Since bursting onto the Hollywood scene with his signature Gothic visuals and quirky, oddball characters, Tim Burton has made a name for himself in the cinema of all things weird. He is a visionary filmmaker whose darkly humorous films have had an enduring effect on pop culture and made an indelible mark on the imaginations of audiences the world over. His longtime musical collaborator Danny Elfman is a titan in the world of film music, writing some of the most haunting scores of all time for Burton’s films. Elfman’s whimsical music fits seamlessly into Burton’s outlandish and visually stunning worlds.

For this list, we will be revisiting some quintessential moments in film, brought to life by this duo of acclaimed artists and ranking all of their collaborations as filmmaker and composer, from their darker outings like the iconic scores for Beetlejuice and Batman to more tender entries like Edward Scissorhands and Big Fish.

17 Dumbo (2019)

Burton’s most recent film, a CGI-heavy update of the 1941 Disney classic about a baby elephant who can fly, was one of the multiple live-action remakes of their classic properties. Dumbo included a score from Danny Elfman, who here draws on almost every style he has used in his storied career: dramatic choral work, music box melodies, and sweeping strings. It also includes a serene cover of “Baby Mine”. The film has a ton of great visuals, including Dumbo’s flying sequences and the glamorous, retro-futuristic Dreamland amusement park, but audiences felt it paled in comparison to the original. Elfman’s score plays its part in the film but does not hold up as well on its own.

16 Big Eyes (2014)

To tell the Golden Globe-winning story of artist Margaret Keane, who famously painted small children with big, pleading eyes, Burton eschewed his usual visual tricks to deliver a rather straightforward drama with Big Eyes. Elfman also exercised restraint in composing the score, which is filled with soft, heartfelt moments. His work on this film is reminiscent of his work in the '90s while also harkening to his score for Big Fish in its brightness and its yearning. This film did not make a big splash at the box office but garnered a handful of award nominations in 2015 and remains a worthy entry in Burton’s body of work.

15 Planet of the Apes (2001)

There’s an air of mystery and strength throughout the whole score of Planet of the Apes, the duo’s ninth collaboration together. Burton’s modern reimagining of the sci-fi classic from 1968 opened to fairly mixed reviews, with most of the praise being for the incredible prosthetic ape makeup. This score is percussive and brash, using drums and intense electronic elements to drive the action. The movie ultimately struggled to make an impact and as a result, this is one of the lesser-regarded works in both Burton and Elfman’s filmography. While the music is muscular and powerful, it does not contain any memorable themes as in his earlier work.

14 Pee-Wee's Big Adventure (1985)

From the opening of the overture for Tim Burton’s feature film directorial debut, it’s clear that there is a sonic interplay between the director and composer Danny Elfman. In Pee-Wee's Big Adventure, Pee-wee is looking for his missing bike and during his search, he meets all kinds of colorful characters. The music upholds the sense of whimsy, innocence, and kookiness displayed by Paul Reuben’s Pee-wee Herman. Arguably one of the most iconic musical moments in '80s cinema, “The Breakfast Machine” bounces on a simple marching melody before repeatedly exploding into a full orchestra frenzy as Pee-wee’s morning meal is prepared via a series of jerry-rigged contraptions around his kitchen. The score feels like a mischievous, rambunctious kid with a lot of heart running amok and getting into shenanigans, much like Pee-wee himself.

13 Mars Attacks! (1996)

For the oddball '90s sci-fi comedy Mars Attacks!, Danny Elfman kept a foot in the past of movie music. By extensively using the theremin in his score for this film, it harkens back to Bernard Herrmann’s score for The Day the Earth Stood Still, another film in which aliens visit Earth. However, Elfman had to balance the outright terror of the vicious Martians with absurd comedy. The score makes ample use of the entire orchestra, a choir, and electronic components. Elfman’s music here helps enhance the film, which was Burton’s riff on campy 50s sci-fi offerings and was met with a lukewarm reception at the box office.

12 Dark Shadows (2012)

The score for the 2012 film Dark Shadows, an adaptation of the popular '70s supernatural soap opera about the wealthy vampire patriarch Barnabas Collins and his extended family, is appropriately dark and moody to match Burton’s visual feast. This film reunited Burton and Elfman for their fourteenth collaboration. The music is very Gothic and grand but also very contemporary in keeping with the 1970s setting. When Barnabas awakens, there are moments of horror reminiscent of Sleepy Hollow. The music functions in the film by being dramatic to the point of camp as the movie continuously shifts gears from horror to comedy. It still complements this big-budget B-movie very well.

11 Frankenweenie (2012)

In Burton’s sweet stop-motion animation about a boy named Victor Frankenstein who re-animates his beloved dog Sparky after his accidental death, Elfman combines the youthful energy of his early work like Batman Returns and the tenderness of Edward Scissorhands and Charlie and the Chocolate Factory. He creates a fun and earnest soundscape for this bittersweet story of a child learning difficult lessons about holding on and letting go. When the townspeople have to deal with all sorts of undead creatures running wild, the score shifts to a darker mood but ultimately brightens. Frankenweenie had a decent run at the box office but tends to be overlooked when examining Burton and Elfman’s bodies of work.

10 Sleepy Hollow (1999)

Elfman pulled out all the stops for Burton’s uber-dark 1999 retelling of the classic American short story of Ichabod Crane and the Headless Horseman. Sleepy Hollow has elements of childlike innocence, suspense, and outright horror. Reimagining the straightforward ghost story as a supernatural crime thriller, Elfman employs the strings to vibrate with menace and the choir to bring a spectral presence. The orchestra also breaks through to ravishing passages of romantic beauty while still staying firmly in the macabre. Elfman’s previous work with Burton was 1996’s wacky Mars Attacks! and this score is quite an about-face, as there is very little levity to be found. It’s dark, grim, and tense, but still manages to wrap up on a note of a hopeful future.

9 Corpse Bride (2005)

Elfman again wrote both the score and songs for Corpse Bride. The story of a shy man about to enter an arranged marriage who ends up being taken to the underworld by an undead bride he stumbles on in the woods, this film is rife with Burton’s signature themes. This film and the score are dark but heartbreaking. The dichotomy of the uptight living and the hip, lively undead is shown through the music. There is an energetic undead jazz band called Bonejangles and His Bone Boys while the singing characters aboveground are all anxious wrecks. As with all of Burton’s work, the audience would rather spend time with the outsiders. They seem to have all the fun.

8 Charlie and the Chocolate Factory (2005)

Elfman pulls double duty on Charlie and the Chocolate Factory, composing both the score and songs for Burton’s adaptation of the 1964 Roald Dahl novel about a poor boy who wins a trip to the magical factory of a reclusive chocolatier along with four other kids. Burton went for his typical darker tone and gave Elfman plenty of room to play. He recorded digitized vocals for the Oompa Loompas' new songs, including the Grammy-nominated “Wonka’s Welcome Song”, a Bollywood-style number, and a 1960s psychedelic rock song. The score has a similar energy to Edward Scissorhands and The Nightmare Before Christmas. There is a sense of wonder and suspense. It perfectly complements the wild imagery on screen, including a candy-colored ride on a rushing chocolate river and a glass elevator with rocket boosters.