alone.

说实话我也想要啊 ，看出你也是个狂热粉丝了 The Art of Tim Burton是有史以来第一次全面综合了蒂姆伯顿的艺术作品！（插画）绝对是各位影迷收藏的极品！就目前来看书店是不可能会有的， 官网明确表示了不会在书店销售，而且数量非常稀少。。
我帮你找了一下，淘宝上没有这个
这个应该就是目前可以买到他的唯一地址：http://www.steelespublishing.com/
我看了一下 ，全是英文地，，我简略的说一下，For the first time ever a comprehensive look at the personal and project artwork of Tim Burton.


有史以来第一次全面综合了蒂姆伯顿的艺术作品（插画）。

Hardcover with over 1000 illustrations and 430 pages plus foldouts.

精装超过1000插图，430页插页。


《The Art of Tim Burton》 is the definitive compilation of forty years of Tim Burton's artistry, including film concepts and hundreds of illustrations from his personal archives, edited under the creative guidance of Burton himself.

《The Art of Tim Burton》是对蒂姆伯顿四十年来艺术作品的明确汇编，包括电影理念和和出自他个人文献当中的数百副插图，根据伯顿本人的创意指导下所编辑。

This comprehensive 434 page book is grouped into thirteen chapters that examine common themes in Burton's work, from his fascination with clowns to his passion for misunderstood monsters, to his delight in the oddities of people.
经过共同审查伯顿作品后综合了434页分为13个章节，从他对小丑的浓烈兴趣到 对被曲解的怪物的热情，将他的奇异兴趣展现给人们。

豪华版已经卖完了，精华版也非常不错 ， 确实值得收藏！
我只能到这里了兄弟，买的话要靠你自己的英语水平了。。。不行的话找个高人或你的老师帮你一下吧。。

Tim Burton

蒂姆波顿1958年8月25日出生于美国加州，早年毕业于加利福利亚州艺术学院。曾在迪斯尼片厂工作，喜欢玩电影特效、特技，制造特殊的诙谐讽刺。

蒂姆-波顿Tim Botton这个鬼才导演，就算没听过他的大名也应知道《僵尸新娘》，《大鱼》《查理与巧克力工厂》这些诡异的影片。没错，这是个以诡异阴暗的风格而出名并永远只拍此类片子的家伙。关于他的秘密生活是那些锐利的棱角、那些乱七八糟的发型、以及一个充分内向Seussian式的奇思怪想倾斜的世界。在好莱坞有一个流行的说法，喜欢蒂姆•波顿的电影的人都是一群孤独的人，因为蒂姆•波顿就是一个生性孤僻的人。不知是地球上孤独的人多了起来，还是仅仅因为怪异是潮流，这家伙的片子最近非常受欢迎，于是蒂姆•波顿同好会就把他的童年背景挖出来了，果不其然，就是这与众不同的童年经历才造就了他：蒂姆·波顿小时候常常被父母锁在屋子里，后来，又离开父母跟年迈的祖父一起居住。理所当然的，习惯于孤独的蒂姆·波顿的世界被小人书和恐怖电影包围。他把自己独自关在阴暗小屋里无穷无尽地想象异世界，摆弄万圣节party，并且挖地三尺找僵尸新娘。之后又理所当然地跑去加州艺术学院学习，发挥他的绘画特长。在得到迪斯尼公司赞助给年轻动画人的一笔奖学金后，波顿从此开始正式学习和从事动画工作。八十年代早期，蒂姆•波顿先后做出两部短片———《文森特》和《弗兰肯维尼》，一部是对恐怖片演员文森特的致敬，一部是《弗兰肯斯坦》的儿童改编本。从题材上就可以看出伯顿动画实验短片的倾向，但这些早期作品太过显露伯顿的个人趣味和品质，最初被认定不适合儿童观看，并被永远禁放。因此《文森特》看过的人寥寥，而今却成为粉丝们挖地三尺寻找的东东。当初这部粘土动画短片试映时，把迪斯尼的老总们看得直头疼，认定这个叫波顿的小子是没有希望了。然而它同时也是波顿的自传，并且是他真正意义上的第一部片子，伯顿的鬼马风格、天马行空的想象已经冒出苗头，这种怪异而恐怖的风格追随了他一生。有时甚至觉的他和库布里克有太多的相似处,可是TIM的电影更像是巧克力,不管是甜是苦,都让人温馨不已 .

蒂姆•波顿是黑暗，可是他又总在黑暗之中带给人一点点希望，好像是在黑暗尽头的一线光。很多喜欢蒂姆•波顿的片子的人会对你说，他们对生活是多么热爱。他们有着无穷无尽的热情，他们的乐观主义已经超过常人的想象了。他们——剪刀手爱德华，南瓜杰克，旺卡，这些都是属于异世界的王子，只是一到人类世界时，再乐观也要由于不懂这个世界的规则而迷惘，最后他还是要回到异世界里去。

事实上，蒂姆•波顿不是一个讲故事的高手，因为他总是牺牲情节、人物和可能性来满足他的想象力的需要。他大多数的电影即使主调阴暗，也拥有哥特式的华丽。我们看他在断头谷中把油画般的色彩运用到极致，阴沉的诗意和哥特式的抚摸，以及那源自浓雾中森林深处的血光森然。而本身光亮可人的影片也决不落俗套，糖果般鲜艳异常的颜色似乎在说明，他永远是在给成人编织童话和梦幻。2003年大鱼，水里的美人鱼和吊在空中的缤纷的鞋子，一片金黄水仙花中的伊万麦克雷格。2005的巧克力工厂中炫目的色彩涂满了屏幕。蒂姆•波顿给我们一些时刻，展现电影的魔力……一个又一个故事就像充气公仔，吹一口气，哗，长颈鹿和狮子王就出现在你面前！

1981年他执导了第一部卡通短片，之后又以第二导演的身份参加了剧情短片《小科学怪人》的拍摄，然后导演的电视片是《阿拉丁神灯》，这一系列在影视界的逐步尝试培养了他的信心和能力。在这几部神怪题材影片中，蒂姆波顿把他之前所学和他天马行空的异想做了初步的发挥，片中呈现出的琦丽影像也引起了好莱坞业界的注意，而好莱坞鬼才之称也不径而走。

1985年蒂姆波顿有机会执导他的第一部长篇剧情片：《PEE WEE奇趣历险寻车记》，这部影片由华纳公司出品，该片获得业界人士好评，使他更为信心大增。《阴间大法师》则是蒂姆波顿第一部里程碑式的作品。当时鬼电影已经泛滥成灾，如何推陈出新，让观众去接受鬼片，已成为这类电影的创作者殚思竭虑的主题。蒂姆波顿和编剧另辟蹊径，他们的做法是反其道而行，在片中塑造了一对好心肠的“鬼夫妇”，受到一家坏心肠的“人”百般刁难。这种角色错位使影片产生了新鲜的喜剧色彩。正当观众以为那一家人胆大得什么都不怕时，蒂姆波顿却奇峰陡转，创造出一个耍坏专家“阴间大法师”来收拾他们，一山还有一山高的妙趣因而得以源源涌现。这部“cult”电影中散发出的急智与诡异使它成为类型电影中的另类经典。而蒂姆波顿则顺势成为好莱坞片商心目中商业大制作的理想人选。

不过一般认为蒂姆波顿最重要的影片还是1990年的《剪刀手爱德华》。影片虽然是讲述一个不容人世的例行爱情故事，但蒂姆波顿却用他擅长的独特视角、声光构图以及特技画面使影片打动人心，蒂姆波顿似乎也开始从只炫耀夺目画面到重视人物心理活动和道德转变，爱德华在片中的内心活动过程就是最好的例证。

在2001年，蒂姆波顿又因为《人猿猩球》的重拍而再次成为人们的焦点，当时竟夺这部影片执导权的还有另两位著名导演奥利弗斯通和詹姆斯卡梅隆。

《看电影》列过关于burton的定律，大约总结如下：

*角色往往有童年阴影。

*歌特文化氛围：我不是说尖尖教堂和玫瑰窗啊。黑色或偏暗场境，惨白的脸（从Pee-WeeHerma到甲虫汁到丑客再到剪刀手爱德华、到威利•旺卡都是白色的），神经质的话语和动作(限主角啊)当然还有明显故意的黑眼圈……

*疯狂破坏的场境时背景音乐往往是欢快的。

*burton认为好人不被社会接纳，他的主角一般都被人当成异类变态。

*burton对节日的喜爱，特别是万圣节和圣诞节的喜爱好像数十年如一日，并没有随着tim哥年龄增大而消失。特别是万圣节，就是他眼中的节日表象和常人眼中的表象好像不太一样……。

*tim哥好像对中国感兴趣.

*他的一部电影中往往有极黑暗和极光明的对比。

*不得不说这个……tim burton对肢解、脑壳、血浆喷脸情有独衷，而且还要用特效制造不断的惊悚。（《僵尸新娘》里，他终于可以发泄他的恋尸狂倾向）

*他的电影几乎不用CG，却要用摄影技巧和模型来表现一种童话氛围，让你认为童话世界存在。

*burton对歌舞剧的形势情有独衷。

*tim哥们的女人们都有福气，不是他剧中角色就是他的灵感女神(不是我说的啊！是他自己抖出的！)。

波顿作品年表

2005《僵尸新娘》Tim Burton's Corpse Bride

《查理和巧克力工厂》Charlie and the Chocolate Factory

2003《大鱼》Big Fish

2001《决战猩球》Planetof the Apes

1999《断头谷》Sleepy Hollow

1996《火星人玩转地球》Mars Attacks!

《蝙蝠侠3：永远的蝙蝠侠》BatmanForever（制片）

1994《艾德·伍德》Ed Wood

《圣诞夜惊魂》The Nightmare Before Christmas（制片、故事）

1992《蝙蝠侠2》Batman Returns

1990《剪刀手爱德华》Edward Scissorhands

1989《蝙蝠侠》Batman

1988《阴间大法师》（甲虫汁）Beetle juice

1985《惊异故事之家犬》Amazing Stories

电视剧集《希区柯克剧场之罐子》Alfred Hitchcock Presents

电视剧集（episode The Jar）

《阿拉丁与神灯》Aladdinand His Wonderful Lamp（TV）

《大冒险》Pee-wees Big Adventure

1984《弗兰肯维尼》Franken weenie

1982 Hanseland Gretel（TV）《文森特》Vincent

资料
http://gb.cri.cn/6851/2005/08/02/1325@645141.htm
参与影片：
《 Sweeney Todd 》 (2007) ...
《 9 》 (2007) ...producer
《 Cannes 2006: Crónica de Carlos Boyero 》 (2006) ...Himself (archive footage)
《 Fashion Police Academy Awards 2006 》 (2006) ...Himself (archive footage)
《 The 78th Annual Academy Awards 》 (2006) ...Himself - Nominee: Best Animated Feature Film
《僵尸新娘/蒂姆·波顿之地狱新娘/骷髅新娘 Corpse Bride 》 (2005) ...
《僵尸新娘/蒂姆·波顿之地狱新娘/骷髅新娘 Corpse Bride 》 (2005) ...producer
《查理和巧克力工厂/查理与巧克力工厂 Charlie and the Chocolate Factory 》 (2005) ...
《 The Many Faces of Catwoman 》 (2005) ...Himself (archive footage)
《 Ray Harryhausen: The Early Years Collection 》 (2005) ...
《 The 100 Greatest Cartoons 》 (2005) ...Himself
《 Mario Bava: Operazione paura 》 (2004) ...Himself
《 Pie Plates Over Hollywood 》 (2004) ...Himself (archive footage)
《 Super Secret Movie Rules: Disaster Movies 》 (2004) ...Himself (Director)
《大鱼老爸/大智若鱼/大鱼 Big Fish 》 (2003) ...
《 Super Secret Movie Rules: Superheroes 》 (2003) ...Himself
《 De Superman à Spider-Man: L'aventure des super-héros 》 (2002) ...Himself
《决战猩球 Planet of the Apes 》 (2001) ...
《 The Making of 'Planet of the Apes' 》 (2001) ...Himself
《 The World of Stainboy 》 (2000) ...
《 Lost in Oz 》 (2000) ...executive producer
《 The World of Stainboy 》 (2000) ...producer
《 Mario Bava: Maestro of the Macabre 》 (2000) ...Himself
《 Sleepy Hollow: Behind the Legend 》 (2000) ...Himself
《 Lost in Oz 》 (2000) ...story (pilot)
《无头骑士 Sleepy Hollow 》 (1999) ...
《 "A-Z of Horror" 》 (1997) ...Himself
《飞天巨桃历险记 James and the Giant Peach 》 (1996) ...producer
《星战毁灭者/火星人玩转地球/火星人大侵袭/外星人进攻/火星人袭击地球 Mars Attacks! 》 (1996) ...
《星战毁灭者/火星人玩转地球/火星人大侵袭/外星人进攻/火星人袭击地球 Mars Attacks! 》 (1996) ...producer
《永远的蝙蝠侠 Batman Forever 》 (1995) ...producer
《艾活传/艾德·伍德/爱在好莱坞的日子 Ed Wood 》 (1994) ...producer
《艾活传/艾德·伍德/爱在好莱坞的日子 Ed Wood 》 (1994) ...
《臭屁小子 Cabin Boy 》 (1994) ...producer
《 "HBO First Look" 》 (1994) ...Himself (4 episodes, 2001-2005)
《世纪电影 Century of Cinema, A 》 (1994) ...Himself
《圣诞夜惊魂 Nightmare Before Christmas, The 》 (1993) ...(story and characters)
《圣诞夜惊魂 Nightmare Before Christmas, The 》 (1993) ...producer
《 "Family Dog" 》 (1993) ...design consultant (unknown episodes)
《 "Family Dog" 》 (1993) ...executive producer (unknown episodes)
《蝙蝠侠归来 Batman Returns 》 (1992) ...producer
《蝙蝠侠归来 Batman Returns 》 (1992) ...
《单身一族 Singles 》 (1992) ...Brian
《剪刀手爱德华 Edward Scissorhands 》 (1990) ...(story) &
《剪刀手爱德华 Edward Scissorhands 》 (1990) ...producer
《剪刀手爱德华 Edward Scissorhands 》 (1990) ...
《蝙蝠侠 Batman 》 (1989) ...
《 "Beetlejuice" 》 (1989) ...executive producer (unknown episodes)
《 "Beetlejuice" 》 (1989) ...developer (unknown episodes)
《 "Beetlejuice" 》 (1989) ...(unknown episodes)
《哗鬼家族 Beetlejuice 》 (1988) ...
《哗鬼家族 Beetlejuice 》 (1988) ...story (uncredited)
《魔界舞男 Trick or Treat 》 (1986) ...conceptual artist
《惊异传奇 "Amazing Stories" 》 (1985) ...character designer (episode "Family Dog")
《黑神魔 Black Cauldron, The 》 (1985) ...conceptual artist
《荒唐小混蛋奇遇记 Pee-wee's Big Adventure 》 (1985) ...
《小科学怪人 Frankenweenie 》 (1984) ...idea
《小科学怪人 Frankenweenie 》 (1984) ...storyboard artist (uncredited)
《小科学怪人 Frankenweenie 》 (1984) ...
《 Vincent 》 (1982) ...
《仪器 Tron 》 (1982) ...animator (uncredited)
《狐狸与猫狗 Fox and the Hound, The 》 (1981) ...animator (uncredited)
《 Lord of the Rings, The 》 (1978) ...inbetween artist (uncredited)

蒂姆波顿和约翰尼 戴普是最佳拍档

性别：男
生日：1958年8月25日
国籍：美国
地域：欧美
身高：182cm
蒂姆·伯顿在他的电影生涯的初期相当走运，但是能够在好莱坞保持领先的位置，归根结底还是因他的天份和创意。他创造出来的剪刀手爱德华、艾德·伍德和无头骑士，以其黑色、另类和刺激的创造性视觉成为电影史上的经典人物。
蒂姆·伯顿1958年8月出生在美国加州的伯班克，这里是一个影视基地，座落着多家电影和电视制片厂。小时候蒂姆是一个沉默寡言的男孩，却对电影十分热衷，尤其喜欢怪物电影。1976年他赢得加利福尼亚艺术学院的奖学金开始学习卡通制作，这是一所由沃尔特·迪士尼公司创办的学校。毕业后他进入迪斯尼公司工作，他发现自己全力参与的迪斯尼电影《狐狸与猎狗》（The Fox and the Hound）与他的思路相距甚远，不过迪斯尼给了他足够的自由空间去制作自己项目——一部长达6分钟的动画片《文森特》（Vincent）和时长27分钟的《小科学怪人》（Frankenweenie），后者被认为不适于儿童观看，因而从未公映。但是保罗·雷宾斯（Paul Reubens）看到过该片后认定蒂姆·伯顿是《荒唐小混蛋奇遇记 》（Pee-wee's Big Adventure）一片导演的最佳人选。1988年蒂姆执导的影片《阴间大法师》（Beetle Juice） 获得了极好的票房，这使得他被赋予《蝙蝠侠》（Batman）导演的重担。1990年影片《剪刀手爱德华》（Edward Scissorhands）是蒂姆另一部极为成功的作品，标志着他创造力的顶峰，并使得他与演员约翰尼·德普（Johnny Depp）结成了良好的合作关系。两年后的《蝙蝠侠归来》（Batman Returns）更是让蒂姆·伯顿的创造力发挥得淋漓尽致，尽管1994年的《艾德·伍德》（Ed Wood）反响并不怎么好，但还是证明了他的事业将会继续辉煌很多年。

蒂姆·伯顿出生于1958年8月25日，从小由于受到良好的“照顾”而拥有封闭和孤独的童年生活。于是，小伯顿一直沉迷于个人世界，喜欢用绘画表达自己的感受和生活。后来，他在在加州艺术学院学习艺术，在得到迪斯尼公司赞助给年轻动画人的一笔奖学金后，他从此开始正式学习和从事动画工作。他最初为迪斯尼公司的《狐狸与猎犬》之类的主流电视动画片工作，但这些并不能发挥他特异的个人灵感的优势，于是迪斯尼给他一定的自由，让他从事自己的项目。

八十年代早期，伯顿先后搞出两部短片，《文森特》和《弗兰肯维尼》，一部是对恐怖片演员文森特的致敬，一部是《弗兰肯斯坦》的儿童改编本。从题材上就可以看出伯顿动画实验短片的倾向，但这些早期作品太过显露伯顿的个人趣味和品质，最初被认定不适合儿童观看，并被永远禁放。但保罗·鲁本斯（又名：Pee Wee Herman）慧眼独具，看出这个二十多岁的年轻人具有良好的潜质，就请他制作了一部成本稍高的《大冒险》。这不仅是一部精彩的影片，而且在票房上也获得很大的成功。于是，伯顿开始成为好莱坞引人注目的新派导演。紧接着，他执导了一部超自然喜剧片《甲虫汁》，这部怪异而前卫的影片再次使得观众和影评家对这位年轻的导演另眼相看，也使他在动漫画一类影片制作者行列中脱颖而出。

1989年，而立之年的蒂姆伯顿获得一个开拓事业的大好机会，得以执导大制作影片《蝙蝠侠》。这是一部根据同名畅销漫画改编的超现实风格的娱乐片，漫画风格和超现实的影片世界为伯顿提供了驰骋想象力的最好空间。但好莱坞多年不变的原则是，预算越大，影片受到的牵制越多。这部影片中伯顿的个人风格并不能得到很好的突出，但无论如何这仍然是一部打上伯顿标签的诡异阴暗的电影，在一向明朗的好莱坞卖座片中具有一种非同一般的风格和影调。这部影片在票房上也获得极大的成功。

1990年，借着上部影片的成功的东风，伯顿又拍摄了诡异与浪漫相融合的影片《剪刀手爱德华》。影片讲述的是长着剪刀手、披着凌乱的长发的“科学怪男孩”与有爱心的普通小姑娘的一段浪漫感人的童话故事。这是他最好看、最著名、也最明朗的早期作品，虽然主角爱德华造型怪异甚至有点可怕，但影片散发出的欢快与浪漫也是突出的。在这部影片的拍摄中，他也和影片男主演约翰尼·戴普建立和发展了一种富于成效的工作关系。1992年，他又完成了“蝙蝠侠”第二集《蝙蝠侠归来》。由于第一集的成功，伯顿有了更多的自由处理自己的影片。于是，这部影片的调子比第一集更加阴暗低沉，以至招来华纳公司的不满，但好在影片卖座还算不错。

1993年，一部与众不同的的动画长片《怪诞城之夜》问世。这又是伯顿延续自己动画事业的成功“战役”。虽然他只是作为故事和制片出现在演职员表里，但影片被冠名为“蒂姆·伯顿的怪诞城之夜”，显然是打上伯顿烙印，甚至是把伯顿风格贯彻到底的一部影片。

1994年，蒂姆·伯顿带着缅怀与敬意，完成了以一个好莱坞传奇默片导演生平为题材的传记影片《艾德·伍德》。这是一位臭名昭著的恐怖默片导演，他的生活和行为在现实生活中声名狼籍，但在影片中伯顿强调的是他独特的个人想法和对电影的执着追求。从影片结尾处一段艾德·伍德生活纪录片的播放中，我们可以看到，他得到了伯顿的同情与理解，甚至某种程度的赞赏。富于煽动力的影片也使观众对伍德有了新的认识和了解。影片在美国的票房和评论并不好，但不可否认这是一部很具个人色彩和感情的影片，并入围戛纳电影节最佳影片提名。

1995年，伯顿监制了影片“蝙蝠侠”系列的第三集《永远的蝙蝠侠》，伯顿和华纳公司的不愉快使他没有继续完成自己的系列。蒂姆伯顿在1996年执导了一部外星题材的科幻片《火星人攻击地球》，这部超现实的影片使他可以再次发挥自己的想象力，怪异的外星形象、近乎闹剧的情节构思令这部影片与同类题材的其他影片显现出不同的质感。

在沉寂了几年之后，1999年，伯顿执导了一部古装影片《无头骑士》，这又是一部充满阴暗想象力的超现实影片。片中伯顿仿佛故意在和观众开着实在有伤大雅的玩笑，人头像瓜果一样被砍下，妇女、小孩无一幸免。而伯顿也不去玩弄紧张恐怖，只是悠闲自得地向观众的忍受能力挑逗着。除了主人公以外，所有人的被杀似乎都是无所谓的，理所当然的，既不用你紧张也不用你兴奋。这就是伯顿式的“黑色”玩笑。而在这部发生在十八、十九世纪之交的影片结尾，伯顿一扫影片中的恶作剧式的玩笑，而是充满温情和希望的向正在二十一世纪门槛上的观众致意。

2000年，伯顿将有一部《电眼人》（X: The Man with the X-Ray Eyes）献给观众，相信我们届时又将再次被伯顿世界的“黑色”想象力所征服。

(以上摘自网易影视频道pencil写的文章)
另外,中央电视台十套的《第十放映室》也有蒂姆波顿的专题介绍

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