A Quote by Don Bluth
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.
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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 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'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.
It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.
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 love the culture of animation. What stop-motion has in common with live-action is that it has many of the same departments. There's hair, costume, makeup in the form of paint, gaffers, electricians. So there's the same sense of real stuff, real light. But it's not like everything happens at once, like it does in live-action. It's all subdivided into these small sets. It's where my strengths are. Live-action is just an utterly different world, and I'm not a public enough persona to be big and loud at the front of the ship. I'd rather more quietly interact with the artisan animators.
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.
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.
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 live action, sometimes a mood or a feeling can go on for quite a while. Animation is a lot more effort. There are a lot more notes.
I think animation can tell more than live action.
I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.
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.
I'm a true fan of animation, and it's my livelihood. Live-action is secondary to me.
I feel like there's a lot of drama in weather. It's something that's done really often in live action, so I figure, why not translate that to animation?
The walls between live-action and animation are becoming really porous, and it's interesting.
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