A Quote by Gerald Scarfe
Where as in animation you have to kind of do a series of drawings in between to complete the movement.
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I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.
There are so many sitcoms, especially in animation, that we've almost forgotten what animation was about - movement and visuals.
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.
Motion comics are a medium all their own. It is certainly not animation, in which a large number of artists do tens and even hundreds of thousands of drawings. The animation, or 'the reality,' is created in a computer, and the work of the original artist is the work. Nor is it a comic book. You can't turn the pages. You can't read the dialogue.
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.
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.
In less than a century we experienced great movement. The youth movement! The labor movement! The civil rights movement! The peace movement! The solidarity movement! The women's movement! The disability movement! The disarmament movement! The gay rights movement! The environmental movement! Movement! Transformation! Is there any reason to believe we are done?
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.
I've been fascinated with gargoyles since I was a kid. I took a high school trip to Europe, the 8 countries in 5 weeks kind of trip. Even then I collected postcards of gargoyles. Then I sort of forgot about it. You flash-forward a few years and I'm at Disney, we're looking for an idea to base a show on. I was running series development at the time at Disney TV Animation. And we came up with the Gargoyles comedy series. Which didn't sell!
Well, directing is doing the key drawings, not the key animation, mind you.
When you're in a very specific kind of wardrobe, it kind of dictates your movement; it also kind of enables you - or, I guess, disables you - from certain kinds of movement.
Animation is not the art of drawings that move but the art of movements that are drawn.
In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.
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.
It's fun to sit down and do a few drawings, but when you have to sit down and do hundreds of drawings whose value only depends on getting to the end of the chain, then you've created a different kind of monster.
All my work begins with drawings. I don’t labor over my drawings. I want to get freedom in the line. I like to be able to get swift curves in the plant drawings that are usually drawn in five to ten minutes.
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