Tim Burton returned to television after nearly 20 years to direct four episodes of Netflix's dark comedy-fantasy series Wednesday. A new adaptation of Charles Addams' The Addams Family characters, the series follows the eponymous Addams daughter in a supernatural coming-of-age story.
Famous for his quirky and gothic sensibilities, Burton is one of modern cinema's most influential directors. Many brilliant actors have worked with him, delivering career-best performances in his films, with some even winning awards for their efforts. Though Burton has a gallery of usual suspects who love working with him, many of the best performances in his films have been from one-time collaborators.
Catherine O'Hara - Beetlejuice (1988)
ing performances don't always get the recognition they deserve, especially if their film has flashier leading roles. However, a good ing player will make the most of their screen time, and sometimes they steal the show. Such is the case for the brilliant Catherine O'Hara in Burton's 1988 dark fantasy, Beetlejuice.
As Delia Deetz, O'Hara is a triumph in camp. Loud, over-the-top, and theatrical, Delia is one of the film's most memorable characters, which says much considering the competition she faces. Her shining moment comes as her house's friendly ghosts take over her seance, forcing her and her guests to dance to the tune of Harry Belafonte's "Day-O."
Danny DeVito - Batman Returns (1992)
Batman Returns, Burton's 1992 gothic take on the superhero genre, is more about identity and sexual liberation than a classic hero's tale. Thus, the primary villains are confused and misplaced "freaks," with Danny DeVito's Penguin acting as their leader.
Blending grotesque intensity with subtle vulnerability, DeVito's Penguin is an intriguing and triumphant reinvention of the Gentleman of Crime. The Penguin hasn't always been a popular character, but DeVito's take is fascinating, a broken and brutal outsider hellbent on revenge. Penguin is the perfect complement to Catwoman, and DeVito nearly runs away with the entire film.
Albert Finney - Big Fish (2003)
Five-time Academy Award nominee Albert Finney ed Burton's unique world with 2003's Big Fish. Playing the older version of the film's protagonist, Finney gives a tender and inspiring performance in Burton's sweetest and most sentimental effort.
Fathers and sons are the film's central theme, and Finney bears the weight almost single-handedly. His performance is nuanced but effective, pulling to the heartstrings without ever going for wild melodrama. Big Fish features luscious production values and one of Danny Elfman's most iconic film scores. However, it's Finney's performance that is the most memorable part of the film, serving as its beating heart.
Winona Ryder - Beetlejuice (1988)
The late '80s saw Winona Ryder become the star who would eventually define a generation. Her roles in Beetlejuice and Heathers cemented her as Hollywood's most promising talent, but the former established her as something of an outsider. In Lydia's timeless words, she herself was strange and unusual.
Ryder's performance is the glue that holds Beetlejuice together. Keaton and O'Hara might have the flashier roles, but Ryder is the film's center. She dominates the screen, her strange energy powering this bizarre concoction that shouldn't work but does. Ryder's dry delivery perfectly contrasts with the film's wild antics, helping it achieve a balance that prevents it from going off the rails.
Helena Bonham Carter - Corpse Bride (2005)
In many ways, Burton's animated efforts are his best films. There's a sense of freedom that isn't present in his live-action projects, a willingness to be more experimental and thought-provoking. 2005's Corpse Bride is the perfect example, a sweet and sorrowful exploration of grief, regret and love.
Voiced by Burton's frequent collaborator Helena Bonham Carter, the eponymous character is among the director's most singular creations. A deceased bride looking to connect with someone after her tragic death on her wedding day, Emily is compelling and heartbreaking, mainly thanks to Bonham Carter's excellent work. Voice acting remains somewhat overlooked by the industry, but Bonham Carter's gentle delivery conveys Emily's feelings in ways many live-action actors would never.
Martin Landau - Ed Wood (1994)
Depending on the person, Martin Landau's 1995 Oscar win for Burton's Pulp Fiction will say Samuel L. Jackson was robbed, while mainstream observers will declare Landau's win puzzling but far from catastrophic.
However, it's undeniable that Landau is magnetic in Ed Wood. Playing the iconic actor Bela Lugosi is no easy task, yet Landau rises to the challenge. Wisely going for evocation rather than imitation, Landau captures Lugosi's spirit while still fitting within Burton's idea of what Wood's world was like. It's a tricky balance to pull, which speaks to Landau's skill as a performer and more than justifies his victory at the 67th Academy Awards.
Michael Keaton - Beetlejuice (1988)
Irreverence is among the toughest challenges for any actor to embody, and a character such as Beetlejuice might devour a lesser actor. However, Michael Keaton is among his generation's most gifted performers, and his portrayal of the supernatural miscreant is the perfect example.
Beetlejuice is a character who could easily be annoying, and he is. Yet Keaton's triumph is to make him a necessary nuisance. Beetlejuice has surprisingly little screen time in the film, yet his energy and spirit permeate every frame. He's a force of nature (or unnature) who nearly overwhelms but never quite does, providing just enough chaos to make the film work. Keaton has appeared in many respected and iconic movies, but Beetlejuice will always be his most singular and bombastic.
Jack Nicholson - Batman (1989)
There have been other great portrayals of the Joker, but no one has embodied the Clown Prince of Crime aspect of Joker's persona better than Jack Nicholson. The three-time Oscar winner stepped into the villains' shoes for Burton's 1989 noir take on the Caped Crusader, portraying Joker with an abundance of flair.
Nicholson's success comes from understanding the character he's playing. His Joker looks and acts straight from the comic book page. He's a character that could never exist in real life, a psychopathic clown with an unsettling love for violence. There's nothing wrong with grounded supervillains, but there's something lively and even refreshing about a performance that embraces the ridiculous aspect at the heart of comic book content.
Amy Adams - Big Eyes (2014)
Amy Adams has delivered consistently great performances since the late '90s. The height of her career came in the 2010s, when she starred in several acclaimed films in succession, establishing herself as a versatile actress that excelled in ing roles and shined as a leading lady.
Burton's 2014 biopic Big Eyes finds Adams playing Margaret Keane, the divisive artist whose work was initially attributed to her husband. Although formulaic at times and with some genuinely atrocious wigs, Big Eyes works largely because of Adams' stellar performance. She makes Margaret sympathetic and vulnerable without ever turning her into a complete victim. Adams goes for a measured portrayal, allowing the emotions to show themselves rather than shouting them at the audience.
Michelle Pfeiffer - Batman Returns (1992)
It wouldn't be an overstatement to say Michelle Pfeiffer gave the all-time best performance in a comic book movie in Burton's Batman Returns. Portraying what remains the decisive version of Selina Kyle, Pfeiffer delivers a fiery and layered portrayal of a repressed woman desperate to break free.
Pfeiffer and Burton don't shy away from exploring the character's mental health, a surprising angle to choose for a comic book property in the early '90s. Yet it works, with Pfeiffer sinking her paws into Selina's broken psyche and crafting a fabulously complex portrayal. Catwoman became a symbol of female sexuality and liberation thanks to Pfeiffer's confident and groundbreaking work, which remains the best example of what a truly unrestrained comic book performance looks like.
