A Quote by Thomas Newman

In animation, action is changing so quickly that there's really not a lot of suspended moments. — © Thomas Newman
In animation, action is changing so quickly that there's really not a lot of suspended moments.
Campaigns are these moments of suspended animation where people usually learn how to be friends afterward.
What do I mean when I say 'suspended animation'? It is the process by which animals de-animate, appear dead and then can wake up again without being harmed. OK, so here is the sort of big idea: If you look out at nature, you find that as you tend to see suspended animation, you tend to see immortality.
I love watching action films, and especially the little moments of wit and humor in the choreography in a lot of them. The editing of an action sequence often has great moments of comic timing.
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.
I feel like there's a lot of drama in weather. It's something that's done really often in live action, so I figure, why not translate that to animation?
I do think that fist-waving conversations around liberation ideologies are sort of dated - I'm not creating Barbara Kruger moments of self-actualization - what I'm trying to do is create more moments of chaos where we don't really know where we are: to destabilize; where all the rules are suspended temporarily.
I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.
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.
Tidiness makes me think of held breath, of suspended animation.
As a consumer, I love action movies and have a lot of opinions about how action comedies don't really do justice to what I find exciting about an action movie, which is the genuine thrill of watching something that feels really high-stakes. A lot of times, it's played for laughs and action, which waters down the sense of danger.
No movement can afford to be caught in a time warp and exist in a state of suspended animation.
Usually when I mention suspended animation, people will flash me the Vulcan sign and laugh.
Luckily with animation, they give you a lot more leeway than a live-action show.
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.
In live action, sometimes a mood or a feeling can go on for quite a while. Animation is a lot more effort. There are a lot more notes.
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