Being Dad II
link-template-single.php
Being Dad I
link-template-single.php
About Characters
link-template-single.php
Vanessa Paradis – Que Fait La Vie
link-template-single.php
About Bands
link-template-single.php
Vanessa Paradis – Pourtant
link-template-single.php
Photosession Anton Corbijn on TV
link-template-single.php
Iggy Popp Concert
link-template-single.php
UK, Premiere December 1999
England There is no ground; there is only mudthick, oozing, inches deep, and alive. Put your foot in and pull it out, and you can hear it breathe. Above the dark woods, the sky is a flat piece of black construction paper. Perfectly, uniformly, almost unnaturally black. Somewhere between the mud and the sky isjohnny Depp. ‘l’hat`s about as specific as he likes to get. It`s the middle of the night in the middle of March in the middle of England, which means it`s raining. And cold. Tim Burton, the director of movies in which night is never far away (two of them, Edward Scissorhands and Ed Wood, with Depp) is shooting his latest collaboration with the actor: Sleepy Hollow, a creepier, more violent take on Washingtori Irving`s tale ofthe Headless Ilorseman. Burton and his crew have built an entire18th-
century village in an isolated valley about an hour’s drive from London. There are fully constructed houses, shops. an inn, a pub, and a covered bridge with a rooster weather vane. All are beautihilly crumbling outside and mere shells inside, empty but for the fog.
The fog is a character in Sleepy Hollow as are the mud and the rain and the natterjack toads that clack in the dark like monster crickets. lt wraps itself ‘around you, soaks you to the skin. It softens the edges ofeverything: the crewin their fleece jackets; the extras in spattered gowns or tricornered hats; the scaffolds and generators and trucks parked on sheets of metal so that they don’t sinkinto the muck and disappear forever.
Premier, December 1999 – Where’s Johnny?
Title: Where’s Johnny?
Author: Johanna Schneller
Publication: Premier
Issue: December 1999
England There is no ground; there is only mud — thick, oozing, inches deep, and alive. Put your foot in and pull it out, and you can hear it breathe. Above the dark woods, the sky is a flat piece of black construction paper. Perfectly, uniformly, almost unnaturally black. Somewhere between the mud and the sky is Johnny Depp. That’s about as specific as he likes to get.
It’s the middle of the night in the middle of March in the middle of England, which means it’s raining. And cold. Tim Burton, the director of movies in which night is never far away (two of them, Edward Scissorhands and Ed Wood, with Depp) is shooting his latest collaboration with the actor: Sleepy Hollow, a creepier, more violent take on Washington Irving’s tale of the Headless Horseman. Burton and his crew have built an entire 18th-century village in an isolated valley about an hour’s drive from London. There are fully constructed houses, shops, an inn, a pub, and a covered bridge with a rooster weather vane. All are beautifully crumbling outside and mere shells inside, empty but for the fog.
The fog is a character in Sleepy Hollow, as are the mud and the rain and the natterjack toads that clack in the dark like monster crickets. It wraps itself around you,