A Quote by Wes Anderson
Animating is a very slow, pain-staking process and the animators become the actors at that point.
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Since the waiting time required during the rendering process has been dramatically shorter in the last 10 years, I think that CGI animation has finally become practical. It is a fact that I processed the Steamboy work based on the assumption that the machine spec would be higher. In that context, young 3D animators have also gotten more skillful in recent years. But what I didn't expect is that the skills of traditional 2D animators have become worse, and notable young animators have not come out to the scene. This is a big issue for the industry.
Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.
My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.
I know there are different kinds of actors, but I tend to have less effective relationships with actors who have a very private process - who really need to do lots of internal work, so that I become merely a witness until they're ready to share.
The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
Normally I'm watching people become actors in the process of making the film. It's very important you have a lot of respect when you are dealing with young people. You are in charge of everything about the process. You're an adult and they're not.
Americans are very good at animating voices. I don't know why. They have a freedom with them that we British actors find more difficult to get to.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
Their pain [the injurer's pain at having injured you] and your pain create the point and counterpoint for the rhythm of reconciliation. When the beat of their pain is a response to the beat of yours, they have become truthful in their feelings...they have moved a step closer to a truthful reunion.
Facing the darkness, admitting the pain, allowing the pain to be pain, is never easy. This is why courage - big-heartedness - is the most essential virtue on the spiritual journey. But if we fail to let pain be pain - and our entire patriarchal culture refuses to let this happen - then pain will haunt us in nightmarish ways. We will become pain's victims instead of the healers we might become.
I think the films and the paintings erase each other. The paintings are extremely slow and constantly going on in the studio - they're constantly regenerating themselves in this slow, monotonous way that's a physical struggle and can be a pain in the ass. They're all based on very specific math and diagrams. And the films, when I'm making them, are very fast, very collaborative, with a lot of improvisation.
Inhibition is something I notice in hamstrung actors all the time. They can be wonderful up to a point and then become very self-conscious.
I'm not really attracted to action sequences, because my experience is that it's quite a slow process to shoot them, and often we're not involved as actors.
I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.
'Higher Power' was the result of a personal experience: a friend of mine who went through the process of addiction and recovery. It's a very, very tough thing - very easy to become addicted and very, very hard to become a recovering addict.
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