Disney James and the Giant Peach Pin Button Centipede Promo Roald Dahl Burton

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Seller: mousecollectiblesandmore ✉️ (3,993) 100%, Location: Orange, California, US, Ships to: US & many other countries, Item: 166635957289 Disney James and the Giant Peach Pin Button Centipede Promo Roald Dahl Burton. However, Disney refused for reasons of a potentially expensive and difficult animation process and the source material's weird subject matter. It features a silhouette of the centipede character along with the movie logo. Disney's James and the Giant Peach Character Pin-Back Button
  • Condition: Used in good condition.  It has light scratches on the front from storage with other buttons.
  • Size: 2 1/8 inches x 3 1/8 inches
This rare promotional button was distributed at select movie theaters and fan events in early 1996 prior to the release of James and the Giant Peach.  It features a silhouette of the centipede character along with the movie logo.  The button measures approximately 2 1/8 inches x 3 1/8 inches.  The button is a pin-back style with a black cardstock backing. James and the Giant Peach merchandise is very rare as the movie wasn't a commercial box office success.  The movie was based on Roald Dahl's book "James and the Giant Peach" and was produced by Tim Burton.

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James and the Giant Peach is a 1996 musical fantasy film directed by Henry Selick, based on the 1961 novel of the same name by Roald Dahl.  It was produced by Tim Burton and Denise Di Novi, and starred Paul Terry as James. The film is a combination of live action and stop-motion animation. Co-stars Joanna Lumley and Miriam Margolyes played James's aunts in the live-action segments, and Simon Callow, Richard Dreyfuss, Susan Sarandon, Jane Leeves, David Thewlis, and Margolyes voiced his insect friends in the animation sequences.

 

James Henry Trotter is a young orphan living with his sadistic and domineering aunts Spiker and Sponge. One day, after rescuing a spider from his hysterical aunts, James obtains magical "crocodile tongues" from a mysterious old man, which grows a colossal peach on nearby old peach tree that Spiker and Sponge exploit as a tourist attraction. At night, James eats through the peach to find a pit with several human-sized anthropomorphic insects: Mr. Grasshopper, Mr. Centipede, Ms. Spider (who was actually the spider he saved from Spiker and Sponge), Mr. Earthworm, Mrs. Ladybug, and Mrs. Glowworm. As they hear Spiker and Sponge searching for James, Centipede cuts the stem connecting the peach to the tree and the peach rolls away to the Atlantic Ocean.

 

The insects drive on the peach to New York City, as James has dreamed of visiting the Empire State Building like his parents wanted to. Obstacles include a giant mechanical shark and undead skeletal pirates in icy water of the Artic. When the group arrive, they are suddenly attacked by the tempestuous form of the rhinoceros that killed James's parents. James, though frightened, gets his friends to safety and confronts the rhino before it strikes the peach with lightning. James and the peach fall to the city below, landing on top of the Empire State Building. After he is rescued by firefighters, Spiker and Sponge arrive and attempt to claim James and the peach. James tells the crowd of his fantastical adventure and exposes his aunts' mistreatment. Enraged at James's betrayal, Spiker and Sponge attempt to hack James with stolen fire axes, but are stopped by the insects and arrested by the police.

 

James introduces his friends to the New Yorkers and allows the children to eat up the peach. The peach pit is made into a cottage in Central Park, where James lives happily with the bugs, who form his new family and also find success and fame in the city. Mr. Centipede runs for New York mayor and is now James’ father, Miss Spider opens a club and is now his mother, Mr. Earthworm becomes a mascot for a skin-care company and is now James' uncle, Mrs. Ladybug becomes an obstetrician and is James' aunt, Mr. Grasshopper becomes a concert violinist and is now James' grandfather, and Mrs. Glowworm becomes the light in the torch of the Statue of Liberty and is now his grandmother. James celebrates his ninth birthday with his new family and friends.

 

At Walt Disney Animation Studios in the early 1980s, Joe Ranft tried to convince the staff to produce a film based on Roald Dahl's James and the Giant Peach (1996), a book that enamored him with its "liberating" material ever since he first read it in third grade.  However, Disney refused for reasons of a potentially expensive and difficult animation process and the source material's weird subject matter.  Among the animators exposed to the book by Ranft was Henry Selick; while he enjoyed the book and thought about adapting it to screen for several years, he understood the obstacles doing so, such as the source material's dreamy nature, episodic structure, and the reputation of other Dahl books being so agitational some parts of the world banned them.

 

Felicity Dahl, Roald's son and executor of his estate, began offering film rights to the book in the summer in 1992; among those interested included Steven Spielberg and Danny DeVito.

 

Walt Disney Pictures acquired the film rights to the book from the Dahl estate in 1992.  Brian Rosen was hired as producer by Disney for his experience in animated projects like FernGully: The Last Rainforest (1992) and live-action films such as Mushrooms (1995).

 

Dennis Potter was hired to write a draft. Rosen descripted it as "slightly black and bizarre", a tone Disney didn't approve of, particularly with the sharks being Nazis. Once Potter died, Karey Kirkpatrick and Bruce Joel Rubin came in to write separate drafts, of which Kirkpatrick's was chosen.  Unlike the novel, James's aunts are not killed by the rolling peach (though his parents' deaths occur as in the novel) but follow him to New York.  The character Silkworm was removed to not overload on the amount of characters to animate; in the book, his purpose was limited to what Miss Spider did in the film, which was to attach the peach to several seagulls during the shark chase.

 

Before the start of production, Disney and Selick debated on whether the film should be live-action or stop-motion-animated, the company skeptical of the stop-motion solution.  Selick had originally planned James to be a real actor through the entire film, then later considered doing the whole film in stop motion; but ultimately settled on entirely live-action and entirely stop-motion sequences, to keep lower costs.  The film begins with 20 minutes of normal live action, but becomes stop-motion animation after James enters the peach, and then live action when James enters New York City (although the arthropod characters remained in stop motion). Like The Wizard of Oz (1939), the color palette changes when James enters the Peach to indicate he's entered a magical setting, from greys and greens to vibrant colors.[8]

 

Release

The film was theatrically released on April 12, 1996.

 

Disney released the film worldwide except for a few countries in Europe including the United Kingdom, where Pathé (the owner of co-producer Allied Filmmakers) handled distribution and sold the rights to independent companies. The only countries where Disney doesn't have control over the movie are the United Kingdom and Germany, where the film was released by Guild Film Distribution and Tobis Film respectively.

 

Box office

The film opened at the number 2 spot at the box office, missing out on the top spot to Primal Fear.  The film took in $7,539,098 that weekend, and stayed in the top 10 for the next 5 weeks before dropping to 11th place.  The film went on to gross over $28,946,127 domestically bringing its worldwide total to $28,946,127, which against a budget of $38 million, made the film commercially a box office bomb.

 

Home media

The film was released on VHS on October 15, 1996. A digitally restored Blu-ray/DVD combo pack was released by Walt Disney Studios Home Entertainment on August 3, 2010 in the United States.

 

Reception

Though Roald Dahl refused numerous offers to have a film version of James and the Giant Peach produced during his lifetime, his widow, Liccy, approved an offer to have a live-action version produced. She thinks Roald "would have been delighted with what they did with James. It is a wonderful film."

 

Review aggregator Rotten Tomatoes gives the film a score of 91% based on reviews from 74 critics, with an average score of 7.16/10. The website's critical consensus states: "The arresting and dynamic visuals, offbeat details and light-as-air storytelling make James and the Giant Peach solid family entertainment".

 

Owen Gleiberman of Entertainment Weekly gave the film a positive review, praising the animated part, but calling the live-action segments "crude."  Writing in The New York Times, Janet Maslin called the film "a technological marvel, arch and innovative with a daringly offbeat visual conception" and "a strenuously artful film with a macabre edge."

 

The film grossed $28.9 million in the United States and Canada and $8.8 million in the rest of the world for a worldwide total of $37.7 million.

 

Awards and nominations

The film was nominated for an Academy Award for Best Music, Original Musical or Comedy Score, by Randy Newman. It won Best Animated Feature Film at the Annecy International Animated Film Festival.

 

(Wikipedia)

Timothy Walter Burton[a] (born August 25, 1958) is an American film director, producer, writer, and artist known for his gothic fantasy and horror films such as Beetlejuice (1988), Edward Scissorhands (1990), Ed Wood (1994), Sleepy Hollow (1999), Corpse Bride (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007), and Frankenweenie (2012). Burton also directed the superhero films Batman (1989) and Batman Returns (1992), the sci-fi film Planet of the Apes (2001), the fantasy-drama Big Fish (2003), the musical adventure film Charlie and the Chocolate Factory (2005), and the fantasy films Alice in Wonderland (2010) and Miss Peregrine's Home for Peculiar Children (2016).

 

Burton has often worked with actor Johnny Depp, composer Danny Elfman (who has composed scores for all but three of the films Burton has directed) and Helena Bonham Carter, Burton's former domestic partner. He wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories, published in 1997 by British publishing house Faber and Faber, and a compilation of his drawings, sketches, and other artwork, entitled The Art of Tim Burton, was released in 2009. A follow-up to that book, entitled The Napkin Art of Tim Burton: Things You Think About in a Bar, containing sketches made by Burton on napkins at bars and restaurants he visited, was released in 2015. His accolades include nominations for two Academy Awards and three BAFTA Awards, and wins for an Emmy Award and a Golden Globe Award.

 

Burton was born in 1958, in Burbank, California, the son of Jean Burton (née Erickson) (1933–2002), later the owner of a cat-themed gift shop, and William "Bill" Burton (1930–2000), a former minor league baseball player who was working for the Burbank Parks and Recreation Department.  As a preteen, Burton would make short films in his backyard on 2101 N Evergreen Street using crude stop motion animation techniques or shooting on 8 mm film without sound (one of his oldest known juvenile films is The Island of Doctor Agor, which he made when he was 13 years old). Burton attended Providencia Elementary School in Burbank, and afterward to Burbank High School but was not a particularly good student. He played on the water polo team at Burbank High. Burton was an introspective person and found pleasure in painting, drawing, and watching movies. His future work would be heavily influenced by the works of such childhood heroes as Dr. Seuss and Roald Dahl. After graduating from Burbank High School, Burton attended the California Institute of the Arts in Valencia, Santa Clarita, to study character animation. As a student at CalArts, Burton made the shorts Stalk of the Celery Monster and King and Octopus.

 

Career

1980s

Stalk of the Celery Monster attracted the attention of Walt Disney Productions' animation division, which offered Burton an animator's apprenticeship at the studio. He worked as an animator, storyboard artist, graphic designer, art director, and concept artist on films such as The Fox and the Hound (1981), Tron (1982), and The Black Cauldron (1985). His concept art never made it into the finished films.

 

While at Disney in 1982, Burton made his first short, Vincent, a six-minute black-and-white stop motion film based on a poem written by Burton, which depicts a young boy who fantasizes that he is his hero Vincent Price, with Price himself providing narration. The film was produced by Rick Heinrichs, whom Burton had befriended while working in the concept art department at Disney. The film was shown at the Chicago Film Festival and released, alongside the teen drama Tex, for two weeks in one Los Angeles cinema. This was followed by Burton's first live-action production, Hansel and Gretel, a Japanese-themed adaptation of the Brothers Grimm fairy tale for the Disney Channel, which climaxes in a kung fu fight between Hansel and Gretel and the witch. Having aired once in 1983 at 10:30 pm on Halloween and promptly shelved, prints of the film are extremely difficult to locate, fueling rumors that the project did not exist. The short would finally go on public display in 2009 at the Museum of Modern Art, and again in 2011 as part of the Tim Burton art exhibit at LACMA.  It was again shown at the Seoul Museum of Art in 2012.

 

Burton's next live-action short film, Frankenweenie, was released in 1984. It tells the story of a young boy who tries to revive his dog after it is run over by a car. Filmed in black-and-white, it stars Barret Oliver, Shelley Duvall (with whom he would work again in 1986, directing an episode of her television series Faerie Tale Theatre), and Daniel Stern. After Frankenweenie was completed, Disney fired Burton, under the pretext of him spending the company's resources on a film that would be too dark and scary for children to see.

 

Actor Paul Reubens saw Frankenweenie and chose Burton to direct the cinematic spin-off of his popular character Pee-wee Herman, stating on the audio commentary of 2000 DVD release of Pee-wee's Big Adventure that as soon as the short began, he was sold on Burton's style. Pee-wee Herman gained mainstream popularity with a successful stage show at The Groundlings and the Roxy which was later turned into an HBO special. The film, Pee-wee's Big Adventure, was made on a budget of $8 million and grossed more than $40 million at the North American box office. Burton, a fan of the eccentric musical group Oingo Boingo, asked songwriter Danny Elfman to provide the music for the film. Since then, Elfman has scored every film that Tim Burton has directed, except for Ed Wood, Sweeney Todd: The Demon Barber of Fleet Street, and Miss Peregrine's Home for Peculiar Children.

 

After directing episodes for the revitalized version of '50s/'60s anthology horror series Alfred Hitchcock Presents and Shelley Duvall's Faerie Tale Theatre, Burton directed his next big project: Beetlejuice (1988), a supernatural comedy horror about a young couple forced to cope with life after death and the family of pretentious yuppies who invade their treasured New England home. Their teenage daughter, Lydia (Winona Ryder), has an obsession with death which allows her to see the deceased couple. Starring Alec Baldwin and Geena Davis, and featuring Michael Keaton as the obnoxious bio-exorcist Beetlejuice, the film grossed $80 million on a relatively low budget and won an Academy Award for Best Makeup. It would be converted into a cartoon of the same name, with Burton playing a role as executive producer, that ran on ABC and later Fox.

 

Burton's ability to produce hits with low budgets impressed studio executives, and he received his first big budget film, Batman. The production was plagued with problems. Burton repeatedly clashed with the film's producers, Jon Peters and Peter Guber, but the most notable debacle involved casting. For the title role, Burton chose to cast Michael Keaton as Batman following their previous collaboration in Beetlejuice, despite Keaton's average physique, inexperience with action films, and reputation as a comic actor. Although Burton won in the end, the furor over the casting provoked enormous fan animosity, to the extent that Warner Brothers' share price slumped.[citation needed] Burton had considered it ridiculous to cast a "bulked-up" ultra-masculine man as Batman, insisting that Batman should be an ordinary 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 over $250 million in the U.S. and $400 million worldwide (numbers not adjusted for inflation) and earning critical acclaim for the performances of both Keaton and Nicholson, as well as the film's production aspects, which won the Academy Award for Best Art Direction. The success of the film helped establish Burton as a profitable director, and it proved to be a huge influence on future superhero films, which eschewed the bright, all-American heroism of Richard Donner's Superman for a grimmer, more realistic look and characters with more psychological depth. It also became a major inspiration for the successful 1990s cartoon Batman: The Animated Series, as the darkness of Burton's film and its sequel allowed for a darker Batman on television.

 

Burton claimed that the graphic novel Batman: The Killing Joke was a major influence on his film adaptation of Batman:

 

"I was never a giant comic book fan, but I've always loved the image of Batman and the Joker. The reason I've never been a comic book fan – and I think it started when I was a child – is because I could never tell which box I was supposed to read. I don't know if it was dyslexia or whatever, but that's why I loved The Killing Joke, because for the first time I could tell which one to read. It's my favorite. It's the first comic I've ever loved. And the success of those graphic novels made our ideas more acceptable."

 

1990s

In 1990, Burton co-wrote (with Caroline Thompson) and directed Edward Scissorhands, re-uniting with Winona Ryder from Beetlejuice. His friend 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 one of his last screen appearances). Edward looked human, but was left with scissors in the place of hands due to the untimely death of his creator. Set in suburbia (and shot in Land o' Lakes, Florida), the film is largely seen as Burton's autobiography of his childhood in Burbank. Burton's idea for the character of Edward Scissorhands came from a drawing he created in high school. 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 Scissorhands is considered one of Burton's best movies by some critics. Burton has stated that this is his most personal and meaningful film because it's a representation of him not being able to communicate effectively with others as a teenager.

 

After the success of Batman, Burton agreed to direct the sequel for Warner Bros. on the condition that he would be granted total control. The result was Batman Returns, which featured Michael Keaton returning as Batman, and a new triad of villains: Danny DeVito (as the Penguin), Michelle Pfeiffer (as Catwoman) and Christopher Walken (as Max Shreck, an evil corporate tycoon and original character created for the film). Darker and considerably more personal than its predecessor, concerns were raised that the film was too scary for children. Audiences were more uncomfortable at the film's overt sexuality, personified by the sleek, fetish-inspired styling of Catwoman's costume. Burton made many changes to the Penguin which would subsequently be applied to the character 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 (resulting in a rotund, obese man). Released in 1992, Batman Returns grossed $282.8 million worldwide, making it a financial success, though not to the extent of its predecessor.

 

Due to schedule constraints on Batman Returns, Burton produced, but did not direct, The Nightmare Before Christmas (1993) for Disney, originally meant to be a children's book in rhyme. The film was directed by Henry Selick and written by Caroline Thompson, based on Burton's original story, world, and characters. The film received positive reviews for the stop motion animation, musical score, and original storyline. It was a box office success, grossing $50 million. Because of the nature of the film, it was not produced under Disney's name, but rather Disney owned Touchstone Pictures. Disney wanted the protagonist to have eyes, but the final iteration did not. Over 100 people worked on this motion picture just to create the characters, and it took three years of work to produce the film. Burton collaborated with Selick again for James and the Giant Peach (1996), which Burton co-produced.

 

In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy Cabin Boy, starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Life, but he handed the directing responsibility to Resnick once he was offered Ed Wood. Burton's next film, Ed Wood (1994), was of a much smaller scale, depicting the life of infamous director Ed Wood. Starring Johnny Depp in the title role, the film is an homage to the low-budget science fiction and horror films of Burton's childhood and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing 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. Martin Landau received the Academy Award for Best Supporting Actor for his portrayal of Bela Lugosi, and the film received the Academy Award for Best Makeup.

 

Despite Burton's intention to still lead the Batman franchise, Warner Bros. considered Batman Returns too dark and unsafe for children. To attract the young audience, it was decided that Joel Schumacher, who had directed films like The Client, would lead the third film, while Burton would only produce it in conjunction with Peter MacGregor-Scott. Following this change and the changes made by the new director, Michael Keaton resigned from the lead role and was replaced by Val Kilmer. Filming for Batman Forever began in late 1994 with new actors: Tommy Lee Jones as Harvey Dent/Two-Face, Nicole Kidman as Dr. Chase Meridian, Chris O'Donnell as Dick Grayson/Robin and Jim Carrey as Edward Nygma/The Riddler; the only two actors who returned after Batman Returns were Pat Hingle as Commissioner Gordon and Michael Gough as Alfred Pennyworth. The film, a combination of the darkness that characterized the saga and colors and neon signs proposed by Schumacher, was a huge box office success, earning $336 million. Warner Bros. demanded that Schumacher delete some scenes so the film did not have the same tone as its predecessor, Batman Returns (later they were added as deleted scenes on the 2005 DVD release).

 

In 1996, Burton and Selick reunited for the musical fantasy James and the Giant Peach, based on the book by Roald Dahl which contains magical elements and references to drugs and alcohol. The film, a combination of live action and stop motion footage, starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics and was nominated for the Academy Award for Best Original Musical or Comedy Score (by Randy Newman).

 

Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science-fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster Independence Day, which had been released five months earlier. The film boasted an all-star cast, including Jack Nicholson, Glenn Close, Annette Bening, Danny DeVito, Pierce Brosnan, Michael J. Fox, Sarah Jessica Parker, Natalie Portman, Lukas Haas, Martin Short, Rod Steiger, Christina Applegate, and Jack Black.

 

Sleepy Hollow, released in late 1999, had a supernatural setting and starred Johnny Depp as Ichabod Crane, a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With Sleepy Hollow, Burton paid homage to the horror films of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. A host of Burton regulars appeared in supporting roles (Michael Gough, Jeffrey Jones, and Christopher Walken, among others), and Christina Ricci was cast as Katrina van Tassel. A well-regarded supporting cast was headed by Miranda Richardson, Michael Gambon, Richard Griffiths and Ian McDiarmid. 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 actress 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.

 

Personal life

Burton was married to Lena Gieseke, a German-born artist. Their marriage ended in 1991 after four years.  He went on to live with model and actress Lisa Marie; she acted in the films he made during their relationship from 1992 to 2001, most notably in Sleepy Hollow, Ed Wood, and Mars Attacks!. Burton developed a romantic relationship with English actress Helena Bonham Carter, whom he met while filming Planet of the Apes. Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay.

 

Burton and Bonham Carter have two children: a son, William Raymond, named after his and Bonham Carter's fathers, born in 2003; and a daughter, Nell, born in 2007. Bonham Carter's representative said in December 2014 that she and Burton had broken up amicably earlier that year. It is unclear whether or not they were married; Bonham Carter has used the word divorce when discussing the end of their relationship while other news outlets state that they never married.

 

On March 15, 2010, Burton received the insignia of Chevalier of Arts and Letters from then-Minister of Culture Frédéric Mitterrand. The same year, Burton was the President of the Jury for the 63rd annual Cannes Film Festival, held from May 12 to 24 in Cannes, France.

 

In a 2005 interview with the Evening Standard, Bonham Carter speculated that Burton might have traits of Asperger syndrome.

 

Exhibitions

From November 22, 2009, to April 26, 2010, Burton had a retrospective at the MoMA in New York with over 700 "drawings, paintings, photographs, storyboards, moving-image works, puppets, maquettes, costumes and cinematic ephemera", including many from the filmmaker's personal collection.

 

From MoMA, the "Tim Burton" exhibition traveled directly to Australian Centre for the Moving Image in Melbourne. Running from June 24 to October 10, 2010, the ACMI exhibition incorporated additional material from Burton's Alice in Wonderland, which was released in March 2010.

 

"The Art of Tim Burton" was exhibited at the Los Angeles County Museum of Art from May 29 to October 31, 2011, in the Museum's Resnick Pavilion. LACMA also featured six films of Tim Burton's idol, Vincent Price.

 

"Tim Burton, the exhibition/Tim Burton, l'exposition" was exhibited at the Cinémathèque Française from March 7 to August 5, 2012, in Paris, France. All of Tim Burton's movies were shown during the exhibition.

 

"Tim Burton at Seoul Museum of Art" was exhibited as a promotion of Hyundai Card at Seoul Museum of Art from December 12, 2012, to April 15, 2013, in Seoul, South Korea. This exhibition featured 862 of Burton's works including drawings, paintings, short films, sculptures, music, and costumes that have been used in the making of his feature-length movies. The exhibition was divided into three parts: the first part, "Surviving Burbank", covered his younger years, from 1958 to 1976. The second, "Beautifying Burbank", covers 1977 to 1984, including his time with CalArts and Walt Disney. The last segment, "Beyond Burbank", covers 1985 onward.

 

"Tim Burton and His World" was exhibited at the Stone Bell House from March 3 to August 8, 2014, in Prague, Czech Republic.  The exhibition later premiered at the Museu da Imagem e do Som in São Paulo, Brazil, on February 4, 2016, and lasted until June 5. The exhibition was later held in Artis Tree in Taikoo Place, Hong Kong, from November 5, 2016, to January 23, 2017. The exhibition returned to Brazil from May 28 to August 11, 2019, being held at the Centro Cultural Banco do Brasil in Brasília.

 

Burton's first exhibition in the United States in nearly a decade, Lost Vegas: Tim Burton, opened in October 2019 at The Neon Museum in Las Vegas.

 

(Wikipedia)

  • Condition: Used
  • Condition: This button is used in good condition. It has light scratches from storage with other buttons. Please see photos for exact condition.
  • Brand: Disney
  • Character/Story/Theme: James and the Giant Peach
  • Type: Pin-Back Button
  • Year: 1996
  • Size: 2 1/8 x 3 1/8 inches
  • Style: Pin-Back Button

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