A Quote by Dean DeBlois
All new tools are useful to animators, but great animation comes down to great animators.
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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.
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.
I usually get involved in the interviews about the animators and the filmmaking in general, because I had a chance. I got to know, not only Marc Davis, but Frank Thomas, Artie Johnson, Ward Kimball, all these great animators, and just ask them all these questions about how they did certain things, what their trials and errors were, the ups and downs.
With my own cartoon, it was just me being goofy by myself, but when it comes to an animated film, you're working with 45 animators and assistant animators. It's a whole different ballgame.
There's this whole grey area seemingly every time it's talked about animators and who takes ultimate responsibility for the characters [of the Planet of the apes] but without question and I'll go down saying this year after year, these characters are authored by what we do on set. They are not authored by animators.
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.
I was mentored by great Disney animators at the end of their careers.
There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.
I just want to make sure that I give the animators everything they need, so they have plenty of choices to match their animation.
The era of 'The Jungle Book' was when the animators were at the top of their game and their sense of character was great.
The animators working with these 3D models, they're artists, right? They're great at what they do. They're artful in how they move characters about.
My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
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.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
If the animators could hide something so secretly that I could watch it numerous times, both on the computer and on the screen, and not pick up on it, then it deserves to be in the movie. But if they had more overt things, I'd often tell them to cut it out. In general, as long as they captured the spirit of the character, then they're fine. But sometimes it took a while, and we had to replace a lot of animators.
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