A Quote by Michael Giacchino

I made tons of stop motion films with my friends in my neighborhood. — © Michael Giacchino
I made tons of stop motion films with my friends in my neighborhood.
I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.
I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself - love it so much that we're always going to be looking for new ways to make our films.
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.
If you have an all-white neighborhood you don't call it a segregated neighborhood. But you call an all-black neighborhood a segregated neighborhood. And why? Because the segregated neighborhood is the one that's controlled by the ou - from the outside by others, but a separate neighborhood is a neighborhood that is independent, it's equal, it can do - it can stand on its own two feet, such as the neighborhood. It's an independent, free neighborhood, free community.
My earliest memories are making little Super 8 films - or watching my brother make stop-motion space spectaculars.
Now, the term 'friend' is a little loose. People mock the 'friending' on social media, and say, 'Gosh, no one could have 300 friends!' Well, there are all kinds of friends. Those kinds of 'friends,' and work friends, and childhood friends, and dear friends, and neighborhood friends, and we-walk-our-dogs-at-the-same-time friends, etc.
Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.
When I was growing up, I didn't have tons and tons of friends.
I've done TV for tons and tons of years, so I'm not crazy about doing more TV, but with films, all I want to do are different projects that aren't all the same.
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.
I want there to be tons and tons and tons and tons of movies starring women.
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.
There's tons of dudes - like David O'Doherty, Tim Key, and Alex Horne - I made a lot of friends with people who are really incredible comics.
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.
Historically, for a stop-motion film, you gathered the crew together, you made the movie, and then everyone ran screaming to the next project.
Yeah, we've made beautiful strides, but what percentage of black people has made that stride when I go back to my neighborhood and see the same thing? I'm the only one who came out of my neighborhood. All of them dead, on drugs, selling drugs. Am I supposed to be honored and happy just by my success?
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