A Quote by Edwin Catmull

Are the Simpsons cool? They are, and that is crude 2D animation. — © Edwin Catmull
Are the Simpsons cool? They are, and that is crude 2D animation.
For me, one of the great tragedies is the conclusion studios have drawn about traditional animation. I believe that 2D animation could be just as vital as it ever was. I think the problem has been with the stories.
Anybody in animation today would be lying if they said they weren't somehow influenced by 'The Simpsons' to a certain degree. Except for the shows that go out of their way to look as far from 'The Simpsons' as possible.
I think the No. 1 lesson I learned from 'The Simpsons' was just that animation could be as funny as live-action. That animation could be funnier than live-action. That animation didn't have to just be for kids.
The industry in Japan moving toward CGI is not as severe and extreme as in the U.S. The animation industry in the U.S. is firing 2D animators and closing those studios, but I think it's possibly because the national traits of the U.S. prefer super-realism. Since Japan is a country that prefers plane vision, I don't think we will leave 2D and substitute hand-drawing with CGI entirely.
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.
Because good writing in a TV cartoon is so rare, I think the animation on The Simpsons is often overlooked.
On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.
I was very, very into animation when I was growing up. The Simpsons is still my favorite show. I have a really strong connection to it.
In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.
The success of 'The Simpsons' really opened doors. It showed that if you were working in animation you didn't necessarily have to be working in kids' television.
The success of The Simpsons really opened doors. It showed that if you were working in animation you didn't necessarily have to be working in kids' television.
In Bach there is still too much crude Christianity, crude Germanism, crude scholasticism; he stands on the threshold of European (modern) music, but he looks back from there to the Middle Ages.
Basically, we used to have a rule at 'Saturday Night Live' that you're not allowed to bring up 'The Simpsons' at the rewrite table, because 'The Simpsons' has done every joke there is. Every week there would be guys going, 'The Simpsons did that.' I go, 'C'mon.' And 'South Park,' too.
VR should offer an experience that's more exciting than watching in 2D, and we're pretty good at 2D storytelling, so the bar's already pretty high.
When The Simpsons came around, there really was nothing else like it on TV. It's hard to imagine, but when Fox first took the plunge with it, it was considered controversial to put animation on prime time.
I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.
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