A Quote by Glen Keane
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.
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As a director you're always so busy - you're go, go, go, you're always moving, moving, moving - so I'm not actually privy to all the weird stuff that's happening around me, but for a lot of the cast and crew, that's what I hear stories from them about weird stuff happening.
I tell people, if you're thinking about suicide, all that stuff I've attempted and thought about it. If you think about it, life gets better. The key to life when it gets tough is to keep moving. Just keep moving.
I do enjoy a bit of the fantasy world that anime provides, but at the same time, I need the reality in it. I'm very much a stickler about the actual animation. I'm not into the cutesy, stereotypical animation with big eyes and a small chin. That annoys the hell out of me.
I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn't act like he was proud of it, like he had made the river rise himself.
I just do what Clint Eastwood does: Keep moving forward. You can't look back or think about that kind of stuff too much. You just keep making movies; hopefully you make some good ones.
I don't think it's about playing and singing, to be honest. That seems like old news, you know? I wasn't thinking about that. I just think that's in my body now. Dancers don't think about their legs moving one way and their arms moving another. Over time, you incorporate that into your instrument.
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.
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!
A big part of directing animation is deciding what you really want to do and making sure it's about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don't just write and leave.
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.
In all my unhappiness I was moving, and suddenly, this moving became an expression, a speaking out
Even moving around onstage seemed very artificial. But at the same time you have to make that effort in order to get back to who you are and even accept not moving, if that's who you are.
I love movies; I grew up loving movies. I've always loved movies. I never thought about making movies until I took art classes and then I started studying different artists. As you study paintings, you see light and shadow, of course - Rembrandt, Eugène Delacroix. You start to understand the relationship between people and art, and images. For me, between movies that I watched and art, it was like, I'd love to make moving art. Moving pictures.
The challenge has always been to wrest emotion out of a doll face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes.
One of the things about animation is it's so expensive to do the animation, that you can't produce coverage. You only have one chance to make every shot.
If you have to conduct layoffs, which is always a regrettable thing, there's kind of three things that are very important. One is to communicate well with your employees in order to help them understand why it is you're doing, and how. Second is to make sure that the employees who are part of the go forward, understand kind of what happened and are not like the ground doesn't keep moving. It's like, okay, we did that, we're moving forward, here we go. And then for the employees that you unfortunately have to let go, try to provide as much support for them as possible.
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