A Quote by Wes Anderson

I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is. — © Wes Anderson
I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.
You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.
I love all sorts of animation, probably the most beautiful would be the tradtional hand drawn animation that Disney is known for. Stop-motion has a certain "grittieness" and is filled with imperfections, and yet their is an undeniable truth, that what you see really exits, even it if is posed by hand, 24 times a second. This truth is what I find most attractive about stop-motion animation.
I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself - love it so much that we're always going to be looking for new ways to make our films.
I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.
Walking in stop-motion animation is probably the most difficult thing you can do... The way that they have these puppets connect to the set is they actually drill a hole in the set, and they put a threaded rod up through that hole and screw it into the bottom of their foot, and that keeps them in place.
Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.
Stop-motion is sort of the redheaded stepchild of animation. But it's incredibly beautiful.
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
I used to take my little Disney figurines and turn them into stop-motion animation.
Every 'Star Wars' film was about pushing what was possible in terms of effects, puppets, matte paintings, stop motion and, now, digitally.
Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.
When you look back over 100 years when stop-motion was really at the dawn of cinema, a lot of the ways it developed was you had stage magicians who were looking to bring their illusions to life, and one of the ways they did that, at the time, was through cinema and stop-motion. They developed these processes.
My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.
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 meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.
I have to admit to not being the greatest technician, but stop motion animation gives me licence to create machines that wouldn't otherwise be possible - inventions that seem real and actually work.
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