A Quote by Lucrecia Martel
Without doubt, in animation each frame is important, every movement defines the character.
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I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.
The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
But, without a doubt, my favourite thing? It's sitting in a change room like this after a match. There's no time frame on how long you'll sit there. There's no formality. You're just enjoying each other's company, thinking about cricket.
Each celestial body, in fact each and every atom, produces a particular sound on account of its movement, its rhythm or vibration. All these sounds and vibrations form a universal harmony in which each element, while having it’s own function and character, contributes to the whole.
There are so many sitcoms, especially in animation, that we've almost forgotten what animation was about - movement and visuals.
Coming from the world of animation, every single line counts; every single gesture counts. You put thought into every single one of those things and the way a frame is composed.
The Italian character in general is full of animation, and the natives enter into the interests and welfare of the stranger before them with a fervor that forbids all doubt of its sincerity and that is truly surprising.
I am an actor and I do not have to relate to whatever I play on screen them at a personal level. What is important is to understand the character, do enough homework to know the frame of mind of the character or his back story.
Animation is about timing; movement or lack of movement, often in time with music. These are the tools which make it's visual gags work, or not. Again, comics don't have those tools, so you have to find some sort of parallel to create something that suggests a close approximation of the source material, but without the ability to truly replicate it.
Truths turn into dogmas the instant that they are disputed. Thus every man who utters a doubt defines a religion.
And then there is that one-man movement, Marcel Duchamp for me a truly modern movement because it implies that each artist can do what he thinks he ought to a movement for each person and open for everybody.
Sex is interesting, but it's not totally important. I mean it's not even as important (physically) as excretion. A man can go seventy years without a piece of ass, but he can die in a week without a bowel movement.
The Premier League is one of the best in the world, without a doubt. The stadiums are always full, and the atmosphere is incredible, but not every footballer is able to play in England. The character can be difficult for a foreigner.
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?
When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.
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