Cinematic Techniques Used In Edward Scissorhands

From 2003 with Big Fish to Charlie and the Chocolate Factory, Burton has been making audiences feel new emotions for over 3 decades. Burton has a way for making the audience feel a certain way about certain things in his films. He can make the audience feel attached to the dark characters in his films. Many of the main characters seem to be odd or different, such as Edward in Edward Scissorhands he does this by using many different cinematic techniques. Each technique adds to the main theme throughout his films. Tim Burton uses sound and music, lighting, and characterization types to prove that being different does not make you an outcast. To begin, Burton uses lighting to prove that being different does not make you an outcast. Usually
For example, during Big Fish When Edward Bloom goes to confront the giant, the non-diegetic music is soft and suspenseful, but when he reaches the giants cave, the music becomes intense, fast, and horrific as if the giant is going to kill Edward. However, once Edward gets to know the giant a little better, it turns out he is not such a bad guy after all. The music is more joyful and happy when Karl (the giant) and Edward leave for the big city. There is also another example of this in Edward Scissorhands. During the film, Peg goes up to the castle and walks up the staircase to where Edward is hiding. When she notices Edward, the music is soft and gradually gets louder and faster leading up to Peg and Edward talking. All of a sudden the music cuts out during the conversation. This is too show the fear Peg has when Edward's hands start to move and snip. Characterization is also made in this scene, once Peg takes Edward home, the non-diegetic music returns and she is friendly and accepting of who Edward is. Just like how Edward bloom accepts Carl for who he is, Peg accepts Edward for who he is even if Carl and Edward are