A Quote by Diplo

How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think. — © Diplo
How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think.
I think, ultimately, the problem with something like this is that you actually have so many more opportunities to say something than you actually have things worth saying. And then, as an artist who doesn't want to do bad work, gosh, how do you fill up all that space when you really don't have anything actually worthwhile to say? And that's what makes the job tough, because the fans get mad - "That's not funny," or "You've been sucking for several months now." And you go, "It's not my fault! I'm trying."
Read, every day, something no one else is reading. Think, every day, something no one else is thinking. Do, every day, something no one else would be silly enough to do. It is bad for the mind to continually be part of unanimity.
In film, I don't think I'd try directing. Maybe one day, but I'd certainly want to go to film school or something before I tried to do something like that. That would be quite scary.
I always find music guys writing about love. Think of something else for a change. I'm sorry, but it's been done, and it does work and it's good and all that, but I think something else would be nice.
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.
I think that that's part of how people have responded to The Tiger Rising. It's what I call my dark child. It's gotten sandwiched in between two overachieving, tap-dance-performing kids - Winn-Dixie and Despereaux.
Sometimes the theme of the film is something that comes down to the way you designed the film - that you're saying something about the world. And it's one of the things that I think animation can do, in a way that other forms of filmmaking can't do. Because every single thing you see has got to be designed and created.
I don't think I can break down any doors, but I'm thinking, "Maybe I can be a cameraman, because I love the cameras." And the cameraman would show me how to thread the film, how to repair it, the lenses. That's when you become, like, goony goo-goo about it. You breathe and eat camera, and all of a sudden, you don't want anything else in the world. You finally know, "This is my calling." When you're passionate about something, it doesn't become work. It's art and it's fun. It's arduous, it's sweaty.
Wayne Wang, the director of Because of Winn-Dixie the movie, understood the book and transferred as much of the feeling of the book onto film as humanly possible. I think he did a fabulous job. And also I'm thrilled because the movie brings people to the book - people that wouldn't know about the book - and that's a great thing.
I would work until I got stuck, and I would put it down and pick up something else. I might be able to take a 20-minute nap and get to work again. That way, I was able to work about 10 hours a day... It was important to me to work every day. I managed to work on Christmas day, just to be able to say I worked 365 days a year.
Feminism is something I think about more when I watch the film, Christine, rather than when I was actually doing it, to be honest with you. But I do think it functions as a sort of interesting feministic critique, because you are seeing a woman who's resolutely incapable of behaving like the kind of woman that's acceptable at the time. She doesn't know how to play the game by everyone else's rules, and it makes you realize that actually there were rules that were functioning for a woman to be a careerist.
It felt like something was calling me to Israel, and that I had to go there to discover it. I don't know how else to explain it. In my head, I was thinking it was something about music, something I needed to hear. So I booked a plane ticket and left the next day.
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 intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
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