A Quote by Chris Wedge
I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.
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I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.
I think the No. 1 lesson I learned from 'The Simpsons' was just that animation could be as funny as live-action. That animation could be funnier than live-action. That animation didn't have to just be for kids.
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.
I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.
When you assemble animation teams the way you do a live-action film, you're often struggling a bit to get a cohesive team together, so if you have a team that works well together, you're hoping for another film so that you can refine the team.
Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
With animation, if something does not fit, you always have the time to change it. When you make a live-action movie, when your days of shooting are over, they are over forever.
It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.
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.
Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.
There's a process in the movie industry in both live action and animation called development hell!
The walls between live-action and animation are becoming really porous, and it's interesting.
On an animated movie, I'm learning as I go. There are so many details in animation. Doing the voices was the easy-part. Doing live-action, you have to be on the set, every day.
In terms of writing characters or stories, at least initially, there's no difference between live-action and animation. A good story is a good story, whatever the medium.
Animation is awesome because there's a really bold type of comedy you can get away with that you couldn't get away with in live action: a broader, campier style.
What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.
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