Top 736 Animation Quotes & Sayings - Page 9

We're not purists about stop-motion. If there's a tool we can use that makes more sense to bring something to life in a better way, we'll use it, whether that's hand-drawn animation or CG or some newfangled technology we're developing.

Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.

So just make films and put them on the internet and promote them by sending links to different animation/film blogs. I think that's a solid first step towards being a show maker.

'Ice Age 4' came totally out of nowhere for me. I was told Fox Animation was interested in hiring me as a story supervisor or something or other that sounded way too professional for me.

The thing that I enjoy about animation is the fact that it is unbridled, and there are no boundaries; when you are in the room, you don't have to focus on your clothing, make-up, hair, your choreography or your blocking; you really do have total freedom.

In terms of writing characters or stories, at least initially, there's no difference between live-action and animation. A good story is a good story, whatever the medium.

I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.

I don't dislike the process of animation... I find it daunting, but only as much as I find everything daunting.

Those in power at Disney, the very generous figures at Disney Animation, have convinced themselves I'm a good-luck charm for their movies, which is great. It's working out really well for me, and it seems to be a mutually beneficial arrangement.

With the quality of films it seems animation can do almost anything these days. It’s amazing what goes on. But for us it’s always about trying to tell a good story, with great characters. And that will probably always be the philosophy as far as Disney and Pixar is concerned.

One reason for keeping Disney animation separate from Pixar was that by solving their own problems when they finished a film, Disney could say, 'Nobody bailed us out; we did it.' And it's a very important social thing for them to do that.

People think that cartoons are meant to be watched on television and not in cinemas. To get people into cinemas to see animation really boils down to storytelling for the family.

I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.

Luckily, I went to school at CalArts, and then ended up here at Disney, starting in the Animation Building and working my way up. I started as an animator, and then did character designing and storyboarding, and eventually, directing.

The album [Blaxistential crisis] artwork is by a friend of mine who is a brilliant artist named Sara Pocock. We've been friends for a couple of years and she worked with me on the animation. I believe she's still working over at BuzzFeed.

I thought that if I could speed up the production of animation, I could make a big business out of recreating the amazing images of the news because what we get on TV is always the last bit of image.

I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.

I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].

I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.

Animation is a great way to work. No early morning call times, no make-up chair. In live action, you're always fighting the clock; the sun is always going down too soon.

France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.

There's established gaming IP that's coming from console to mobile, which is interesting. Everything is converging a little bit toward mobile devices in the living room. On the casual side, the graphics and animation and game design and all of those variables are improving.

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.

When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.

I've always been a fan of animation. As a kid, I used to watch a lot of the Saturday-morning cartoons, and I was always a fan of even claymation and that whole medium.

I want to do voiceover for animation, so I am looking to do something along those lines. So, my agent is looking for something in that area, and I think that would be a lot of fun.

I took a lot of influences from Studio Ghibli, which is the Japanese animation studio that made 'Spirited Away' and 'Castle in the Sky.' They're like the Japanese version of Disney - but without all the schmaltz.

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.

Animation is a great way to work. No early morning call times, no make-up chair. In live action ,you're always fighting the clock; the sun is always going down too soon.

I grew up, obviously, watching tons of animation; Saturday morning cartoons or anything that we could get our hands on. And then when 'The Simpsons' premiered, that just kind of changed the landscape of everything. We hadn't had prime time animations since 'The Flintstones.'

I don't have a problem with big name actors coming into animation. It actually has been done for years and we are after all actors, it is just a different medium that requires a different technique.

In the past, there's reasons why 'The Goon' wasn't made; it's because people were afraid of edgy animation. Now, I think that 'Deadpool' has proved that that audience is out there in a bigger way than some people thought.

Steve Carell is good. I like him. Who else? Here's another depressing thing: animation has kind of taken over, too. You know, 'Family Guy?' I watch that because the guy is good.

Acting is a plum gig, and then animation is an even more plum gig.

All new tools are useful to animators, but great animation comes down to great animators.

The problem is that every time people have deviated from the Disney playbook in hand-drawn animation, they've done so with staff that are nowhere near Disney-level talent or Disney-level budgets.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

If you were to look at an old 'Betty Boop' cartoon or an 'Out of the Ink Well' animation, there are many things about 'Adventure Time' that really remind you of that, even though it doesn't look like any of those cartoons.

Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know. It's produced by humans who can't stand looking at other humans. And that's why the industry is full of otaku!

Our griefs, as well as our joys, owe their strongest colors to our imaginations. There is nothing so grievous to be borne that pondering upon it will not make it heavier; and there is no pleasure so vivid that the animation of fancy cannot liven it.

I run advertisements and sell T-shirts to cover overhead costs and pay the few people who help me out behind the scenes. Anything left over is spent on production costs, animation costs, etc.

A character like Wonder Woman is so iconic and yet, over the course of her history, there have been lots of subtle changes. We couldn't stray too far from the comic book look, but you do have a certain amount of leeway in terms of how you interpret those elements for animation.

My first movie I saw when I was a kid was 'The Jungle Book.' I was 5 years old, and I saw it in a movie theater. Seeing that movie really lit the fuse and ignited my passion for animation.

I like making comics and animation because it takes such a long time. I'm not a runner of the 100 meter. I like marathons. The longer it takes, the better I feel.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the 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.

One of the tricky things with animation is, because we spend four years on the movie and everything is done so methodically day by day by day, it can be a struggle to have the finished film feel spontaneous and loose and naturally occurring.

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.

Animation is so much work! I don't know if I have the skills to really hack that. Maybe as storyboard artist or something like that. But you have to go to school to be an animator. I can't just pop behind the animator's table and be like, "Here I am.".

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.

Animation can be a full spectrum of different storytelling techniques and different genres. I think it's sad that there is only one audience that the studios are aiming for and that's the kid audience. It's really tragic that they don't' make films for older people.

I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.

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.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.

When I was a teenager, my dad watched my films and told me I could go to art college and study animation. He made me see that I could do this for a living.

Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.

In Fleetwood Mac I have a persona, I call myself the 'Spider Woman'. I try to imagine myself putting on a spider mask. I become very subdued and quieter, I don't move so fast., I'm in a state of suspended animation.

Very few people view stop motion the way we do. We really try to use it - and animation generally - as a powerful visual medium by which you can tell virtually any kind of story in any genre.

I'm a bit of a weird creature... I'm self taught and went to a regular film school, not art school, and I think it's unusual for somebody to approach animation from that angle. In a sense I've sometimes consclassered myself more of a filmmaker who just happens to animate.