A Quote by Ralph Bakshi
I'm having the same problems today that I had when I first started, saying that outrageous adult animation works.
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You know, the next time you're guilty of anything, the next time you're charged with anything, try saying, "Hey, hey, hey, I didn't mean to run the stop sign." Or, "I didn't mean to leave the bar and get behind the wheel. I really didn't. I didn't mean to get behind the wheel after having some adult beverages." See if that works for you. And if you're saying it's not the same thing, yes, it is.
I was, like, forty at birth. When I wasn't even a year old, I spoke, I was potty trained, I walked and talked. That was it. Then I started school and drove everybody crazy because they realized I had popped out as an adult. I had adult questions and wanted adult answers.
Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.
First of all, computer animation is certainly a tremendous and viable medium today. But the warmth and personality derived from 2-D animation, in my opinion, cannot be surpassed. Certain stories lend themselves well to 3-D animation and I won't labor this with naming them, but in my bones, I still respond more emotionally to the artists feel in 2-D. You feel the 'actor' in the animator more personally...it's hard to explain.
The weird thing is, if I'd made 'The Incredibles,' shot-for-shot - exactly the same script, same timing, same shots - in live action, it would be perceived very differently, and somehow more adult than me doing it in animation. I find that fascinating and frustrating.
If the photographer is to create works that will stand for his spirit in the same way as artists in other genres, he must first - having no ready-made, abstract components such as works and sounds - supply other means to abstraction instead.
I got to college in '99, and I went to study literature and writing, and so within a couple years we had Bush elected, 9/11, we were at war, so I was sort of having my political and spiritual awakening at the same time I was becoming an adult, and that's a lot of stuff at once. I became very focused on the state of the world, and I started studying that stuff more, and I just had a real identity crisis. I couldn't even really just study literature.
If the point of the inner-child movement is to cure adult problems, it doesn't work. Reliving childhood traumas gives you a nice afterglow, but it lasts only for hours or days. There is no evidence it changes adult problems.
There is a work that my father had started, a dream he had dreamt. I come to you today saying...allow me to turn that dream into reality
You're going to get different kinds of animation for different kinds of audiences. Traditionally, adult animation has been for the young male audience. There's no reason why that should be.
The Daredevil comic book was the first comic book Marvel had ever put out that was an adult R-rated book, so I started with that. When I was creating the series, I just started with that tone, and that edge, and it just kept going.
When you solve big, hard problems, problems that fundamentally improve how an industry works, financial returns follow, giving you resources to do more of the same.
When I first started touring, we had a crappy van, and we would all share rooms. So for many years as a grown adult woman, I would share a bed with a bandmate, whether it would be Jimmy Tamborello from the Postal Service or Pierre De Reeder from Rilo Kiley, just a pillow barrier between us sleeping on the same bed.
I don't consider my own clothing to be outrageous. The truth is that people just don't have the same references that I do. To me it's very beautiful and it's art, and to them it's outrageous and crazy.
I was having problems with depression and anxiety disorder, and it felt like not blogging about it was creating a false history. When I did finally share the problems I was having, I was shocked - not only by the support that was given to me, but also by the incredible amount of people who admitted they struggled with the same thing.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
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