A Quote by Henry Selick
I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself - love it so much that we're always going to be looking for new ways to make our films.
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When you look back over 100 years when stop-motion was really at the dawn of cinema, a lot of the ways it developed was you had stage magicians who were looking to bring their illusions to life, and one of the ways they did that, at the time, was through cinema and stop-motion. They developed these processes.
I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.
There's always kids who become stop motion animators. I get stuff all the time. They put it on YouTube. It's exciting to see.
I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.
You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.
Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.
In our comic cons and interviews, they're always asking him questions, of course, because people love Jean-Luc Picard. They love Sir Patrick Stewart. But he always likes to stop everyone and go, Wait, but these new characters, I can't wait for you to meet these new people.' He very much always tries to make space for us.
I love all sorts of animation, probably the most beautiful would be the tradtional hand drawn animation that Disney is known for. Stop-motion has a certain "grittieness" and is filled with imperfections, and yet their is an undeniable truth, that what you see really exits, even it if is posed by hand, 24 times a second. This truth is what I find most attractive about stop-motion animation.
My earliest memories are making little Super 8 films - or watching my brother make stop-motion space spectaculars.
This medium of stop-motion, it can be much more than it's been kind of defined as - it's not just a creaky and anachronistic way of making films, it actually is a very vital art form that can do wonderful things if put in the right hands.
This Golden Globe nomination is sweet validation for the years of hard work it took to bring Coraline to life using stop-motion animation with the greatest crew of animators, artists, and technicians I've ever been privileged to work with. I share this nomination with all of them and we all share our thanks to the Hollywood Foreign Press.
I made tons of stop motion films with my friends in my neighborhood.
I love touring, I love making records, but eventually all I want...I want to score. I want people to ask me to score their film or use my songs in cinematic ways. I think the ultimate media is a story that you can watch and feel and have a musical moment to. I think it's my favorite. I love watching something when music is creating motion within the motion.
When you stop learning, stop listening, stop looking and asking questions, always new questions, then it is time to die.
In my off-time, I do record. Once in a while, I'll just go into the studio if there's a really good song that I have in my head and want to do. I think, as artists, you're constantly in creative motion. If I stopped writing songs, then that's a part of me that would stop in my life, and I need constant motion.
We must not suppose that, because a man is a rational animal, he will, therefore, always act rationally; or, because he has such or such a predominant passion, that he will act invariably and consequentially in pursuit of it. No, we are complicated machines; and though we have one main spring that gives motion to the whole, we have an infinity of little wheels, which, in their turns, retard, precipitate, and sometime stop that motion.
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