A Quote by Henry Selick
You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.
Related Quotes
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.
I love all sorts of animation, probably the most beautiful would be the tradtional hand drawn animation that Disney is known for. Stop-motion has a certain "grittieness" and is filled with imperfections, and yet their is an undeniable truth, that what you see really exits, even it if is posed by hand, 24 times a second. This truth is what I find most attractive about stop-motion animation.
I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.
I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.
We're not purists about stop-motion. If there's a tool we can use that makes more sense to bring something to life in a better way, we'll use it, whether that's hand-drawn animation or CG or some newfangled technology we're developing.
Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!
I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!
No matter what happens with technology or whether you're in traditional animation or stop-motion or CG, the biggest challenge always is story. The flow of making the movie is usually determined by how your story is coming together, and when your story is straining and you can't quite get your hands around it, your entire production is straining.
I'm a big fan of cel animation, I'm a big fan of computer animation, and, most of all, I'm a big fan of stop-motion animation.
Stop-motion is sort of the redheaded stepchild of animation. But it's incredibly beautiful.
I used to take my little Disney figurines and turn them into stop-motion animation.
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.
When you look back over 100 years when stop-motion was really at the dawn of cinema, a lot of the ways it developed was you had stage magicians who were looking to bring their illusions to life, and one of the ways they did that, at the time, was through cinema and stop-motion. They developed these processes.
In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.
Very few people view stop motion the way we do. We really try to use it - and animation generally - as a powerful visual medium by which you can tell virtually any kind of story in any genre.
Having animation as this time-based medium made a lot of sense for me, and then stop motion was even more fun because it was so hands-on and physical in a way that I really liked.
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