A Quote by Dean DeBlois
I'm always a person that's a little suspicious of anything that's been converted in post, but if I know that it's been originated, either in live-action or animation, I'm intrigued.
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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 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.
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.
There have been a lot of roles and scripts that have come my way but nothing that really inspired me or intrigued me like when "Burlesque" showed up at my door. Just the whole concept of burlesque, I've always been fascinated with it. I've always collected so many books about burlesque. I've been intrigued by the time that it's set in, in the 20's, 30's, 40's and so I knew it was a no brainer for me to be a part of once I met with the team.
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.
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.
I'm definitely suspicious of girls. I've been suspicious of girls my whole life, though, so it's not anything new.
Animation is the only thing I ever wanted to do in my whole life. I have no desire for live-action or anything else.
Animation remove you from a visual reality - if it was live action, you wouldn't be able to see through the person's mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.
If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception.
I have always been intrigued by other cultures, and traveling to foreign lands has always been a part of my personal passion for learning about our world.
I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.
I didn't grow up as a religious person under any sort of system or anything like that, I just felt like I've always been sort of intrigued by that - how it can make people's lives better - I mean, it's a powerful thing. So I was interested in thinking about that kind of stuff.
We never really cared about all the things that other people cared about, you know? Like, people recognizing me on the street never interested me. I've always been kind of suspicious of the world, anyway, so it's pretty easy for me to live in my own little world.
Because of my register, Miles Davis' trumpet playing has always been a big influence on my singing. I've always been intrigued by the way he can start anywhere and make it right.
I'm a first-past-the-post person, and always have been.
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