Tim Burton & Johnny Depp Team For 'Sweeney Todd'

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FX work if any
editing, takes longer than you think
sound mix i can imagine being the big time taker on this one.

and besides, it's near June, less than six months sounds about right regarding post
 
Sondheim discussing the film version of Sweeney Todd.

Rick Pender, editor of The Sondheim Review, recently interviewed Stephen Sondheim for Around Cincinatti when he was in Cincinatti to accept an award from the Fine Arts Fund for his many creations of musical theatre and their impact on the local theatre scene. You can hear the whole interview here.

Here is an excerpt from the interview. discussing the forthcoming film version of Sweeney Todd.

RP: I wonder if you could comment a little bit about this movie and what it might be able to offer.

SS: Well, you know, as a movie buff it's a different kind of enthusiasm. Obviously one of the sacrifices you have to make when you do a movie of a stage piece is cutting because you don't want the movie to be too long – or the producers don't want it to be too long. You have to cut songs or make internal cuts within the songs which we've done in Sweeney, but the screenwriter, John Logan, who loves the show, has been very careful to preserve as much as possible and together we have re-shaped certain aspects of the score.

On the other hand you get another value in movies that you don't get on the stage which is close-up, intensity; you get a kind of scenic - for lack of a better word – realism, even though it's a very melodramatic and unreal story. And you can manipulate the audiences' responses much more easily in movies by the simple fact of things like close-ups, the position of the camera and what the director chooses for you to look at, as well as, of course, the whole idea of montage, meaning cutting. So it will have a different kind of intensity. The interesting thing to see will be whether an audience will accept people starting to sing after they've been speaking. (In) most movie musicals the songs don't really have to do with the speech. Some of that came out of Dreamgirls , there are little passages where speech goes into song, but for the most part the numbers are numbers performed by the show-business people in it, as parts of shows, what they call source numbers. Whereas (in) Sweeney of course, all the numbers arise out of dialogue and so there are no source numbers at all.

And movies are a reportorial medium and the theatre is a poetic medium; movies are two dimensional, theatre stuff is three dimensional - literally - and the suspension of disbelief when people on the screen start from speech into song is a much harder thing to achieve I think. When people come into the theatre – a theatre - they have signed an imaginary contract that they're going to be looking at people who are going to be looking out at them; there's going to be a missing fourth wall; people are going to be facing front and, particularly in musicals, they're going to be delivering things directly out front and at the same time you're trying to tell the audience a story that they will believe in even though the people on stage aren't even necessarily looking at each other. And when speech goes into song in the theatre, it's acceptable, people accept that, that's part of the convention. When they go from speech into song in movies it's harder to accept and I'm very curious to see whether that works.

RP: Well, we'll all be able to see those results - around the end of the year, I believe the film is set for release…..

SS: Yes, December.

http://www.sondheim.org/php/news.php?id=2315
 
Darth Elektra said:
Sondheim discussing the film version of Sweeney Todd.

Rick Pender, editor of The Sondheim Review, recently interviewed Stephen Sondheim for Around Cincinatti when he was in Cincinatti to accept an award from the Fine Arts Fund for his many creations of musical theatre and their impact on the local theatre scene. You can hear the whole interview here.

Here is an excerpt from the interview. discussing the forthcoming film version of Sweeney Todd.

RP: I wonder if you could comment a little bit about this movie and what it might be able to offer.

SS: Well, you know, as a movie buff it's a different kind of enthusiasm. Obviously one of the sacrifices you have to make when you do a movie of a stage piece is cutting because you don't want the movie to be too long – or the producers don't want it to be too long. You have to cut songs or make internal cuts within the songs which we've done in Sweeney, but the screenwriter, John Logan, who loves the show, has been very careful to preserve as much as possible and together we have re-shaped certain aspects of the score.

On the other hand you get another value in movies that you don't get on the stage which is close-up, intensity; you get a kind of scenic - for lack of a better word – realism, even though it's a very melodramatic and unreal story. And you can manipulate the audiences' responses much more easily in movies by the simple fact of things like close-ups, the position of the camera and what the director chooses for you to look at, as well as, of course, the whole idea of montage, meaning cutting. So it will have a different kind of intensity. The interesting thing to see will be whether an audience will accept people starting to sing after they've been speaking. (In) most movie musicals the songs don't really have to do with the speech. Some of that came out of Dreamgirls , there are little passages where speech goes into song, but for the most part the numbers are numbers performed by the show-business people in it, as parts of shows, what they call source numbers. Whereas (in) Sweeney of course, all the numbers arise out of dialogue and so there are no source numbers at all.

And movies are a reportorial medium and the theatre is a poetic medium; movies are two dimensional, theatre stuff is three dimensional - literally - and the suspension of disbelief when people on the screen start from speech into song is a much harder thing to achieve I think. When people come into the theatre – a theatre - they have signed an imaginary contract that they're going to be looking at people who are going to be looking out at them; there's going to be a missing fourth wall; people are going to be facing front and, particularly in musicals, they're going to be delivering things directly out front and at the same time you're trying to tell the audience a story that they will believe in even though the people on stage aren't even necessarily looking at each other. And when speech goes into song in the theatre, it's acceptable, people accept that, that's part of the convention. When they go from speech into song in movies it's harder to accept and I'm very curious to see whether that works.

RP: Well, we'll all be able to see those results - around the end of the year, I believe the film is set for release…..

SS: Yes, December.

http://www.sondheim.org/php/news.php?id=2315
Click to expand...

Cool. :up:
 
If they already finished shooting then I want a teaser ASAP!
 
Sweeney Todd Site Opens for Business

One more to add to your Internet bookmarks. Dreamworks and Warner Bros. have staked their claim on the web for the upcoming Sweeney Todd, The Demon Barber of Fleet Street. Here's an official synopsis:

Johnny Depp and Tim Burton join forces again in a big-screen adaptation of Stephen Sondheim's award-winning musical thriller "Sweeney Todd." Depp stars in the title role as a man unjustly sent to prison who vows revenge, not only for that cruel punishment, but for the devastating consequences of what happened to his wife and daughter. When he returns to reopen his barber shop, Sweeney Todd becomes the Demon Barber of Fleet Street who “shaved the heads of gentlemen who never thereafter were heard from again.” Joining Depp is Helena Bonham Carter as Mrs. Lovett, Sweeney's amorous accomplice, who creates diabolical meat pies. The cast also includes Alan Rickman, who portrays the evil Judge Turpin, who sends Sweeney to prison and Timothy Spall as the Judge's wicked associate Beadle Bamford and Sacha Baron Cohen is a rival barber, the flamboyant Signor Adolfo Pirelli.

Site:
http://www.sweeneytoddmovie.com/
 
The website sucks, but I think it just needs time to improve itself. So when are we getting first trailer???
 
nice...finally a tim burtonish timburton movie.

corpse crap doesnt count
 
Better version:

sweeneylargeaz1.jpg
 
I like the tagline.

Never Forget.
Never Forgive.​
 
Wow, poster looks great.

However I'm still not watching it in theaters because they cut out Sir Lee's role.
 
^^He would've just been in the chorus (as in Greek chorus-type chorus) if that makes it any better.

Catman said:
I like the tagline.
Click to expand...

I guess "We all deserve to die" wouldn't have gone over as well.
 
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