A Quote by Genndy Tartakovsky

In feature animation, cartoony or exaggerated animation is almost taboo. There is this precedent that if you do that kind of stuff people won't like it or it will be too zany.
In feature animation, it's kind of taboo to make a movie that's more cartoony. But I never really believed that.
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.
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.
Motion comics are just cheap animation. Very cheap animation. And I like animation almost as much as I like comics, but I'm not rushing to pay out for a cheap hybrid of the two.
I intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.
There are so many sitcoms, especially in animation, that we've almost forgotten what animation was about - movement and visuals.
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.
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
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 used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.
Soundarya's kind of direction is animation. She's not into feature films, whereas I am.
I didn't want 'Hotel Transylvania' to be the nail in the coffin for cartoony animation. Because if the movie failed, I could see people blaming that aspect of it. I was really nervous about that.
It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.
I'm very interested in telling darker stories that maybe you are not used to seeing in animation. Especially because in animation you don't see those kind of stories.
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 don't like animation. I hate animation, actually.
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