Top 1200 Japanese Animation Quotes & Sayings

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.

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

The Japanese army is now prepared to use every means within its power to subdue its opponents. The objectives of the Japanese Expeditionary Forces are, as clearly set forth in statements issued by the Japanese Government, not only to protect the vested interests of Japan and the lives and property of the Japanese residents in the affected area, but also to scourge the Chinese Government and army who have een pursuing anti-foreign and anti-Japanese policies in collaboration with Communist influences.

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.

It is sobering to recall that though the Japanese relocation program, carried through at such incalculable cost in misery and tragedy, was justified on the ground that the Japanese were potentially disloyal, the record does not disclose a single case of Japanese disloyalty or sabotage during the whole war.

Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.

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.

Since I am a Japanese man who's been building through the experience of Japanese architecture, my actual designs come from Japanese architectural concepts, although they're based on Western methods and materials.

I don't speak Japanese, I don't know anything about Japanese business or Japanese culture. Apart from sushi. But I can't exactly go up to him and say "Sushi!" out of the blue. It would be like going up to a top American businessman and saying, "T-bone steak!

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

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.

Toonami was a tremendous vehicle, delivering the art of Japanese animation to a massive audience that may have otherwise never experienced it. I feel an immense debt of gratitude to everyone involved with the show and to every fan who supported it.

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.

Many Japanese families moved to Taiwan during the occupation. Then, when the war ended, they were forced to move back. And at the macro level, the Taiwanese had every reason to cheer when the Japanese left. The Japanese military could often be incredibly brutal. The Taiwanese lived as second-class citizens on their own land.

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 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.

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 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.

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.

If you're Japanese and you signed up for Pinterest in Japan, you see Japanese ideas, not American ideas that look Japanese - it's a very big difference.

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.

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.

'Toonami' was a tremendous vehicle, delivering the art of Japanese animation to a massive audience that may have otherwise never experienced it. I feel an immense debt of gratitude to everyone involved with the show and to every fan who supported it.

The title 'Spirited Away' could refer to what Disney has done on a corporate level to the revered Japanese animation director Hayao Miyazaki's epic and marvelous new anime fantasy.

When I was in my early 20s, I was quite into Japanese animation. It's like the same thing that I end up always saying which is, imagery based stuff is the thing that really gets me.

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.

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!

As a young artist in New York, I thought about postwar Japan - the consumer culture and the loose, deboned feeling prevalent in the character and animation culture. Mixing all those up in order to portray Japanese culture and society was my work.

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!

In the early stages of Internet in Japan, many said that Japanese and Americans are different. There are 10 reasons why Japanese Internet is not taking off. I said none of them are right; it's just a time lag. And, of course, Japanese Internet took off.

The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.

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

The causes of the China Incident were the exclusion and insult of Japan throughout China, the exclusion of Japanese goods, the persecution of Japanese residents in China, and the illegal violation of Japanese rights.

I think that the Japanese - and I do love Japanese cuisine and adore Japanese food culture - I think that they're going to plow through the entire world's fishing. They're going to eat everything anyways.

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

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.

The '80s market was only a Japanese market. It was the Japanese outbidding each other for the most expensive works of art. When the Japanese economy went down the tubes, there was no one left to pay the prices that have been recorded for all of those works.

I travel a lot. Japanese culture is very ancient and very strong. That's why most people who commission work from Japanese architects expect them to create works that have an element of exoticism, the kind typical of Japanese culture. I don't do that.

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.

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 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!

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.

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.

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 try to be aware of technology and Japanese animation and old Belgian paintings, and get all my references from bits of everywhere.

The method (of learning Japanese) recommended by experts is to be born as a Japanese baby and raised by a Japanese family, in Japan. And even then it's not easy.

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.

The causes of the China Incident were the exclusion and insult of Japan throughout China, the exclusion of Japanese goods, the persecution of Japanese residents in China, and the illegal violation of Japanese rights

They didn't incarcerate the Japanese-Americans in Hawaii. That's the place that was bombed. But the Japanese-American population was about 45 percent of the island of Hawaii. And if they extracted those Japanese-Americans, the economy would have collapsed. But on the mainland, we were thinly spread out up and down the West Coast.

They got word that the Japanese planes were coming back, so we sunk her ourselves so the Japanese wouldn't get it. We didn't want the Japanese to get it intact.

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.

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.

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

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

I love all sorts of animation, probably the most beautiful would be the tradtional hand drawn animation that Disney is known for. Stop-motion has a certain "grittieness" and is filled with imperfections, and yet their is an undeniable truth, that what you see really exits, even it if is posed by hand, 24 times a second. This truth is what I find most attractive about stop-motion animation.

As well as Japanese animation, technology has a huge influence on Japanese society, and also Japanese novels. It's because before, people tended to think that ideology or religion were the things that actually changed people, but it's been proven that that's not the case. Technology has been proven to be the thing that's actually changing people. So in that sense, it's become a theme in Japanese culture.

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.

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.

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

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.