Top 107 Quotes & Sayings by Genndy Tartakovsky - Page 2

For me, doing all the TV stuff and having the experience directing, knowing what you want to make is 90% of it. The rest of it is just guiding everybody on that one path. But, figuring out the path is the difficult part.

Trying to be a leader, you've got to be really sure of what you're doing and you've got to guide people the right way.

If you look back at Disney's 'The Hunchback of Notre Dame' or 'Pocahontas,' animated films were trying to get more and more real before CG really arrived.

I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.

TV is all about schedule and budget, and you're always fighting that.

I always refer to 'Blazing Saddles' or 'Young Frankenstein' as very much the kind of humor that I like to do.

Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.

I'm not as articulate as I'd wanna be.

I remember arguing with my dad to let me dress up to go to a Halloween party in seventh grade, but I never in my childhood went trick-or-treating.

I remember seeing my first Disney film when I was 13 or 14. It was 'Jungle Book,' and I remember really falling in love with it.

There were so many amazing comic books. Like I was around for the original Frank Miller/Chris Claremont 'Wolverine' miniseries.

For me, animation is the caricature of life. It's something that we create, from the ground up.

I'm a very happy, optimistic person.

I don't want to do animation to mimic reality. I want to push reality.

We use music, cinematic storytelling and very stylized backgrounds to create mood and atmosphere as 'Samurai Jack' travels an exotic landscape. The environment is a major character in each show.

I'm a true fan of animation, and it's my livelihood.

I have been very fortunate for the most part of my career when it comes to support and trust.

I didn't want 'Hotel Transylvania' to be the nail in the coffin for cartoony animation. Because if the movie failed, I could see people blaming that aspect of it. I was really nervous about that.

I was thirty when I did 'Jack.'

Making a feature like 'Hotel 3' or 'Hotel 2' is kind of fun and jokey. It doesn't take itself too seriously. You could do whatever you want, basically.

Doing simple flip books, I used to get such a kick out of it, just drawings and nothing else.

I'm not a violent person at all, and I don't want to show violence for violent's sake.

Animation is my love, but I think there's definitely room in live-action. I mean, 'Iron Man 2' was fun, and I got to see that world.

In feature animation, it's kind of taboo to make a movie that's more cartoony. But I never really believed that.

One of the things I hate about TV for kids is that it conescends to them.

Luckily, as a director I can just tell people what I need and I don't need to tell them how to get it.

As soon as you think, 'Pirates are really popular right now with kids so I'm going to write a pirate movie'... that's when you're dead.

You know, I loved 'Toy Story.' It's a great movie, but it has some pretty serious drama.

To me, storytelling is a mystery. Especially when you're directing.

The one amazing thing about 'Jack' is that I did it in 2001, you know, and it still survived. There's something about it that's connected with people.

I mean, for sure, from my history, I have an extreme fondness for 2D. I think it feels very hand-crafted, and you see the artist's personal touch. I think something about CG makes it a bit more sterile.

I'm very in the now; I don't like to look back a lot.

Being funny is very complex.

Going as far back as 'Dexter's Lab,' we've always had these sequences with no dialogue. The interesting thing is those sequences got the biggest reactions.

For whatever reason, I think we have one type of animated movie and it's so wrong. I want to do a drama, I want to do an action, a comedy. In live-action, there are all sorts of movies. There's independent movies, big movies, action movies, funny movies, and for us we have one movie.

In feature animation, cartoony or exaggerated animation is almost taboo. There is this precedent that if you do that kind of stuff people won't like it or it will be too zany.

I've always thought that maybe I need to do a live-action movie, have it make a lot of money, and then come back and have a bigger budget for animation and do more with that.

I've always been in love with samurais, that kind of classic idea about a hero who has a sword with an intense skill and is very stoic and doesn't talk much.

Jazz flute's funny. And I'm a big Latin music fan, Tito Puente, Tina Cruz, all that stuff.

You can never guess what a kid's going to find funny - besides, you know, an obvious fart joke here and there.

I'm a true fan of animation, and it's my livelihood. Live-action is secondary to me.

Everything that I've ever done is not really based on reality, it's the caricature of reality, which is what's really exciting.

The computer is designed to mimic reality. And in an animated world, in my perspective, that's the worst thing to do. I want people to walk into a movie theater and be transported to a different world.

The thing about any character is that you want to be sincere.

If you don't believe your general, you're not going to go into battle knowing you're going to die.

Whenever you're doing two things at once, you're compromising them both.

Watching a movie with an audience is so exciting. For me, coming from TV, you finish an episode and then it airs, and I'm at home. There's no gratification and there's no audience interaction with it.