A Quote by Henry Selick
In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.
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If all the actors are in the recording session at the same time, you can record all voices for one episode in an hour. Of course, the animation takes longer but the voice acting is done very quickly.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
The best thing that you can do to deal with these high speed times is to slow down, inwardly, to take a little more time for meditation, a little more time to enjoy your morning cup of coffee or tea, and to look around at the people in your life with a little more love.
I only watch the last 40 seconds. Watching a whole marathon over time, the beginning, middle and end look very slow. I want to see action! I can't help it.
I'm trying to provide entertainment, and I hope that people can realize that it takes more than just me playing a shot in 30 seconds or 40 seconds for us to call it slow play.
I like the idea of reincarnation. I'm not a true believer, but I think the idea is beautiful, that life just doesn't stop. For soulmates, it's the term that I'm a little bit skeptical of. As soon as you put a label on something, it seems like that's it, you're done. Obviously I believe in love and making it last forever, but what's beautiful about that is you don't know if it's going to last forever. When you don't know that this is it, you, I think, enjoy it more.
Every time I do a play, it's as if I've never done one before. I'm always confused. I always am convinced I'm going to be fired. I'm like, 'I don't remember how to act. I don't know how to do this.' And, it's just a very slow process, and then, all of a sudden, it's just there one day. I still don't understand how it happens.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
On MTV, the dialogue can be a little darker, more interesting and edgy... the animation is just phenomenal. It's a CGI program that's doing all the animation.
I thought it would be good for the engineers and workmen who were building my spacecraft to see the pilot who would have to fly it hanging around. It might make them just a little more careful than they already were and a little more eager to get the work done on time if they saw how much I cared.
The first chance I had to go to Japan, which was in the early nineties, I went to a Noh play. I thought, 'This is very, very slow.' I noticed lots of people falling asleep. I didn't really know what was going on; I was getting a little sleepy myself. Then the more I studied it, the more fascinated I got.
Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!
In high school I was very much involved in poetry. You cannot read a poem quickly. There's too much going on there. There are rhythms and alliterations. You have to read poetry slow, slow, slow to absorb it all.
Forever this time," he said as Sawyer strode toward them. Tara sighed blissfully. "You know what this means, right?" "I'm done guessing," he said. "Tell me." "It means you're mine," she said. "And I'm yours. No more walking away. We are going to get it right this time." His smile was slow and easy, and just for her. "Well, finally.
Had we had all the money in the world to spend and we were doing another studio movie, we probably would have jumped quickly into the Necromonger universe and done an Orpheus Descending movie there. We didn't have that kind of resource. So, we said, this time, "If not that, this time, then what is it? What does this new movie look like?" Quickly, just in talking about it very simply with Vin [Diesel] in his kitchen, we decided on a survival, left-for-dead story, where Riddick could, as a character, reclaim the animal side.
Sometimes I catch myself doing something that I've already done. The more I've done, the more that's likely to happen. Then I just throw it away. I wait until I've got the right way of getting a thing done, which means my songwriting proceeds at a very slow pace. But it's the only way I can really work.
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