A Quote by Rza

I wrote a big animation scene for 'Iron Fists,' but we couldn't afford all that. — © Rza
I wrote a big animation scene for 'Iron Fists,' but we couldn't afford all that.
I'm a big fan of cel animation, I'm a big fan of computer animation, and, most of all, I'm a big fan of stop-motion animation.
I'm ready to see that new RZA movie [The Man With The Iron Fists] too, it looks kind of Tarantino-ish.
I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.
The first thing I remember is that my dad had a big iron Olivetti typewriter and he worked all night. He was a staffer at Punch but in the evening he wrote columns for the Evening Standard and The Times.
I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.
I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.
I'm a big vitamins girl. I take iron because, especially being a female athlete, I have to make sure iron levels are good to go.
Big businesses have always had a lot more voice. They can afford advertising; they can afford marketing. But for small businesses, being able to quickly and cheaply connect to customers is a big deal.
Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.
There are damn few great writers and I'm not one of them. While I could afford to I played with words. When I could no longer afford that I wrote for money.
I get a lot of credit for Tron. They called us scene choreographers back then because the animation unit wouldn't let us be called animators because we were working on computers. And we were some of the first people ever to make 3-D computer animation.
No movement can afford to be caught in a time warp and exist in a state of suspended animation.
There is a scene in the movie where Astrid and Hiccup fly on Toothless's back toward the island of Berk. The animation is intensely real, from the waves on the sea to wisps of wind blowing in the characters' hair. The feeling I get watching that scene is why I fly - just for that feeling.
Animation is my love, but I think there's definitely room in live-action. I mean, 'Iron Man 2' was fun, and I got to see that world.
I do enjoy a bit of the fantasy world that anime provides, but at the same time, I need the reality in it. I'm very much a stickler about the actual animation. I'm not into the cutesy, stereotypical animation with big eyes and a small chin. That annoys the hell out of me.
I wrote 'Paava Kadhaigal' the same way I wrote my feature films 'Irudhi Sutru' or 'Soorarai Potru.' I was more honest in this film rather, because you can afford to be real and get away with it.
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