A Quote by Ollie Johnston
I thought of the character being real, a living person, not a drawing.
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I did this movie right after it about the life of Chet Baker. It's called Born to Be Blue. In that situation, there's a real clear character you're drawing on. It's a real person. It's really exciting and interesting to do the research to figure out how to make that a nuanced, three-dimensional human being.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, 'It can't be about being the best, it has to be about the drawing itself, what you do with it.' That's kind of stuck with me.
Even as a kid in drawing class, I had real ambition. I wanted to be the best in the class, but there was always some other feller who was better; so I thought, It cant be about being the best, it has to be about the drawing itself, what you do with it. Thats kind of stuck with me.
It's a real wrenching thing to go from being a private person to being a public person, especially when you're being autobiographical. But it's what everyone wants - to get everyone's attention, to have your music make a living for you, to be validated in that way.
It's one thing to be sitting at a drawing board, alone in your home and coming up with a fantasy character, and drawing her whichever way you feel like drawing, then dealing with a real performer. All of a sudden, things change. It's amazing, in working with actors, how much I learn from them and how many new lines will come to mind because of their personality or their strengths.
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
Obviously a drawing of a person is not a real person, but a drawing of a line is a real line.
I'm still awaiting the idea of drawing comics for a living being a reality. I feel like I've been dodging work for 20 years, and at some point, I'll have to get a real job.
When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
Every animator is really an actor performing in slow motion, living the character a drawing at a time.
From an early age, I had always loved drawing. Laying on the floor, in front of the fire, drawing from my imagination, marching soldiers, dive bombers, spaceships and monsters. Now, suddenly, I was drawing from real life!
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
The person is a mystery. What I'm playing is the person so I really get to tell you and show you and communicate to you who I think the real person is and that real person is me. The most important thing is to play the human being you are creating, which is my job.
People seem to sometimes have a difficulty drawing that line between the character and the person.
I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I'm drawing is real or strange.
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