I added some new movie stills and posters in the moviepic section
Also I sorted them in Movie stills and posters 😉
The wonderful Jules scanned the pics from the Sweeney Todd book. You can find them here ***SPOILER***
Also, some new appearances pics have been added here and there the last days, AND the Sweeney Todd script is online!
Enjoy
-Sarfania-
Congratulations to you Johnny! Johnny was the named the number one box office draw of the year 2007. This is the second year that he has claimed this honor! The survey conducted and published by the Quigley Publishing Co. is a result of the theater exhibitors report of who brought in the most crowds in the past year to all theaters.This honor has been named every year since 1932 and is a long tradition in the entertainment industry. Johnny beat out Wil Smith and Matt Damon to name a few. Although you all know that money is not an important issue to Johnny, we are sure that he will be honored to know that he is the number one actor that the public wants to see. This is a direct implication of their appreciation for his art and his life?s work!! Congratulations to you Johnny!! Your always our number one!
AFI’s Directors Screenings Invite you to a Special Screening of
Sweeney Todd: The Demon Barber of Fleet Street
Followed by a discussion with
Director Tim Burton
Friday, January 4, 2008
8:00 pm
ArcLight Cinerama Dome
6360 Sunset Blvd.
Hollywood, CA 90028
Tickets on sale at the ArcLight Cinemas box office and at www.arclightcinemas.coml
Phone: 323-464-1465
Johnny and Tim appeared in the LA Times Mag: the Envelope yesterday, January 2nd, containing some adorable new never seen pics:
See some scans here
A preview here:
I also added some great scans of AnaMaria from a 2008 Johnny calendar under the link above.
Title: Depp and Burton
Author: Cal Fussman
Publication: Esquire
Issue: January 2008
Tim Burton: There are partnerships where one person is good at one thing and the other is good at another. That’s true in our case! But we’re very connected in terms of taste.
Johnny Depp: Even when we first met, we connected on all these superabsurd levels.
TB: A fascination for weird seventies objets d’art.
JD I remember, growing up, we had this concrete cobra spray-painted gold.
TB: We’re from different parts of the country. But there is a kind of suburban white-trashy connective strand there. Isn’t there?
JD: Yep.
TB: The stories that scared us as children.
JD: Mr. Green Jeans.
TB: Seeing Humphrey Bogart playing a monster. He only did one horror movie and—
JD: We both knew it.
TB: The Return of Dr. X. When something like that comes up, you realize, Yeah, perfect. Things that don’t normally come up in most people’s conversations are things that come up a lot in ours.
JD: We speak in a sort of shorthand.
TB: It’s not literal. We’ll cross-reference things that wouldn’t really make sense to the normal person.
JD: One time, Tim and I were talking before we were getting ready to shoot. Afterward,
Title: Sweeney Todd: Making up the Demon Barber of Fleet Street
Author: John Calhoun
Publication: Make-Up Artist
Issue: January 2008
What’s black and white and black and white and black and white and red? Forget the unfortunate clergy in those old schoolyard jokes: the best answer to the riddle has to be Tim Burton’s film version of the Stephen Sondheim musical Sweeney Todd: the Demon Barber of Fleet Street. Those who know the story – which features abundant throat-slashing, dismemberment and cannibalism—shouldn’t be surprised by the film’s copious quantities of bright-red blood. The black-and-white parts of the equation comes courtesy of the movie’s high-contrast look, which is partly a product of the skip—bleach process Burton and his cinematographer, Dariusz Wolski, apply to the images. The palette also derives from Dante Ferretti’s production design, Colleen Atwood’s costumes, and perhaps most strikingly from the faces of Johnny Depp and Helena Bonham Carter, a matched pair of cadaverously make—up stars.
Depp plays the title character, an unjustly incarcerated London barber of the mid 19th century who returns to avenge himself on humanity by cutting more than his clients’ whiskers. Bonham Carter is Mrs. Lovett, the restaurateur who helps Todd dispose of his victims by grinding them up and baking them in her meat pies. This ghoulish enterprise is mirrored in the visages of the actors,
Johnny-Depp.org wishes you, Johnny, your family and friends, and you, affiliates and daily visitors, a happy new year – may all your wishes come true!
Title: Sweeney Todd: Burton and Depp do a Springtime For Hitler…
Author: Jamie Graham
Publication: Total Film
Issue: January 2008
A musical about a barbarous barber who slits his patrons’ throats, grinds their carcasses into claret-worms and packages it all as the tastiest meat pies in Old London town? Even Ed Wood would baulk at that one.
Not Tim Burton, though. A fan of Stephen Sondheim’s schlocking stage musical (it debuted on Broadway in 1979; Burton caught a London performance in the early ’80s), he rightly compares it to “an old horror movie” – the creeps and creaks of silent suspensers rinsed in organ music, the mournful poetry of Universal’s monsters and the lush dissonance of Bernard Herrmann’s orchestral assaults.
It’s therefore to be expected that Burton’s sixth collaboration with Johnny Depp – here wielding scissor hands to more violent effect – is a closer fit to Son Of Frankenstein than, say, Oklahoma!, the gothic architecture and cobbled streets atmospherically lensed in blacks and greys. It’s a murky, malevolent backdrop, all the better to offset the Grand Guignol flourishes: silver razors glinting in sodium moonlight; the waxen skin of Todd’s face threatening to split like paper as he delivers a flicker-lipped sneer; blood burbling down white shift fronts and arching across grimy skylights (in one memorable kill, the red stuff even washes over the camera).
That there’s so much claret is a real shock.
Title: Burton, Barbarism and the All-Singing All-Slaughtering Johnny-Depp
Publication: Total Film
Issue: January 2008
Mrs. Lovett’s subterranean hake-house looks like a surrealist nightmare Hieronymus Bosch might have painted. To our side sits an enormous meat-grinder overflowing with feet, hands and assorted body parts… to the other is a huge, walk in oven spilling an orange glow onto the dank, stone floor where several corpses lie. their throats slit, heads squished like over-ripe tomatoes — a consequence of being dropped down a chute from Sweeney Todd’s barber shop, two floors above.
Yet the most hellish sight of all is Todd (Johnny Depp) kneeling down beside one body, his face contorted with anger, anguish and madness, his pallid complexion. dark clothes and black hair — with its dominant skunk like while streak (a nod to Humphrey Bogart in The Return Of Doctor X) drenched in blood. He looks up towards Mrs. Lovett (Helena Bonham Carter), his eyes burning into her. Music suddenly booms out, filling the room with a bowel trembling Bernard Herrmann inspired rumble. After a beat, Depp stands and starts towards Bonham Carter, his right hand wrapped around the handle of a cutthroat razor. His blade drips bright crimson, as first she, then he begin to sing, “Now come here my love,” cries Depp, to the playback, arms open wide, bloody hands beckoning her to him. “Not a thing to fear, my love…”
Welcome to the crimson-soaked,
Title: Sweeny Todd: Singin’ in the Pain
Author: Mark Salisbury
Publication: Fangoria
Issue: January 2008
Secreted below her Pie Shop on London’s Fleet Street. Mrs. Lovett’s bake house is a brick-walled, arch-ceilinged vision of hell, a catacomb for cannibals, packed with bloody cadavers, dismembered remains, piles of bones and an enormous meat grinder overÂflowing with arms, legs and sundry other body parts. To one side stands a walk-in oven, a huge iron furnace that flickers and roars as Mrs. Lovett (Helena Bonham Carter), wearing a black-and-white-striped dress, pulls open its heavy door, blasting heat and an orangey-red glow into the dark, gloomy space.
On the stone floor he several dead bodies, their throats slit wide open, their heads like squashed tomatoes—a consequence of being dropped down the chute that links Sweeney Todd’s barÂbershop, two floors above, to this place. Most are male, but there’s one woman whose limp, lifeless corpse is picked over by a distraught Sweeney (Johnny Depp).
After a beat, Sweeney looks up, his dark-rimmed eyes churnÂing with anguish and anger. He gets to his feet, and starts toward Mrs. Lovett, his pallid visage, shirt and waistcoat—and thick mane of wavy black hair with its dominant skunklike white streak—all drenched in blood.
In his right hand, he grasps the handle of a cutthroat razor, its blade dripping pearls of bright crimson.