There's a piece in today's New York Times about choreographer Matthew Bourne's new piece based on Edward Scissorhands. Though there are moments where I can't figure out if writer Kristen Hohendahl means to insult Bourne ("[He] has always been better known for his directing skills and highly collaborative working process than for his choreographic imagination") or compliment him ("He uses movies as muses and reference points and urges his performers to create their roles like actors, a process that results in productions that read more like silent films than works of dance"), it's an interesting read. There seems to be something a little off about some of his methods (for instance, in order to get them into character, he sent his writers home with DVDs of American sitcoms, including Roseanne), Bourne worked extensively with the film's screenwriter, Caroline Thompson, and she's got nothing but praise for the project. "I think there's something in Matthew that really connects to the loneliness of Edward," she says. She even embraces the limitations of the stage, which, she says, pushed her to "[Come] up with a better ending than I did for the movie."