Hollywood: titanic director

Tim Burton isn't old—he's only 42 this year—but his unique Gothic style already gives him the air of a cinematic master. 

His films are brimming with imagination and inner monologues, a way for him to share his take on the world through the screen. They're bizarre, fantastical, and heartwarming all at once—qualities that resonate with everyone—which is why he's earned such widespread recognition. 

When it comes to character design, his movie protagonists are quirky and absurd, yet they radiate kindness and innocence from within. That's a universal value right there. Take Edward from Edward Scissorhands, for example. He's an artificial man with razor-sharp blades for fingers, but his heart is pure. Edward's clever with his hands and eager to help—gardening, haircuts, sculptures, you name it—he's good at it all. He single-handedly raised the "look" of the whole town. Lonely and one-of-a-kind, he's practically a mirror image of Tim Burton himself. 

Of course, a lot of that perfect performance comes down to the artistic and personal chemistry between Johnny Depp and Tim Burton. So, if there's one person in the world who can truly harness Johnny Depp's acting, it's got to be Tim Burton! Like attracts like, after all. People who are too different just can't get each other. 

Tim Burton led Dunn into his "museum," and that's when Dunn realized it wasn't a museum in the traditional sense. It was more like an exhibit of Tim Burton's creative style. Hanging on the walls were sketches, collages, and photos he'd made. On the tables sat skulls, zombies, a kid with a nail in its eye, a big mouth with fangs bared… you get the picture. 

The two didn't talk about movies directly, but Dunn already knew what Burton was getting at. Tim was guiding him to feel that distinct creative vibe, to understand how Gothic imagery comes to life on screen. Dunn casually picked up a doll of a little girl—a stop-motion figure from The Nightmare Before Christmas—and half-jokingly said, "A little girl… painted in such dark tones. Isn't that a bit too gloomy?" 

"I've never thought of myself as a dark person," Tim Burton replied with a smile, sidestepping the question a little. "Sure, my films might have a lot of dark elements, but I always mix in humor and emotion. That's how I see life—a blend of lightheartedness, darkness, and feeling." 

He paused, took the doll from Dunn's hands, and kept smiling. "In The Nightmare Before Christmas, I added some emotional touches too. A lot of kids watch it and don't find it scary at all. The 'horror' in there is presented with humor, not fear." 

Dunn got it. They were talking about The Nightmare Before Christmas on the surface, but the real topic was Pirates of the Caribbean: The Curse of the Black Pearl. That's a pirate adventure flick with fantasy elements—Captain Barbossa transforming under moonlight adds a creepy twist. The big challenge was making that eerie plot exciting without being outright terrifying. Tim Burton's words were his way of explaining it to Dunn. 

After all, Pirates of the Caribbean: The Curse of the Black Pearl was a commercial blockbuster with a budget over $100 million. It had to stay PG-13 or lower. 

Dunn grinned and asked, "I've heard… you're a big fan of horror movies?" 

Tim Burton laughed. "Yep, ever since I was a kid. Vampires, Frankenstein—I'd always imagine finding something truly terrifying, but I never did. So I started making my own films, trying to make them scary. But… kids watch my stuff and end up laughing." 

"That's because you're great at creating contrast," Dunn said, with a hint of meaning behind it. 

That's Tim Burton's style in a nutshell. Adults might find some scenes creepy, but kids just giggle through them. 

Tim Burton thought for a sec and shook his head lightly. "Contrast is just the surface. My monsters aren't scary because I get them. They're loners, outcasts, misunderstood by the world, but they've got beauty, poetry, and emotion. A lot of the time, the monster world is the kid world." 

Dunn shivered a little. He couldn't help but think back to what Natalie had mentioned about his childhood when they'd gotten out of the car earlier. He didn't know what to say. 

Tim Burton glanced at him and said, "A lot of people see me as a monster. But really, everyone's emotions are a mix. Deep down, I'm a pure guy." 

Dunn jumped in quickly. "To me, the complexity of an artist's world is way beyond what most people can grasp. Tim, you don't need to explain—it's like the gap between fantasy and reality." 

Tim Burton burst out laughing. "I think the fantasy world is the real world. Real life is way scarier than monsters or horror movies. The most terrifying people I've met are the ones who seem the kindest. Maybe you've got to get a little scary before you can be kind." 

Just then, Helena Carter strolled over with Natalie after a long tour around the place. Natalie bounded up to Dunn, grabbed his arm, and said with excitement, "Dunn, I love it here—especially Burton's photography. It's amazing! You've got to let him direct the pirate movie, or I'm done with you!" 

Dunn and Tim Burton had danced around the topic of Pirates of the Caribbean: The Curse of the Black Pearl this whole time, but Natalie's enthusiasm pulled it right into the open. 

Dunn looked at Tim Burton, half-laughing, half-exasperated. "See? She's threatening me now!" 

Tim Burton didn't hide his interest in a big-budget A-list project. "Ever since Batman Returns with Warner—when the box office didn't quite hit expectations—I haven't done a real blockbuster. But Pirates of the Caribbean: The Curse of the Black Pearl is a fun story. I like it." 

Dunn smiled. "In my opinion, Captain Jack has to be Johnny Depp. And in all of Hollywood, you're the only director who can handle his acting." 

Tim Burton waved a hand modestly. "Dunn, you're too kind! To me, there's nothing you can't pull off!" 

Helena Carter chimed in, "Seriously, how long has it been? Spider-Man has already passed $500 million worldwide and is charging toward $600 million. That's insane!" 

Natalie added, "And if you factor in exchange rates, Burton's Batman from 11 years ago would be worth a billion dollars today!" 

Tim Burton cut to the chase. "Dunn, I'll be straight with you. I love the Pirates story—adventure, fantasy, thrills, action—it's got it all, with tons of room to play. But I've got three requests, and I hope you'll agree to them." 

They were getting down to business. Natalie zipped her lips, and Dunn smiled, gesturing for him to go ahead. 

"First, I need enough creative control." 

"Like what?" 

"Story changes, casting, character direction, visual tone." 

Good thing he didn't mention final cut. 

Dunn kept his cool. "The story framework's already set—I've got sequels in mind, so the character direction has to follow my vision. But the specifics? You can write the script your way." 

In a few smooth words, Dunn trimmed half of Burton's power, but Tim seemed used to studios flexing like that. "The second condition should be easy. I want a solid budget. My last two films were held back big-time by money constraints." 

Dunn grinned. "I can promise you that. As long as it's not outrageous, I'll give you enough to keep your creativity flowing." 

"Perfect." 

For directors, budget's always the biggest hurdle. It's the eternal tug-of-war between vision and cash. 

"And the third request?" 

Tim Burton hesitated for a moment. "I'd like Jack to play Captain Barbossa." 

Dunn blinked. "Who? Jack?" 

Natalie, who'd worked with Burton on Mars Attacks!, instantly guessed it and blurted out, "Jack Nicholson!" 

Dunn suddenly got it. 

Jack Nicholson—the big shot! He beat out Al Pacino for Best Actor at the Oscars with One Flew Over the Cuckoo's Nest, nabbed Best Supporting Actor for Terms of Endearment, and then took Best Actor again in 1998 for As Good as It Gets. But beyond those three Oscar wins, the role that stuck with the world was his Joker in the 1989 Batman. That's hands-down one of the most iconic villains ever. 

Still, Dunn was confused. If Burton wanted Jack Nicholson for Barbossa, why not just ask him? What kind of request was this? They'd worked together plenty of times and were already tight. 

Dunn gave him a puzzled look. "What's the problem?" 

Tim Burton grimaced. "When we did Batman, Jack said it was his last time playing a villain." 

Dunn couldn't help but roll his eyes. 

In Hollywood, tons of actors never touch villain roles. Think Meryl Streep, with her god-tier acting, or Tom Cruise, Mel Gibson… Playing a bad guy is a huge challenge for top-tier stars. 

But then Dunn pictured Jack Nicholson—his vibe, his skills—and went quiet. Compared to Geoffrey Rush from the original, Nicholson was a better fit for Barbossa. He's got that villainous edge. Even if Rush is a solid Aussie actor, for the film's sake, Dunn would pick Nicholson every time. 

"Alright, I'll go talk to the old guy!" Dunn snapped his fingers, eyes gleaming with anticipation.