This is the sixth time you’ve worked with Tim Burton. Is this the darkest place you’ve gone for collaboration?
It was challenging because there have been a lot of different Sweeney’s over the years. Tim and I sat down early on and thought about what this guy was going to look like and all of that. We knew that this was a pretty special opportunity – a one-off chance to make a horror/musical.
Do you see Sweeny Todd as insane?
He probably ended up in an unpleasant place, but the process was very organic – he started out as a victim and became obsessed with the idea of revenge.
You chose not to use a vocal coach and went off on your own to do the songs. How did you prepare?
Tim didn’t know if I could sing and likewise, I didn’t know either. I had a feeling that I could hit a note or two because of my background in music, but I didn’t know if I could sustain one. I really didn’t know if I could pull it off. I went into a buddy’s little garage studio and started to record the songs to see if I could get over my initial fear of that type of exposure. I sent the results to Tim and he felt that we would be okay. Then I started to get a bit more confident and realised the idea of me standing in front of a guy at a piano singing scales was just against my instinct. I thought, ‘This is wrong. It doesn’t matter if you know how to sing. Just sing.’ So that’s what I did. [Composer Stephen] Sondheim is probably weeping after this performance. What’s your karaoke song? To be honest with you I’ve always been frightened of karaoke and have never tried it. I’ve never been that drunk. I’ve been drunk, but not that drunk.
Was there any particular person that inspired the look and sound of your character in the film?
No, it was probably more of a combination of people. Early on we spoke a lot about silent film and the king of silent cinema especially the horror genre, Lon Chaney Sr. So using him, was a great inspiration. Boris Karloff is another one of the classic iconic monster actors, as is Peter Lorre, who I love. Then as far as my singing was concerned, it’s hard to say. Iggy Pop maybe. Iggy has a beautiful deep quality to his voice. He’s a real crooner, Iggy is. His is probably the closest sounds that I’ve come to.
How was it working with all the cut-throat razors throughout the filming?
Having worked with sharp objects before [Edward Scissorhands] everything was fine – until I actually had to shave someone. It made me real nervous.
And you had to lather up Alan Rickman…
It was one of the most uncomfortable moments of my life. Poor Alan [laughs]. He wasn’t screaming, but it was close. I think he really didn’t enjoy it. In that sense I’m sure he hated working with me.
So you didn’t use method preparation for the role and go into a barbershop and try to learn that for two weeks?
No, just as I didn’t go out and slash anyone’s throat – that you know of.
You’ve seem to have a childlike quality with you acting. Where does that come from?
It’s probably ignorance. I might just be really dumb, I don’t know. What keeps you a child more than anything is your kids, hanging around your kids, watching them experience things for the first time, see new things, watching them develop smarts about various things and seeing their imaginations bloom and flower. That’s the key to all of it for me. Just the miracle of saving a drawing they made when they were three years old and looking at one they made when they were four, and seeing the vast difference in them. Once they got up to six and seven I was like, ‘I’m raising Picasso’.
How were you as a kid?
Fromwhat I understand, I was a hellion. That’s the term my mom used. I wasn’t obnoxious, but I was very curious. I played a lot of practical jokes as a kid, and annoyed her frequently.
What was your dream growing up?
I wanted to be a rock ‘n roll guitar player. Man, I still want to be a rock ‘n roll guitar player [laughs].
You had to shut down the production for a few weeks after your daughter fell ill. How close were you to not completing the picture?
I don’t know what anyone else’s feelings were at the time about whether I was coming back or not. I wasn’t sure if I’d be able to come back. Tim and the production were unbelievably supportive and said, ‘Look, we’re hitting pause.’
Would you say your kids have saved you from destructive behaviour?
Sure, they have. My family is my sanctuary. I live for them now. I finally found a reason to exist in this world. There is nothing like it. I would give everything away, if I could only keep my family. I think that we are very lucky. My kids are very well balanced and grounded.
Does raising your children in Europe keep them more balanced?
Maybe. But we live everywhere, man. We try to stay in France for six months, and then we live in Los Angeles for six months. It has to do with my upbringing. I don’t like to be stuck in one place for too long. We were total nomads when I grew up. We travelled around all the time. It’s engrained into my psyche, into my being.
Is it good for kids to be uprooted?
I think it’s good for kids to get out there and see the world. There are other interesting places than just the United States.
How’s your French now?
It’s alright, here and there. I can get through a conversation. I did a film a couple of years ago, right after Secret Window, called Ils Se Marièrent Et Eurent Beaucoup D’enfants with Yvan Attal. He’s a film-maker I like very much, he’s very talented and there are great possibilities for the future. If I did a movie in French I would definitely feel comfortable doing it with Yvan. Patrice Leconte is terrific too, going back to The Hairdresser’s Husband, and I thought his work with Vanessa in The Girl On The Bridge was stellar. He’s another one I’d very much like to work with. Of course the people I’d love to have worked with are people like Jean Gabin, Louis De Funes. I loved De Funes. He’s one of the greatest actors of all time.
Why is it so comfortable living in France?
Well it’s a beautiful culture. It’s an absolutely perfect culture, steeped in history, and fascinating. I’ve always been a real history fiend and, also on a personal level, I’m not sure that art in cinema is possible any more, at least in Hollywood, but in Europe there’s a real regard for the film-maker and the writer, the product and the end result. But they respect authors, painters, film-makers, film, creativity. They celebrate it. And the wine is pretty good.
Are you still angry with Hollywood?
I very selfishly like to keep a distance from Hollywood and the social expectations from that place. Simply because I am not good at that game. I don’t know who’s the top dog this week, and who’s out from last week, I don’t know who anybody is in this town and I like it that way.
Are you disappointed that you’ve been passed over for an Academy Award several times in the past?
No, I don’t want to get up in front of all these people and thank them. It scares the s*** out of me [laughs]. The nomination was enough for me. I felt very honoured. It’s not really about the awards though, it’s about the work for me.
Between Sweeney Todd, Charlie And The Chocolate Factory and Pirates Of The Caribbean you’ve really had a chance to play these outlandish characters and do eccentric things. At this point in your career what do you see as the next thing that would be a challenge for you?
Oh, boy. The Zsa Zsa Gabor Story.
As all seven husbands?
I want to play Zsa Zsa and Eva. God, no. I have no idea. I feel like I’ve been so blessed to have these characters presented to me and come into my life, I just hope that I keep getting jobs. I just want to keep trying stuff.
So are your next projects still going to be Shantaram and The Rum Diary?
Yeah. Shantaram, but because of the writer’s strike we didn’t want to do anything because it has to be absolutely perfect, so we put it on hold. We hit pause in that sense and are going to wait it out until the dust settles. Then The Rum Diary might be all ready to go.
Another Hunter S. Thompson book…
Yeah, it’s Hunter S. Thompson and it’s basically his only novel that was written in 1959. It has been adapted by Bruce Robinson and he’s going to direct his first film in 12 years.
You were good friends with Hunter, how did his suicide affect you?
I found out two hours after he exited. I was and I am devastated. Even though on the one hand I understand that he lived his life the way he wanted to live it. He dictated what his life was like, and he made his exit the same way. That doesn’t make it hurt any less. He was a great hero, and a great pal. I’ll miss him every day.
So what fascinates you about people now?
I think most people are really nuts. Whether they are famous or not. And that’s an incredible element to explore in people. I love doing that. And I’m not excluding me in that.
From Scissorhands, party hands and decapitation…
1990
Edward Scissorhands
Dark fairytale about an inventor’s creation with scissors for hands, who falls for a beautiful girl.
1994
Ed Wood
Twisted biopic of the man who became famous for directing some of the worst films of all time.
1999
Sleepy Hollow
A detective investigates decapitations that were committed by the legendary Headless Horseman.
…to animation, Willy Wonka and demon barbers.
2005
The Corpse Bride
Depp provides the voice for a character who unwittingly raises a women from the dead and finds they are now married.
2005
Charlie And The Chocolate Factory
Depp plays Willy Wonka – and loks like Vogue editor Anna Wintour – in the Burton remake of the children’s classic.
2008
Sweeney Todd: The Demon Barber Of Fleet Street
The dark musical is arguably Burton and Depp’s best work together so far.
Sweeney Todd: The Demon Barber Of Fleet Street is out this month.
