Top 570 Animated Quotes & Sayings - Page 9

My dad is a minister and my mum is a worker with the less fortunate and the disabled. They're Nigerian natives. Their first language is Yoruba, and their second language is English. My mum and dad moved to London when they had my eldest sister. They started a life in London as immigrants, and they built up from there. They're no actors in my family, but there are definitely animated black people in my family.

Christians are beginning to lose the spirit of intolerance which animated them: experience has shown the error of the expulsion of the Jews from Spain, and of the persecution of those Christians in France whose belief differed a little from that of the king. They have realized that zeal for the advancement of religion is different from a due attachment to it; and that in order to love it and fulfil its behests, it is not necessary to hate and persecute those who are opposed to it.

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning. So when I think of doing that I was very excited. It didn't go as far as I think it should, I'm still a novice, but I think it's fair to say it's a new cinematic medium, experience.

Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much, you approach the songs in pretty much the same way.

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

Sometimes you can do certain things on stage, or even in a TV series, and people see the look on your face and they know what you mean, so you can get away with certain things. But if you can't create that look on an animated character, which is essentially a puppet, the line will hit the audience in a very bad way.

If we didn't have the Electoral College there would have been no George W. Bush presidency. Algore would have been elected. The Democrats have not gotten over that, and they never will get over the recount, the aftermath of that election in 2000. They are still animated by it today. It is a significant portion of the rage and anger they carry around with them every day, so they want to get rid of it.

I founded an educational software company called Knowledge Revolution. We had the first fully animated physics lab on the computer. You could take ropes, pulleys, balls and anything else you'd use in your physics textbook and the program would allow you to build anything you can think of in a physics lab.

For those of us at Marvel Television, it always begins with the story. It's all about the script. It's making sure it's there, on the page. So, we needed to go to a group of individuals who have not only created some of the most memorable animated characters, like Ben 10 and Generator Rex, but also had done two seasons of our very successful Marvel's Ultimate Spider-Man series, and that's the Man of Action guys. But, it wasn't just that.

But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.

There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.

I started doing my own animated movies when I was in ninth grade; that's when I got the filmmaking bug. When I was about 16, I started writing jokes for doing stand up, and then I was 19 and started doing stand up.

'Axe Cop' is an animated show that just started on Fox that is based off the comic book series. And here's the hook: it's written by a 5-year-old. This 5-year-old has a brother who's, like, 28 and is in the business, and the little brother kept coming up with all these awesome stories for this character he dreamed up called Axe Cop.

I'm more intrigued by things that I haven't really conceived of yet. I have the luxury of being able to think: "I've never done a ballet or an animated film myself." There are certain things that I feel I'd love to. I just want to keep trying new things and seeing if I'm any good at them, and if I'm not, then at least learning that. I definitely think I'm more interested in what medium I can explore right now than any specific story.

It is not a struggle merely of economic theories, or forms of government or of military power. At issue is the true nature of man. Either man is the creature whom the psalmist described as a little lower than the angels ... or man is a soulless, animated machine to be enslaved, used and consumed by the state for its own glorification. It is, therefore, a struggle which goes to the roots of the human spirit, and its shadow falls across the long sweep of man's destiny.

Here's my take, for what it's worth: I think that a lot of people in the US, as well as other countries, have the idea that animation is primarily for children, and kids like to be entertained! And animated films here tend to have crazy fantastic situations that would be difficult to do in live action, like with talking animals or monsters or whatnot, and that lends itself well to comedy, I think.

I have already indicated to you the meaning of the word religion, as applied to Islam. The truth is that Islam is not a Church. It is a State conceived as a contractual organism long before Rousseau ever thought of such a thing, and animated by an ethical ideal which regards man not as an earth-rooted creature, defined by this or that portion of the earth, but as a spiritual being understood in terms of a social mechanism, and possessing rights and duties as a living factor in that mechanism.

Sometimes you just have to trust the kids. The first glimpse of Wheelock Family Theatre's Shrek is a surprise. Instead of the round, green, smoothly computer-animated ogre of the movie, this Shrek is tall and hairy, with a lumpy green headpiece and mossy dreads. But as played by Christopher Chew in Wheelock's “Shrek the Musical,” this ogre was a hit with the children. they laughed and cheered and clapped in all the right places.

I don't think it was me getting rid of any sort of imageI do specific things in my career that are tailored for a specific audience. Obviously I have a younger generation that looks at me - and I really appreciate that. And I just did an animated movie, so I want to respect that and still do things that will earn me that respect. But I also want to do things that challenge me and put me out of my element.

I've known Owen's father Ron [Suskind] for years, and this was based on his best-selling book ["Life, Animated"]. We worked together as journalists at ABC-TV News, and I knew about the book since its inception. Before he finished it, he approached me and said he thought it would make a great documentary, and I agree with him, and moved forward from there.

The tremendous Jeremy Latcham from Marvel showed up with this one-of-a-kind animated encyclopedia about S.H.I.E.L.D. and The Avengers. Coulson wasn't a part of the comic books, which is a singular thing about him that I thought would get me killed off very quickly, but luckily, it didn't. It just became a thing that I fit into, and they kept finding new and better uses for me.

I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.

'JoJo's Bizarre Adventures' - it took a long time for that to get animated because the old-school animation wouldn't have the glorious nature of JoJo justice. Watching shows like that and 'Super Kia,' 'Black Clover,' 'Attack on Titan,' being able to watch some anime the night before the game definitely helps relax me.

What brought me to Disney was the new regime, which is now the old regime - came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg - and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.

I do a lot of voice over for Japanese anime titles as well as live-action stuff and original stuff from the States. 'Legion of Super Heroes,' 'New Wolverine: The X - Men' animated series, 'Afro Samurai' and some live-action stuff, TV shows here and there - I like to mix it up.

And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

As far as actors who pop up again and again in Japanese dubs, and because they're really good actors, people like Steve Bloom, not only in 'Cowboy Bebop,' but also he's sort of the de-facto Wolverine. If you're doing an animated Wolverine anything, Marvel usually just goes to Steve first because he's recognized as that voice.

When you make an animated film, you make it over and over and over. We almost do ten versions of the film.

I had co-written one episode of an animated show called Jem and the Holograms. Which at the time I didn't view as the start of a career, I viewed it as, "Hey, someone wants to pay me to write something, and I might get a TV credit, isn't that cool?" So I did it with my writing partner at the time, Cary Bates, and it was interesting but it didn't lead to anything and I didn't think too much about it.

Some Nickelodeon executives were worried about backing an animated action show with a female lead character. Conventional TV wisdom has it that girls will watch shows about boys, but boys won't watch shows about girls. During test screenings, though, boys said they didn't care that Korra was a girl. They just said she was awesome.

The old Rankin-Bass animated specials seemed to exist in a loosely shared reality, which is what attracted me to them. Santa, Snow Miser, Rudolph, Frosty, even the Easter Bunny seemed to be on nodding acquaintance with each other, even if only in cameo appearances in each other's cartoons.

I've been with that project [ Sausage Party] since its inception, since they wrote the script. It took them four years to get anyone to make the movie, because it was so filthy and there was this firm belief that there wouldn't be a market for an adult animated film, even though 10 or 15 years prior, South Park [Bigger, Longer, And Uncut] did really well.

You know what I did this morning? I played the voice of a toy. Some terrible robot toys from Japan that changed from one thing to another. The Japanese have funded a full-length animated cartoon about the doings of these toys, which is all bad outer-space stuff. I play a planet. I menace somebody called Something-or-other. Then I'm destroyed. My plan to destroy Whoever-it-is is thwarted and I tear myself apart on the screen.

The whole language of nature informs us, that in animated beings there is something above our powers of investigation; something which employs, combines, and arranges the gross elements of matter - a spark of celestial fire, by which life is kindled and preserved, and which, if even the instruments it employs are indestructible in their essence, must itself, of necessity, be immortal.

I've just recently started doing the promo bits for the new album, and the funny thing is that the people who come to talk to me about these things seem to be getting younger. It's like the people who like the music are all young kids and they're on top of you - they know all about what you're doing, and they're excited and animated about it. So it's a lot of fun.

Thus we may know that there are five essentials for victory: He will win who knows when to fight and when not to fight. He will win who knows how to handle both superior and inferior forces. He will win whose army is animated by the same spirit throughout all its ranks. He will win who, prepared himself, waits to take the enemy unprepared. He will win who has military capacity and is not interfered with by the sovereign.

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.

People must have renounced, it seems to me, all natural intelligence to dare to advance that animals are but animated machines.... It appears to me, besides, that such people can never have observed with attention the character of animals, not to have distinguished among them the different voices of need, of suffering, of joy, of pain, of love, of anger, and of all their affections. It would be very strange that they should express so well what they could not feel.

Prayer is the offering up of our desires to God in the name of Christ, for such things as are agreeable to his will. It is an offering of our desires. Desires are the soul and life of prayer; words are but the body; now as the body without the soul is dead, so are prayers unless they are animated with our desires.

Philip Kitcher has composed the most formidable defense of the secular view of life since Dewey. Unlike almost all of contemporary atheism, Life After Faith is utterly devoid of cartoons and caricatures of religion. It is, instead, a sober and soulful book, an exemplary practice of philosophical reflection. Scrupulous in its argument, elegant in its style, humane in its spirit, it is animated by a stirring aspiration to wisdom. Even as I quarrel with it I admire it.

Unlike the rationalism of the French Revolution, true liberalism has no quarrel with religion, and I can only deplore the militant and essentially illiberal antireligionism which animated so much of nineteenth-century Continental liberalism. ... What distinguishes the liberal from the conservative here is that, however profound his own spiritual beliefs, he will never regard himself as entitled to impose them on others and that for him the spiritual and the temporal are different sphere which ought not to be confused.

If the concept of consciousness were to fall to science, what would happen to our sense of moral agency and free will? If conscious experience were reduced somehow to mere matter in motion, what would happen to our appreciation of love and pain and dreams and joy? If conscious human beings were just animated material objects, how could anything we do to them be right or wrong?

An Animated Cartoon Theology: 1. People are animals. 2. The body is mortal and subject to incredible pain. 3. Life is antagonistic to the living. 4. The flesh can be sawed, crushed, frozen, stretched, burned, bombed, and plucked for music. 5. The dumb are abused by the smart and the smart destroyed by their own cunning. 6. The small are tortured by the large and the large destroyed by their own momentum. 7. We are able to walk on air, but only as long as our illusion supports us.

The fun of being a supervisor is that you kind of get to shape the film as a whole rather than crafting a complete scene. I can't really think of one in particular that I feel like I own, except for a couple shots that I animated, which is fun. But feeling like you contributed to the whole is the most satisfying thing.

What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg, and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.

When watching men of power in action it must be always kept in mind that, whether they know it or not, their main purpose is the elimination or neutralization of the independent individual- the independent voter, consumer, worker, owner, thinker- and that every device they employ aims at turning men into a manipulable animated instrument which is Aristotle's definition of a slave.

Marylata [ Elton] introduced me to Hans Zimmer. Hans tapped me [to] work on songs for DreamWorks' animated features. I arranged Elton John's opening main title for The Road to El Dorado, I played guitars on Shrek for Harry Gregson-Williams and John Powell, I co-produced "I Can See Clearly Now" for Antz.

I don't know what would be antithetical to do on the other side, maybe a Tyler Perry movie or something. No, there are very few comedies that live in between that. Or you're doing some kid thing like a Jim Carrey movie with animated something that's like that. Yeah, I've wanted to do them. I like doing them. I did Talk to Me. That was pretty much a comedy.

The attainment of knowledge is the high and exclusive attribute of man, among the numberless myriads of animated beings, inhabitants of the terrestrial globe. On him alone is bestowed, by the bounty of the Creator of the universe, the power and the capacity of acquiring knowledge. Knowledge is the attribute of his nature which at once enables him to improve his condition upon earth, and to prepare him for the enjoyment of a happier existence hereafter.

My father was a restaurant man, laundry man in his lifetime. And I've often wondered how and why did I become an actor? Where did I get the so-called talent to express myself? And I look back, and I see that my mother was very animated. I can remember that she used to, what she called 'bei zhu.'

Many a scientist has patiently designed experiments for the purpose of substantiating his belief that animal operations are motivated by no purposes. He has perhaps spent his spare time in writing articles to prove that human beings are as other animals so that 'purpose' is a category irrelevant for the explanation of their bodily activities, his own activities included. Scientists animated by the purpose of proving that they are purposeless constitute an interesting subject for study.

Must it ever be thus-that the source of our happiness must also be the fountain of our misery? The full and ardent sentiment which animated my heart with the love of nature, overwhelming me with a torrent of delight, and which brought all paradise before me, has now become an insupportable torment, a demon which perpetually pursues and harrasses me.

A surging, seething, murmuring crowd of beings that are human only in name, for to the eye and ear they seem naught but savage creatures, animated by vile passions and by the lust of vengeance and of hate. The hour, some little time before sunset, and the place, the West Barricade, at the very spot where, a decade later, a proud tyrant raised an undying monument to the nation's glory and his own vanity.

For whatever reason, I think we have one type of animated movie and it's so wrong. I want to do a drama, I want to do an action, a comedy. In live-action, there are all sorts of movies. There's independent movies, big movies, action movies, funny movies, and for us we have one movie.

To captivate our varied and worldwide audience of all ages, the nature and treatment of the fairy tale, the legend, the myth have to be elementary, simple. Good and evil, the antagonists of all great drama in some guise, must be believably personalized. The moral ideals common to all humanity must be upheld. The victories must not be too easy. Strife to test valor is still and will always be the basic ingredient of the animated tale, as of all screen entertainments.

I'm not interested in stories. Stories are interesting but I don't think my head works that way. I remember at age 10 I dreamt of making animated cartoons as loops, something you could just project on your wall and look at from time to time. Kind of, something to stare at, something that's always there.

In the various states of society, armies are recruited from very different motives. Barbarians are urged by the love of war; the citizens of a free republic may be prompted by a principle of duty; the subjects, or at least the nobles, of a monarchy, are animated by a sentiment of honor; but the timid and luxurious inhabitants of a declining empire must be allured into the service by the hopes of profit, or compelled by the dread of punishment.

But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.

If ye love wealth better than liberty, the tranquility of servitude than the animated contest of freedom - go home from us in peace. We ask not your counsels or arms. Crouch down and lick the hands which feed you. May your chains sit lightly upon you, and may posterity forget that you were our countrymen!

Given for one instant an intelligence which could comprehend all the forces by which nature is animated and the respective positions of the beings which compose it, if moreover this intelligence were vast enough to submit these data to analysis, it would embrace in the same formula both the movements of the largest bodies in the universe and those of the lightest atom; to it nothing would be uncertain, and the future as the past would be present to its eye.