A Quote by Gore Verbinski
My respect for animation has gone way up. It's a truckload of work. I have to sit with my animators the same way I'd sit with my actors and cast them.
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My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.
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.
I feel that I'd rather know an actors' work, or have an instinct about them and sit down and have coffee with them, or I'll see them in something and I'll see if I can get along with them in some way, shape, or form.
In the immortal germ line of human beings - that is, the eggs that sit in the ovaries - they actually sit there in a state of suspended animation for up to 50 years in the life of each woman.
You know, I find people with great honesty, bodily, physical honesty, who sit just the way they like to sit, and walk the way they like to walk, and don't come into a room all pumped up, I find them elegant.
Now, metaphorically, I sit at any table that I want. I can sit with the jocks, I can sit with the gang members, I can sit with the politicians, I can sit with the CEOs. My brand can fit anywhere.
When I sit at my table to write, I never know what it's going to be until I'm under way. I trust in inspiration, which sometimes comes and sometimes doesn't. But I don't sit back waiting for it. I work every day.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.
As a modern woman, there are things I take for granted, and that shows up in the way I sit, the way I walk, the way I think, and what I know to be possible.
With film, I always sit with people first and talk a while, and then we read or sing or whatever. I never sit behind a table. I get up; I work with them. I do everything I possibly can to not audition them. I can find out the best of them from them feeling comfortable and appreciated. I'd never let someone leave feeling not valued.
You sit and you read that, and you have to imagine turning it into a film that people are going to sit and watch. And you have an awful lot of input from a lot of other people. That's the way I work.
My respect for Westerns have gone way, way up. It's hard and treacherous work. It's hard to find people these days who can ride horses like that and jump onto trains.
Everything on Saturday morning [cartoons] moves alike that's one of the reasons it's not animation. The drawings are different, but everybody acts the same way, their feet move the same way, and everybody runs the same way. It doesn't matter whether it's an alligator or a man or a baby or anything, they all move the same.
My life is routine. I wake up early in the morning. I brush my teeth. I sit on the floor of the cell I do not go to breakfast. I stare at a gray cement wall. I keep my legs crossed my back straight my eyes forward. I take deep breaths in and out, in and out, and I try not to move. I sit for as long as I can I sit until everything hurts I sit until everything stops hurting I sit until I lose myself in the gray wall I sit until my mind becomes as blank as the gray wall. I sit and I stare and I breathe. I sit and I stare. I breathe.
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