A Quote by Reid Scott
You're using such different muscles and you rely on physicality in live action, but in animation, you totally throw that out the window. But somehow, they're both as satisfying.
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This is going to sound cheesy, but with acting there are so many tools. When you're on camera, you're using all of it. You're using the voice, you're using your body, you're using wardrobe, all of it, but it's funny, once you take all of those things away, you realize how much you rely on the physicality.
It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.
I think the No. 1 lesson I learned from 'The Simpsons' was just that animation could be as funny as live-action. That animation could be funnier than live-action. That animation didn't have to just be for kids.
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 science window gives you a view of the world, and the religion window gives you a totally different view. You can't look at both of them at the same time, but they're both true.
There are two different ways of looking at the universe; and it's the same universe with two different windows. The science window gives you a view of the world, and the religion window gives you a totally different view. You can't look at both of them at the same time, but they're both true.
I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.
Years and years of talking and writing versions of the script [Sausage Party] and looking at various versions of the animations - I mean, it's really a lot of workshopping and trying different things, and using the cast to try different voices and characters. And that's the good thing about animation. Because it takes so long, it allows you to explore in a way that you can't in live-action movies.
There's a process in the movie industry in both live action and animation called development hell!
I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.
I love the culture of animation. What stop-motion has in common with live-action is that it has many of the same departments. There's hair, costume, makeup in the form of paint, gaffers, electricians. So there's the same sense of real stuff, real light. But it's not like everything happens at once, like it does in live-action. It's all subdivided into these small sets. It's where my strengths are. Live-action is just an utterly different world, and I'm not a public enough persona to be big and loud at the front of the ship. I'd rather more quietly interact with the artisan animators.
I think the mistake people make most often when they invest in other kinds of startups is they say, 'This is totally different.' And so the things that matter, like making a product that people desperately want, like talking to customers, they throw this out the window. That is a recipe for heartache and tears.
My belief is that if there are already games that other developers are putting out that are satisfying to the player, with great action or an excellent story, then I desire to create something different - a different type of experience.
I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.
What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.
Comedy and politics have a lot in common. Both are great ways to pick up chicks - just look at Governor Spitzer. Or Ellen Degeneres. Both require spending time on the road meeting strangers who often have the desire to throw things at you. Both are difficult, if not impossible, to do all alone. And both rely heavily on personality.
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