“For me, monsters have always been very moving”, confides the filmmaker before the exhibition “Labyrinth” in Paris

From May 19, the filmmaker invites amateurs to a total immersion in his very particular universe. Through a “Labyrinth”, Tim Burton reveals a large part of his work, in the midst of cult figures such as BettleJuice, The strange Mr Jack or even Willy Wonka from Charlie and the chocolate factory.

>> “I identify with monsters because they are different like me”: winner of the Prix Lumière, Tim Burton gives himself up to his audience

This unique exhibition will spend the summer at the Espace Chapiteaux de la Villette in Paris, after a remarkable visit to Madrid. And make no mistake: this is not a simple compilation of ideas, sets or other sketches by the brilliant filmmaker. No, it’s a completely new creation of 5000 m², set up with the Let’s Go! agency, in completely confusing rooms: here, the “candy trees” of Charlie and the chocolate factory, there, strange cacti with eyes, as if from beyond the grave.

With more than 300 possible routes – designed for young and old – there are 150 original works accessible to the public for the first time. Presented as a real “journey into the inner world” of filmmaker Tim Burton, we navigate in landscapes that are sometimes disturbing, sometimes colorful, but always enchanting.Alice in WonderlandTo Mars Attack!, Passing by Frankenweenie.

In preview, Tim Burton confided in franceinfo on the genesis, but also behind the scenes of this exhibition. And for him, no doubt: “When I am presented with this labyrinth, I have the impression that this is what is happening in my head. It feels like going to a haunted house or something, that is, you don’t really know where you’re going. It represents the creative process, in the sense that it starts with a drawing, and then you turn it into something else: a sculpture, maybe an animated character, a film, or maybe nothing at all. When I make drawings, they have to come to life by turning them into animations“, he smiles.

“Let people be who they are”

And, whether through his filmography or this exhibition-event, we note one thing, again and again: this Burton “leg”, recognizable among a thousand, which highlights and enhances theabnormality. “I don’t even know what the word ‘normal’ meansslice Tim Burton. Me, I feel normal. I feel like a normal person. Sometimes I don’t feel very normal, but most of the time I see things in a different way. J‘ve always tried to resist, not to be categorized. I don’t like when people do that with people, when they put people in boxes. Jalways thought it was good to let people be who they are and let them create without trying to put them in a box. I don’tnever thought monsters were bad characters. For me, they have always been very emotional and you can relate to them compared to the abnormal things in films. That’s how I feel.”

“With the culture I grew up in, the word ‘normal’ feels like death to me. It doesn’t make me feel good.”

This relationship to the bizarre and to death haunts Tim Burton’s creation. And he does not hide it: in the book Tim Burton: interviews with Mark Salisburyhe summarizes that “Cemeteries are part of my soul.” He prefers to joke about it on franceinfo: “I hope that my connection with death will not be for a long time! I grew up in Los Angeles, with zombie movies, ceremonies that celebrated life and also with images of skulls and all that, which don’t really represent life. I find it an interesting way to think about life. I like the mix because it’s not about death, it’s about life. That’s why vampire movies question all that. It’s not a matter of life or death, it’s just something spiritual, ultimately.”

Movies ‘too dark’ for some studios

Tim Burton also slips “to feel very connected to these characters”, and in particular one of them, cultissime, worn by Johnny Depp in the cinema, in 1991: Edward Scissorhands. “That’s how I felt at a certain age, actually! Someone who had a lot of emotions, who couldn’t have friends, have connections with people around him. You know when people wanted to hug me, I retreated in fear. I have always been interested in fables, fairy tales. This film was, for me, like a symbol of fairy tales, fables, personal feelings and strong that I felt. It was a very powerful emotional mix for me.”he assures.

A particular vision such ase master of horrific faerie admits having sometimes had “problems“with some studios.”I wanted to draw, make films to help me get it out of my mind. It’s something I like to do to escape, in a way. But it’s hard to do that. Studios were telling me “it’s too dark”, like The strange Christmas of Mr. Jack with the eyes for example, their size. I answered them: but what is the problem? It’s complicated, but I’m lucky that enough people respond favorably“, he assures.