LACMA reception for Tim Burton took place Saturday

Fine art, pop culture and local pride converged Saturday at a LACMA reception for Tim Burton, whose Resnick Pavilion retrospective began Sunday and runs through Oct. 31.

In the patio area behind the Resnick, Burton was upbeat and gregarious, after signing 1,440 books for fans, then introducing a screening of “Ed Wood” on his whirlwind stop here while working simultaneously on “Frankenweenie” and “Dark Shadows.” He did a great job of working the house, and told Variety the whole experience was “amazing,” though he was concerned about the exodus of production from Hollywood. The Burbank native fretted that when he was filming “Alice in Wonderland” here, it was the only major feature lensing in Southern California.

Terry Semel, co-chairman of LACMA’s board of trustees, picked up on that theme of recognizing Hollywood’s heritage, saying: “An integral part of this museum will be film and the history of film. If photography belongs in a museum, so does film,” since it is an art form — and one that blossomed locally.

Offering, in his words, “peripheral support” to Burton, Danny Elfman talked about the strange experience of revisiting old work, as he did for Warner Bros. Records’ recent 16-disc set of his scores for Burton films.

Burton got a lot of similar support Saturday from LACMA director-CEO Michael Govan, as well as friends and collaborators, including Robert Iger, Dick Cook, Lorenzo di Bonaventura, Peter Guber, Catherine O’Hara, Bo Welch, Winona Ryder, Rick Baker, Martin Landau and Slash.

The other guests ran the gamut of demographics and styles, including several who looked like refugees from Burton’s whimsy-Guignol sketches as they sported Dada hats, feathers, test-pattern suits, extreme makeup, red fishnet stockings, Edwardian ruffles and one shirt emblazoned with such mug shots as O.J. Simpson. Evening concluded with a surprise perf by Jane’s Addiction.

For a man whose films usually center on misfits and outcasts, Burton seemed surprisingly at ease connecting with his admirers, posing for photos, shaking hands and accepting gratitude and compliments. At all of LACMA’s events Saturday, it’s clear people connect to him on a personal level. They’re not just fans, but consider him a therapist/alter-ego/friend.

Elfman enthused about his first visit to the set of “Frankenweenie,” the b&w stop motion animation pic. He was amazed by the detail lavished on everything: “real-time lighting, real time shadows, but all on a small scale: It’s grand, tiny moviemaking.” The filmmakers, he said, work on multiple sequences at the same time: “It’s one building, with the equivalent of 10 soundstages. It’s amazing!”

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