A Quote by Rob Minkoff
Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.
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Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.
You look at Japan and Hayao Miyazaki's films are the biggest films ever made in Japan; domestically there and they play to critical acclaim around the world. He won't put more then 5 or 10 percent computer imagery in his movies. It's disappointing to me. It's a silly choice that some studios made to move out of animation. It's part of the unfortuneate preconception that I think the public has going into see animation.
I grew up with a pencil. A pencil was my computer at the time and so drawing, drawing, drawing and the tools of drawing where the usual ones and eventually then you graduated from the tools when the work increases and you start to draw by freehand as precise as possible and as accurate as possible, and I was pretty good at that.
The computer is really like a pencil, you know. It used to be. The pencil can do anything you want to, but you have to do it, and the same is with the computer.
Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.
I was asking questions which nobody else had asked before, because nobody else had actually looked at certain structures. Therefore, as I will tell, the advent of the computer, not as a computer but as a drawing machine, was for me a major event in my life. That's why I was motivated to participate in the birth of computer graphics, because for me computer graphics was a way of extending my hand, extending it and being able to draw things which my hand by itself, and the hands of nobody else before, would not have been able to represent.
I've never been much of a computer guy at least in terms of playing with computers. Actually until I was about 11 I didn't use a computer for preparing for games at all. Now, obviously, the computer is an important tool for me preparing for my games. I analyze when I'm on the computer, either my games or my opponents. But mostly my own.
Composing computer programs to solve scientific problems is like writing poetry. You must choose every word with care and link it with the other words in perfect syntax. There is no place for verbosity or carelessness. To become fluent in a computer lnaguage demands almost the antithesis of modern loose thinking. It requires many interactive sessions, the hands-on use of the device. You do not learn a foreign language from a book, rather you have to live in the country for year to let the langauge become an automatic part of you, and the same is true for computer languages.
The computer is a tool, just like pencil or charcoal, allowing illustrators to manipulate images from their sketchbooks.
Ever since high school I've been writing in a spiral notebook, in pencil. Everything looks too polished on a computer when you start writing, and I can't really see it. I feel like the words are much more naked in pencil, on a notebook. I feel that my brain works differently, and words come out differently, if I have a pencil in my hand, rather than if I have a keyboard. I tend to add more in the margins. I tend to elongate the sentences as I'm writing and editing, and there is just something about the feeling of writing longhand that I really love.
I loved my computer; it's a tool. A tool increases your mechanical advantages. It allows you to use your strengths and talents to greater advantage, and that's what tools do, and that's what my computer does for me. It's not my toy, it's my tool.
They say films they are made by computers. There are computer programs to see statistically what people are more interested in, and they practice computer combinations in these things to try to have more viewers.
What, then, is the basic difference between today's computer and an intelligent being? It is that the computer can be made to seebut not to perceive. What matters here is not that the computer is without consciousness but that thus far it is incapable of the spontaneous grasp of pattern--a capacity essential to perception and intelligence.
I appreciate the sentiment that I am a popular woman in computer gaming circles; but I prefer being thought of as a computer game designer rather than a woman computer game designer. I don't put myself into gender mode when designing a game.
As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.
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