Top 1200 Computer Animation Quotes & Sayings

When it comes to producing breakthroughs, both technological and artistic, Pixar's track record is unique. In the early 1990s, we were known as the leading technological pioneer in the field of computer animation.

There are so many ships in the animation sea that are computer driven, that I think we can have at least one that's just a log raft that we can row by hand.

I don't know how to animate on the computer, and I'm really grateful that I worked with a couple of other guys. We called it our triumvirate, John Kahrs and Clay Kaytis, who really understood computer animation but loved and embraced hand drawn, which is Disney's heritage.

Computer animation is one way to liberate people from their circumstantial gravity, and it is one way to give them mental freedom.

It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.

First of all, computer animation is certainly a tremendous and viable medium today. But the warmth and personality derived from 2-D animation, in my opinion, cannot be surpassed. Certain stories lend themselves well to 3-D animation and I won't labor this with naming them, but in my bones, I still respond more emotionally to the artists feel in 2-D. You feel the 'actor' in the animator more personally...it's hard to explain.

I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.

If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

One of the things about animation is it's so expensive to do the animation, that you can't produce coverage. You only have one chance to make every shot.

There are so many sitcoms, especially in animation, that we've almost forgotten what animation was about - movement and visuals.

In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.

The great thing about computer animation is that all of those environments exist as three-dimensional worlds, so these VR worlds already exist.

I was always really fascinated with animation, but just in a way all kids are with watching Disney movies and all that, but I had no idea how animation was done.

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.

To take full advantage of computer animation, you have to pay as much attention to the believable as you do the unbelievable.

A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.

It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.

I was a little geeky kid anyway. If I wasn't shooting little stop-animation films, then I was playing computer games or Dungeons & Dragons.

We're one of the largest employers in Canada for animation executives, and there is - I think something on the magnitude of $140 million a year be important to the Canadian economy producing animation for Netflix.

Motion comics are a medium all their own. It is certainly not animation, in which a large number of artists do tens and even hundreds of thousands of drawings. The animation, or 'the reality,' is created in a computer, and the work of the original artist is the work. Nor is it a comic book. You can't turn the pages. You can't read the dialogue.

In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.

Animation, for me, is a wonderful art form. I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

Even if you have money, access to MoCap technology, and strong choreographic and computer-animation abilities, don't try to make a film like this if you don't have a lot of patience, perseverance and a deep affinity for risk-taking.

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.

It's not like the computer magically does it for you. Animation just takes forever.

I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.

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 wanted to do animation, so for lack of available career counselling, took up Bachelor's in Computer Science, but managed to get only C grades.

Imagine you are writing an email. You are in front of the computer. You are operating the computer, clicking a mouse and typing on a keyboard, but the message will be sent to a human over the internet. So you are working before the computer, but with a human behind the computer.

I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldi's in Queens.

Are we blasphemous in saying that 2-D is largely a thing of the past, and computer-generated animation is the present and future? It's all about creating a better experience for the viewer - and that includes 3-D.

I don't like animation. I hate animation, actually.

Motion comics are just cheap animation. Very cheap animation. And I like animation almost as much as I like comics, but I'm not rushing to pay out for a cheap hybrid of the two.

Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!

I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!

I'm the biggest fan of animation. I love the history of animation, I know it well.

In feature animation, cartoony or exaggerated animation is almost taboo. There is this precedent that if you do that kind of stuff people won't like it or it will be too zany.

I have decided that I want animation to be taken seriously; that is the goal of my life. I believe that animation is a very important medium to tell stories, not just for kids but for adults.

I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.

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.

I'm a big fan of cel animation, I'm a big fan of computer animation, and, most of all, I'm a big fan of stop-motion animation.

That's what happens in three-dimensional animation, you tell the computer what the subject is like and the computer can figure what it would look like from any camera's point of view.

I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldis in Queens.

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.

If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception.

I don't even know how computer animation works, honestly, and I don't need to.

On MTV, the dialogue can be a little darker, more interesting and edgy... the animation is just phenomenal. It's a CGI program that's doing all the animation.

Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.

I've been working in computer animation for 25 years. I'm obviously a devotee of the technology. I just think it's the one aspect of the medium that's going to continue to revolutionize the filmmaking. It's constantly changing and it's constantly opening up new possibilities. The technology is evolving where 2-D animation was ultimately limited by how long you could pay how many people to make a movie. I mean computers, not that it's in anyway a labor saving device, but it promises to open up exciting new technical possibilites.

The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.

In view of all the deadly computer viruses that have been spreading lately, Weekend Update would like to remind you: when you link up to another computer, you're linking up to every computer that that computer has ever linked up to.

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 get a lot of credit for Tron. They called us scene choreographers back then because the animation unit wouldn't let us be called animators because we were working on computers. And we were some of the first people ever to make 3-D computer animation.

Animation translates well to a small screen. When you look at Walt Disney or Chuck Jones - you know, Bugs Bunny - there really isn't any difference if you watch on a very big screen or a computer screen.

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

It's a hilarious part of my past, all the sitcoms I did in the '80s. And then all the animation - animation is amazing. It's really been great.