I'm Glenn Larry, director of the Museum of Law and Art, and of course was part of the team that oversaw first the decision to do Tim Burton and then worked with the curators to make sure we had an extraordinary exhibition. Tim Burton is one of those exhibitions that allows you literally to see into the mind of the artist, to see if he opened up his brain and let you explore all the ideas and thoughts that are rattling around in there. Yeah, I'm the Chief Peer to the Department of Film at Moments. So it premiered in New York last fall and ran for five months there and Melbourne is the first international tour date. What they told me about New York was that people that wouldn't ordinarily go to a museum and came to the show, which that made me feel very, very great. I didn't grow up in a museum culture, calling it a wax museum, it was probably the only museum I really wanted to, so I can't really call that a museum. But that's what I love about this place too, the interactive nature of things. It's just as much more inviting and exciting. It's also standoffish as a museum experience and so much more draws you in which I really really appreciate. It's a bigger space here, but it still feels intimate. It still has the chaos of my mind in a way. Really on in my life, I wasn't really, I didn't really speak. So I felt much more comfortable doing a sketch and having that have more meaning to me and my intellectual mind. So it's always been in certain projects, a way of thinking that that's more meaningful and powerful for me, coming from an image. More from the subconscious and I feel much more comfortable from a strong place for me. A lot of times you forget that it's not just the commercial product that's in his brain, that he really does have a vision that extends beyond what we see on screen. That's where some of his sketches really give you a lens like about what's really going through his head. It's always as strong as making film. I realize early on we make a successful film and then you have the opportunity to do whatever you want to do. And I remember after doing bad math, I thought, well, was this a success? But then after that trying to get Edward Scissor-Hans done was very difficult. Nobody wanted to do that. I have that even now. So it's a process that always keeps you slightly humble. It's never kind of a blank check and never open both that way. Some of my favorite pieces are some of the cartoons that he's done from like really early on, from like 12 years old all the way through contemporary, that really show his kind of twisted sense of humor. For me, the drawings are fantastic. They're literally hundreds of them. But there's also the opportunity to literally work through the process by which some of his most iconic films were made. So it's kind of exhibition that you can look at endlessly and constantly discover new things. But there's a kind of haunted house at the end that's that don't miss as far as I'm concerned. I don't want to give away the surprise. I didn't realize I saved so much stuff because I never really look at it. Stuff and drawers and Ron and Jenny just kind of did an archaeological dig. And they found my original rejection slips from Disney and all sorts of things. And then they were like, I have or kept. The things you shouldn't miss are the things you would never expect to see in an exhibition about Tim Burton. I mean, it's great to have the Batmobile and it's great to have props from the movies. But when you go through and you see his really early sketchbooks from grade school and you see the notes from Disney saying, well, you've got some great ideas, but we think you should work harder basically rejecting him as an artist. And we just made a bit of a billion dollars for them, you know, 25 years later. Hansel and Gretel, a TV version of the fairy tale that he made for the Disney Channel, that aired exactly once because it was way too creepy. I mean, this is the kind of stuff that you'll never be able to see again probably because it's really tends to burst the material. So that's what I would look out for.