Top 1200 Disney Animation Quotes & Sayings - Page 2

Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things.

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.

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.

The fun and imaginative world of Disney is always full of fairytale fantasies. A Disney damsel is creative and resourceful - especially when it comes to beauty tips and tricks!

The first Disney movie I saw I think was 'Snow White.' I loved all the Disney princess movies.

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.

Too many of Disney animators, and a lot try to emulate Disney, are trying to hit what they call quality levels. They're boring mannerisms.

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.

Characters in animation do not cheat. They do not let you go for another. Animation is on certain points, very close to the pornography industry. All your physical needs are met. You can watch different animations and find anything you desire.

I used to watch, on television on Sunday nights, they had the Disney hour then and the castle coming up and 'When you wish upon a star... ' That was my very first Disney memory.

I think that might have been an element in it, and people have asked me that very thing. Remember, Disney is the majority shareholder, but it is not an operating division of Disney.

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.

You need that same creative force that exists in a building like Disney [Walt Disney Concert Hall] to actually tackle that most prosaic of problems.

Disney has a bible for their characters, so that people who draw Disney characters have to make them look correct.

Toward the end of the film ['Life, Animated'] we see 'The Sidekicks Story,' and that is a story that Owen drew himself. We took that style, which is decidedly different from Disney animation, and used it as a basis. It's a 'two-dimensional' hand drawn animated form, so I went to this company in Paris called 'Mac Guff,' and they assembled an amazing group of young animators, and brought it to life.

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.

The death of Walt Disney is a loss to all the people of the world. In everything he did, Walt had an intuitive way of reaching out and touching the hearts and mind of young and old alike. His entertainment was an international language. For more than 40 years, people have looked to Walt Disney for the finest quality in family entertainment. There is no way to replace Walt Disney. He was an extraordinary man. Perhaps there will never be another like him… The world will always be a better place because Walt Disney was its master showman.

I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.

What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.

While not my personal favorite of the Disney princess films, 'The Little Mermaid' wins hands-down in my book for best Disney adaptation. Little girls waited for more than 150 years for Hans Christian Andersen's 'The Little Mermaid' to have a happy ending. Walt Disney finally gave it to her.

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.

Marx was fortunate to have been born eighty years before Walt Disney. Disney also promised a child's paradise and unlike Marx, delivered on his promise.

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 was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.

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.

Animation tends to have several different writers who serve different functions. I think, on a lot of animated features, there are a lot of writers who don't get credited. It's the policy at Disney, for instance, in deciding who gets credit. It depends on the writer's contract, so many things.

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

Euro Disney is not my vibe. I can't really deal with Disney, man. It's not my thing.

I want to meet everybody on 'Disney Channel' and 'Disney XD' that are alive.

Disney has been such a big part of my early career. I've done two pilots for Disney, and I've been working with them since I was 16, and I just turned 21.

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

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.

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'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.

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.

In my opinion, animation is best when it communicates without words, because it is the perfect medium through which to make shortcuts to meaning. When actors are not talking, just acting out, it looks kind of weird. But in animation, mime is constant, and you accept it.

Disney is just Disney. It's a company that's very good at what it does - controlling and promoting an image - until something happens that it can't control or cover up.

Disney was a family film studio and I was supposed to be their young, leading man. After they found out I was involved with some guy, that was the end of Disney.

In animation, the directors are part of a huge team of animators who all have opinions, too. It's a much more democratic process. Also, the animation executives oversee things more.

When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.

Animation has always been about technology. You can't have animation without technology.

When I sat there in 1971 and watched my grandfather open Walt Disney World, I was a little 11-year-old girl who worshiped the ground he walked on. You probably couldn't have found much daylight between the NRA and the Disney company.

I had done a bunch of stuff before I even went to Disney. I'm so grateful for what Disney gave me and the experiences that I got, but at the end of the day, I can do so much more than what I did on that channel and in those movies.

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

Besides kind of like the Wes Anderson, or, of course, a lot of the European movies, most everybody in the States, the big studios, make pretty much the same film. And we're kind of held to Pixar standards, or Disney standards, as it's kind of always been in the animation industry.

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.

I have a confession. I don't enjoy animation. I have no idea why because I absolutely adore doing voiceovers. I think part of me feels that animation has put an actor out of work.

I'm really comfortable doing voice-overs, but it's really fun to do animation. Those animation talents are hysterical. They're so good, and they're so amazingly quick on their feet.

I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.

Historically, Disney Channel stars don't survive well outside of the Disney environment.

My grandfather was actually a union organizer at Walt Disney. He was an animator. He used to draw Donald Duck for Walt Disney.

I'm very interested in telling darker stories that maybe you are not used to seeing in animation. Especially because in animation you don't see those kind of stories.

Disney was a family film studio. I was supposed to be their young, leading man. After they found out I was involved with someone, that was the end of Disney.

All I've been a part of has been thanks to the Disney company: the job, experience, travel, opportunities have come thanks to Disney. Working for Disney was not part of my original plan, but it was part of God's, and it shows that God is still moving.

The Disney deal for us, we are very excited to be their Pay 1 partner, where we are a big licensing partner of Disney all over the world in all different windows.

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

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.

When I go to the Magic Kingdom at Walt Disney World, they have wonderful topiary in the shapes of characters. I apply the principle to my life. "Prune away that which is not a Disney princess!" I think Michelangelo said that.

I'm a total Disney freak. I want to live in Disney World.

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.