A Quote by Peter Jackson
If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.
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With my own cartoon, it was just me being goofy by myself, but when it comes to an animated film, you're working with 45 animators and assistant animators. It's a whole different ballgame.
I've done animated TV stuff, but I'd never done animated film work, which is much more involved and much more labor intensive. The animators are much more meticulous and detailed. It's just been really fun and really satisfyingly creative.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
I'm a believer that people need to understand that filmmaking is not a perfect process for anybody. It is a process in which you find the film and the film finds you. And that is every film.
You have to understand that when you're a voice actor on an animated film, you're really just a tiny little piece of this huge process. And when you finally get to see the finished product and see all of the wonderful work that the animators & the designers & the writers did to make your character stand out, it's just so touching, so humbling.
Toward the end of the film ['Life, Animated'] we see 'The Sidekicks Story,' and that is a story that Owen drew himself. We took that style, which is decidedly different from Disney animation, and used it as a basis. It's a 'two-dimensional' hand drawn animated form, so I went to this company in Paris called 'Mac Guff,' and they assembled an amazing group of young animators, and brought it to life.
To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.
My attention is more on the technical process of filmmaking; I like to observe cinematography and direction.
What's important in the filmmaking process has stayed the same. Keep it small, keep it personal, keep it authentic, work with people you like and trust. That process is much longer than the filmmaking process. The development process is a long one, so try and say something of importance.
You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.
Every aspect of filmmaking has lured me. Although I'm an actor now, one day, I'd like to direct a film. It's not as though I'm all set to take the plunge; I cherish this dream of calling the shots, but only after I groom myself with the right kind of preparation and the technical know-how.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
The quality and success of Disney was actually bad for us animators because everyone on the planet thought that animation was only for kids and only in a certain domain. The big film festivals never thought much about animated films.
I usually get involved in the interviews about the animators and the filmmaking in general, because I had a chance. I got to know, not only Marc Davis, but Frank Thomas, Artie Johnson, Ward Kimball, all these great animators, and just ask them all these questions about how they did certain things, what their trials and errors were, the ups and downs.
At the age of 5, when I was in kindergarten, I often used to pass by the computer labs and see students doing work on computers. I realized that calculation, which would take us a long time to do, can be done in less than a second with the help of computers. So that is how my interest in computers began.
I spent about a year and a half doing technical post work on 'The Fountain'. Although I do like the process, I think my favorite part of filmmaking is the actors.
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