A Quote by Alan Menken
Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.
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A strong film director does leave you to your devices. A strong director allows you to be free and you trust that he's there and he will tell you if you've gone too far. A strong director allows you to be much more experimental and take greater chances than a director who isn't secure within himself.
Live-action has always been my focus and my passion. I love voice-over, and I definitely could see myself doing some voice-over, as much as I could, and even if I ended up doing only that for the rest of my life, and I could be successful at it, that would be great. But I think my real dream is to do films and live-action films.
Voice acting is very interesting, I've done several animated projects, and you have to make the voice reflect the character and try and do as much with a word as you can with a look in a live-action film.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
The main thing was finding this... voice that I had interest in, which I'll call the quiet-yet-stoic voice: the very quiet yet very strong voice that I developed, that people would want to hear and that was worth paying attention to.
I'm a person of the arts. I love the arts very, very, very much. And ah, I'm a musician, I'm a director, I'm a writer, I'm a composer, I'm a producer, and I love the medium. I love film very, very much. I think it's the most expressive of all of the art mediums.
Independent means one thing to me: It means that regardless of the source of financing, the director's voice is extremely present. It's such a pretentious term, but it's auteurist cinema. Director-driven, personal, auteurist... Whatever word you want. It's where you feel the director, not a machine, at work. It doesn't matter where the money comes from. It matters how much freedom the director has to work with his or her team. That's how I personally define independent movies.
I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.
Films are a director's medium. We're all stemming from the director.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
In films, you have to follow the director's vision. Filmmaking is a director's medium. So everything happens as per the script and his vision.
I don't think it's so important to be a movie director. It's a beautiful profession, but no more than to be a cartoon writer. A very rich cartoon writer. I've done a lot of films, and I know deeply that, in all of cinema, there is no director who is as good as Shakespeare.
You basically go in animation and it's all in the imagination. There aren't even pictures to look at. You usually go in there and work with whoever the director is to create this voice and this character.
The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.
You can assist another director and learn the ropes of the craft over the years, but becoming a director is about finding your own voice, so you've got to experiment.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
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