| Ed Wood | |
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Theatrical release poster |
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| Directed by | Tim Burton |
| Produced by | Tim Burton Denise Di Novi |
| Written by | Scott Alexander Larry Karaszewski |
| Based on | Nightmare of Ecstacy: Rudolph Grey |
| Starring | Johnny Depp Martin Landau Patricia Arquette Sarah Jessica Parker Jeffrey Jones Lisa Marie Smith and Bill Murray |
| Music by | Howard Shore |
| Cinematography | Stefan Czapsky |
| Editing by | Chris Lebenzon |
| Distributed by | Touchstone Pictures |
| Release date(s) | September 30, 1994 limited October 7, 1994 |
| Running time | 127 minutes |
| Country | United States |
| Language | English |
| Budget | $18 million |
| Box office | $5,887,457 |
Ed Wood is a 1994 American comedy-drama biopic directed and produced by Tim Burton, and starring Johnny Depp as cult filmmaker Edward D. Wood, Jr. The film concerns the period in Wood's life when he made his best-known films as well as his relationship with actor Bela Lugosi, played by Martin Landau. Sarah Jessica Parker, Patricia Arquette, Jeffrey Jones, Lisa Marie Smith, and Bill Murray are among the supporting cast.
The film was conceived by writers Scott Alexander and Larry Karaszewski when they were students at the USC School of Cinematic Arts. Irritated at being thought of solely as writers for family films with their work on Problem Child and its sequel, Alexander and Karaszewski struck a deal with Burton and Denise Di Novi to produce the Ed Wood biopic, and Michael Lehmann as director. Due to scheduling conflicts with Airheads, Lehmann had to vacate the director's position, which was taken over by Burton.
Ed Wood was originally in development at Columbia Pictures, but the studio put the film in 'turnaround' over Burton's decision to shoot in black-and-white. Ed Wood was taken to Walt Disney Pictures, who released the film under their Touchstone Pictures banner. The film was released to critical acclaim, but was not a box office success. Landau and Rick Baker, who designed Landau's prosthetic makeup, won Academy Awards for their work on the film.
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In 1952, Edward D. Wood, Jr. is struggling to join the film industry. Upon hearing of an announcement in Variety that producer George Weiss is trying to purchase Christine Jorgensen's life story, Ed is inspired to meet Weiss in person. Weiss explains that Variety's announcement was a news leak, and it is impossible to purchase Jorgensen's rights. The producer decides to 'fictionalize' the film titled I Changed My Sex!, and "do it without the shemale". One day, Ed meets his longtime idol Bela Lugosi, after spotting him trying out a coffin. Ed drives Béla home and the two become friends. Later, Ed decides to star Béla in the film and convinces Weiss that he is perfect to direct I Changed My Sex! because he is a transvestite.
Ed and Weiss argue over the film's title: Weiss has already had the poster printed, which Ed changes to Glen or Glenda. The shoot finishes on Glen or Glenda, and Ed is enthusiastic that he starred, directed, wrote and produced his own film just like his hero Orson Welles did when he made Citizen Kane. Glen or Glenda is released to critical and financial failure. Ed is unsuccessful in getting a job at Warner Bros., a producer there tells him Glen or Glenda is the worst film he has ever seen, but Ed's girlfriend, Dolores Fuller, tells him that he is not "studio material", and that he should find independent backers for his next film, Bride of the Monster. Ed is unsuccessful in finding money for Bride of the Monster, but is introduced to the psychic The Amazing Criswell.
At a bar, Ed meets Loretta King, who he thinks has enough money to fund Bride of the Atom. Filming begins, but is halted. Ed convinces meat packing industry tycoon, Don McCoy, to take over funding the film. McCoy does so, but on the condition that the film ends with a giant explosion, and that his son Tony, who "is a little slow", is the leading man. The filming of Bride of the Monster finishes, but Dolores and Ed break up after the wrap party, because of Ed's circle of friends and transvestism. Also, Béla, who is revealed to be highly depressed and a morphine addict, attempts to conduct a double suicide with Ed, but is talked out of it. Béla is put in rehab, and Ed eventually finds happiness when he meets Kathy O'Hara, who is visiting her father. Ed takes her on a date and reveals to her his transvestism, which she accepts.
Ed begins to shoot a film with Béla outside his home. Ed and company attend the premiere for Bride of the Monster, an angry mob chases them out of the theater. Sometime later, Béla dies leaving Ed without a star. Ed convinces a church leader named Reynolds that funding Ed's script for "Grave Robbers from Outer Space" would result in a box office success, and generate enough money for Reynold's dream project (the Twelve Apostles films). Dr. Tom Mason, Kathy's chiropractor, is chosen to be Béla's stand-in. However, Ed and the Baptists begin having conflicts over the title and content of the script which they want to have changed to Plan 9 from Outer Space along with Ed's B movie directing style, his casting decisions and his transvestism. This causes a distressed Ed to leave the set and immediately take a taxi to the nearest bar, where he encounters his idol Orson Welles. Welles tells Ed that "visions are worth fighting for", and filming for Plan 9 finishes with Ed taking action against his producers. The film ends with the premiere of Plan 9, and Ed and Kathy taking off to Las Vegas, Nevada to get married.
Vincent D'Onofrio makes a cameo appearance as Orson Welles. His voice was dubbed by Maurice LaMarche. The film also includes cameos from actors who worked with Wood on Plan 9 From Outer Space, Gregory Walcott and Conrad Brooks.
Writers Scott Alexander and Larry Karaszewski conceived the idea for a biopic of Edward D. Wood, Jr. when they were students at the USC School of Cinematic Arts.[6] Alexander even proposed making a documentary about Wood, The Man in the Angora Sweater in his sophomore year at USC.[7] However, Karaszewski figured, "there would be no one on the planet Earth who would make this movie or want to make this movie, because these aren't the sort of movies that are made."[7] Irritated at being thought of solely as writers for family films for their work on Problem Child and Problem Child 2, Alexander and Karaszewski wrote a 10-page film treatment for Ed Wood and pitched the idea to Heathers director Michael Lehmann, with whom they attended USC film school.[6] The basis for their treatment came from Rudolph Grey's Nightmare of Ecstasy,[8] a full-length biography, which draws on interviews from Wood's family and colleagues.[9] Lehmann presented their treatment to his producer on Heathers, Denise Di Novi. Di Novi had previously worked with Tim Burton on Edward Scissorhands, Batman Returns and The Nightmare Before Christmas, and a deal was struck with Lehmann as director and Burton and Di Novi producing.[6]
Burton began reading Nightmare of Ecstasy and some of Wood's letters. He was taken by how he "wrote about his films as if he was making Citizen Kane, you know, whereas other people perceived them as, like, the worst movies ever".[9] Burton admits to having always been a fan of Ed Wood, which is why the biopic is filmed with an aggrandizing bias borne of his admiration rather than derision of Wood's work.[10] The relationship between Wood and Lugosi in the script echoes closely Burton's relationship with his own idol and two-time colleague, Vincent Price. He said in an interview, "Meeting Vincent had an incredible impact on me, the same impact Ed must have felt meeting and working with his idol."[11] Meanwhile, Burton had been asked to direct Mary Reilly for Columbia Pictures with Winona Ryder in the title role.[6]
However, Burton dropped out of Mary Reilly over Columbia's decision to fast track the film and their interest with Julia Roberts in the title role instead of Ryder. This prompted Burton to becoming interested in directing Ed Wood himself, on the understanding it could be done quickly.[6] Lehmann said, "Tim wanted to do this movie immediately and direct, but I was already committed to Airheads."[3] Lehmann was given executive producer credit. Alexander and Karaszewski delivered a 147-page screenplay in six weeks. Burton read the first draft and immediately agreed to direct the film as it stood, without any changes or rewrites.[6] Ed Wood gave Burton the opportunity to make a film that was more character-driven as opposed to style-driven. He said in an interview, "On a picture like this I find you don't need to storyboard. You're working mainly with actors, and there's no effects going on, so it's best to be more spontaneous."[12]
Initially, Ed Wood was in development with Columbia, but when Burton decided he wanted to shoot the film in black-and-white, studio head Mark Canton would not agree to it unless Columbia was given a first look deal.[13] Burton said black-and-white was "right for the material and the movie, and this was a movie that had to be in black-and-white". He insisted on total creative control, and so in April 1993, a month before the original start date, Canton put Ed Wood into turnaround. The decision sparked interest from Warner Bros., Paramount Pictures and 20th Century Fox in optioning the film rights, but Burton accepted an offer from Disney, who had previously produced The Nightmare Before Christmas. Similar to Nightmare, Disney distributed Ed Wood under their Touchstone Pictures banner. With a budget of $18 million, Disney did not feel the film was that much of a risk, and granted Burton total creative autonomy. Burton also refused a salary, and was not paid for his work on Ed Wood. Principal photography began in August 1993,[14] and lasted 72 days.[2] Despite his previous six-film relationship with Danny Elfman, Burton chose Howard Shore to write the film score. Burton admitted he and Elfman experienced "creative differences" during The Nightmare Before Christmas.[15]
When describing historical inaccuracies, Burton explained, "it's not like a completely hardcore realistic biopic. In doing a biopic you can't help but get inside the person's spirit a little bit, so for me, some of the film is trying to be through Ed a little bit. So it's got an overly optimistic quality to it."[6] Burton acknowledged that he probably portrayed Wood and his crew in an exaggeratedly sympathetic way, stating he did not want to ridicule people who had already been ridiculed for a good deal of their life. Burton decided not to depict the darker side of Wood's life because his letters never alluded to this aspect and remained upbeat. To this end, Burton wanted to make the film through Wood's eyes.[10] He said in an interview, "I've never seen anything like them, the kind of bad poetry and redundancy– saying in, like, five sentences what it would take most normal people one [...] Yet still there is a sincerity to them that is very unusual, and I always found that somewhat touching; it gives them a surreal, weirdly heartfelt feeling."[16] The scenes of Bela Lugosi used for 'Plan 9 from Outer Space' were not filmed outside his own house, as the film depicts. They were infact filmed outside Tor Johnsons house. Additionally, Lugosi was not prone to fits of swearing, particularly in front of women and did not perform his own water stunt in Bride of the Monster.[17] Lugosi is also depicted as dying alone and miserable. Lugosi's wife of twenty years, Lillian, did leave him in 1953, but he remarried in 1955 to Hope Lininger. They were together until his death a year later. This, plus any reference to Lugosi's teenage son, Béla Jr., were omitted.[18] Burton biographer Ken Hanke criticized the depiction of Dolores Fuller. "The real Fuller is a lively, savvy, humorous woman," Hanke said, "while Parker's performance presents her as a kind of sitcom moron for the first part of the film and a rather judgmental and wholly unpleasant character in her later scenes."[18] During her years with Wood, Fuller had regular TV jobs on Queen for a Day and The Dinah Shore Show, which are not mentioned. Fuller criticized Parker's portrayal and Burton's direction, but still gave Ed Wood a positive review. "Despite the dramatic liberties, I think Tim Burton is fabulous. I wished they could have made it a deeper love story, because we really loved each other. We strived to find investors together, I worked so hard to support Ed and I."[18]
Ed Wood had its premiere at the 32nd New York Film Festival at the Lincoln Center.[19] The film was then shown shortly after at the 21st Telluride Film Festival[20] and later at the 1995 Cannes Film Festival, where it was in competition for the Palme d'Or.[21][22]
Ed Wood had its limited release on September 30, 1994. When the film went into wide release on October 7, 1994 in 623 theaters, Ed Wood grossed $1,903,768 in its opening weekend.[23] The film went on to gross $5,887,457 domestically,[23] much less than the production budget of $18 million.[24]
Despite the film's low box office gross, Ed Wood went on to receive critical acclaim. Based on 57 reviews collected by Rotten Tomatoes, 91% of the critics enjoyed Ed Wood, with an average score of 7.9/10.[25] By comparison, Metacritic collected an average score of 70/100, based on 19 reviews.[26] Roger Ebert gave a largely positive review: "What Burton has made is a film which celebrates Wood more than it mocks him, and which celebrates, too, the zany spirit of 1950s exploitation films, in which a great title, a has-been star and a lurid ad campaign were enough to get bookings for some of the oddest films ever made."[27] Peter Travers of Rolling Stone presented Burton's decision with positive feedback on not making a direct satire or parody of Wood's life. "Ed Wood is Burton's most personal and provocative movie to date," he wrote. "Outrageously disjointed and just as outrageously entertaining, the picture stands as a successful outsider's tribute to a failed kindred spirit."[28]
Janet Maslin, writing in The New York Times, thought Johnny Depp "proved" himself as an established "certified great actor". "Depp captures all the can-do optimism that kept Ed Wood going, thanks to an extremely funny ability to look at the silver lining of any cloud."[29] Todd McCarthy from Variety called Ed Wood a "a fanciful, sweet-tempered biopic about the man often described as the worst film director of all time. Always engaging to watch and often dazzling in its imagination and technique, picture is also a bit distended, and lacking in weight at its center. The result is beguiling rather than thrilling."[30] Richard Corliss, writing in Time magazine, gave a negative review. "The script by Scott Alexander and Larry Karaszewski posits Wood as a classic American optimist, a Capraesque hero with little to be optimistic about, since he was also a classic American loser. That's a fine start, but the film then marches in staid chronological order." Corliss continued, "One wonders why this Burton film is so dishwatery, why it lacks the cartoon zest and outsider ache of Beetlejuice, Edward Scissorhands or Batman Returns."[31]
Ed Wood was nominated for three Golden Globes: Best Musical or Comedy, Johnny Depp for Best Actor in a Musical or Comedy and Martin Landau for Best Supporting Actor.[32] Landau won in his category.[33] Landau and Rick Baker won Academy Awards for their work on the film.[34][35] Landau also won Best Supporting Actor at the first Screen Actors Guild Awards. Scott Alexander and Larry Karaszewski were nominated for Best Screenplay Written Directly for the Screen by the Writers Guild of America, which was a surprise as few predicted that it would be considered.[36]
The DVD edition of Ed Wood initially had difficulty reaching store shelves in North America due to unspecified legal issues. The initial release had a featurette on transvestites — not relating to the film or its actors in any way — which was removed from subsequent releases.[37] An initial street date of August 13, 2002 was announced[38] only to be postponed.[39] A new date of February 3, 2003 was set,[40] only for it to be recalled again without explanation, although some copies quickly found their way to collectors' venues such as eBay. The DVD was finally released on October 19, 2004.[41]
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