A Quote by Alan Menken
In animation, the directors are part of a huge team of animators who all have opinions, too. It's a much more democratic process. Also, the animation executives oversee things more.
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Since the waiting time required during the rendering process has been dramatically shorter in the last 10 years, I think that CGI animation has finally become practical. It is a fact that I processed the Steamboy work based on the assumption that the machine spec would be higher. In that context, young 3D animators have also gotten more skillful in recent years. But what I didn't expect is that the skills of traditional 2D animators have become worse, and notable young animators have not come out to the scene. This is a big issue for the industry.
We're one of the largest employers in Canada for animation executives, and there is - I think something on the magnitude of $140 million a year be important to the Canadian economy producing animation for Netflix.
First of all, computer animation is certainly a tremendous and viable medium today. But the warmth and personality derived from 2-D animation, in my opinion, cannot be surpassed. Certain stories lend themselves well to 3-D animation and I won't labor this with naming them, but in my bones, I still respond more emotionally to the artists feel in 2-D. You feel the 'actor' in the animator more personally...it's hard to explain.
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
On MTV, the dialogue can be a little darker, more interesting and edgy... the animation is just phenomenal. It's a CGI program that's doing all the animation.
I love doing animation - mainly because you get to over-act. They're always saying "more," "louder," "bigger," "huger" and you just turn it lose. Plus, doing animation voiceovers, I have learned so much, and it's always good in your career to discover something you didn't know, and to learn to do things differently. So it's a fascinating experience.
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.
Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
It's a hilarious part of my past, all the sitcoms I did in the '80s. And then all the animation - animation is amazing. It's really been great.
I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.
I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!
I get a lot of credit for Tron. They called us scene choreographers back then because the animation unit wouldn't let us be called animators because we were working on computers. And we were some of the first people ever to make 3-D computer animation.
All new tools are useful to animators, but great animation comes down to great animators.
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