Burton puts more of a premium on sound and image to suggest character depths than the more prosaic Christopher Nolan does.
Dirty Mary Crazy Larry boasts its fair share of quotable dialogue ranging between wistful philosophizing, off-the-cuff calumny, and cornball caricature.
For many years, I maintained a Top 10 list. It was changing all the time, but by the mid-1980s, I had pretty well nailed it down.
If you read my “Understanding Screenwriting” column at The House, you may be aware that I generally do not do Top 10 lists.
Preferential classification in the arts, based on arbitrary choice or empirical study, has a tendency to beget among the chattering classes some sort of mass hysteria.
They’re also unassailable in their perfection, and could easily fall at the top of any all-time best list arrived at by consensus.