Top 1200 Japanese Animation Quotes & Sayings - Page 20

I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.

My dad remembers being in school with my uncle, and the teacher would say outright to the class that the Japanese were second-class citizens and shouldn't be trusted.

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.

I love Jet Li, but he looks very Chinese, and his English is Chinese-accented. He wouldn't have been the right guy to play a Japanese-American.

I really admire the great Japanese artists who could change their name three times in a lifetime. You could get rid of one and renew yourself.

I am so happy and proud to learn of Hideo Nomo's election to the Japanese Baseball Hall of Fame. He was quite a pitcher and competitor, but he is also a very special and caring person.

Killing Japanese didn't bother me very much at that time... I suppose if I had lost the war, I would have been tried as a war criminal.

As to the differences between game work and novel writing, well, obviously the former is a lot less lonely - you're in and out of meetings all the time, bouncing stuff back and forth with the level designers, the art department, the animation team, so forth.

Writing in other voices is almost Japanese in the sense that theres a certain formality there which allows me to sidestep the embarrassment of directly expressing to complete strangers the most intimate details of my life.

Writing in other voices is almost Japanese in the sense that there's a certain formality there which allows me to sidestep the embarrassment of directly expressing to complete strangers the most intimate details of my life.

It's a myth that generally Asians are mostly vegetarians. The Japanese are the kings of red meat, but it's expensive. The Chinese and Vietnamese love their pork. Many Indians, especially the Muslims, can't live without their lamb.

I'll do anything that sparks me. Sometimes I'll want to do something random with ballet, and then I'll want to be a hippie caterpillar in an animation film. Who knows what will come my way, but I'm going to try and put little hints into the universe, and hopefully they'll float on by.

I've been working with Spanish, French, some more American, and Japanese directors. And then I realized I have to study English, and that's why I moved to New York two years ago.

And usually I'm not watching the screen. I'm kind of sitting and looking off to the side, spying on people to see what they react to' cause it's - as Joe Ranft used to say, you know, animation is like telling a joke and waiting for three years to see if anyone laughs

And it's about a three-month process every screening. And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.

My father is Chinese, Spanish, and Filipino; my mother is half-Irish and half-Japanese; Greek last name; born in Hawaii, raised in Germany.

In terms of the Japanese royal family, they were considered the direct descendants of a god. They are regarded as all-powerful and possessors of unimaginable wealth, and yet they are, more often than not, literally prisoners of tradition.

Wikipedia is so dangerous. You go online to look up the definition of eclampsia, and three hours later you find yourself reading this earnest explanation of tentacle porn in [Japanese] anime.

It's a film made in a very radical creative manner. It was possible because we didn't have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It's a film [Boy and the World] with sensitivities completely opposite to what the market wants to sell.

The Marvel cinematic universe and the Marvel animation universe are things that are very true, in terms of the DNA of what it is. But if, at the end of the day, all we're doing is telling stories that have appeared in the comic books already, then we're not really challenging anybody.

The government has a history of not treating people fairly, from the internment of Japanese Americans in World War II to African-Americans in the Civil Rights era.

The Japanese had a very strong belief in Bushido, death before dishonour. They were fighting for their country; they were the aggressors in World War II.

Animation is very singular. Like, even the 'Toy Story' movies. People will go, 'Oh, gosh, you're so lucky, getting to play opposite Tom Hanks!' And it's, like, 'It may have appeared to be that, but we were never in the room together.'

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.

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.

So we are now still dependent on foreign oil, have a problem with global warming, and are losing jobs rapidly to the Japanese in fuel-efficient vehicles as a result of that very shortsighted progress.

My favorite kitchen was the Japanese and the Italian kitchen.

The Japanese, despite the trade deficit and their ability to build fabulous automobiles, still think that a guy in a monster suit is all that is needed for a monster movie.

I have always said and maintained that I think being an RJ is the most difficult job in the media business. To have that energy and animation in your voice alone, to capture your audiences through your show, is entertainment in the true sense.

Keeping the cat front-and-center was definitely a smart choice, from Tim and the animation department. Mr. Whiskers got referred to more than we actually saw him on stage. Seeing him on screen, you just love him.

There was a Japantown in San Francisco, but after the internment camps that locked up all the Japanese, Japantown shrunk down to just a couple tourist blocks.

How are we doing in the electronics field as opposed to, you know, we hear how advanced the Japanese are? Do you think we're still pretty competitive? Oh, yes.

We played every bar, party, pub, hotel lounge, church hall, mining town - places that made Mad Max territory look like a Japanese garden.

That's a very Japanese idea - that children are an extension of their parents. And that when you're reborn, your new form reflects the sins of your previous life - you can't escape.

If you look at Japanese drama, I think there is definitely a treasure trove of it, but I just don't think that people know about it. It's got to be pitched and presented better.

Storyboards are kind of inflexible, once you finish making them you have to stick to them. Since animation takes such a long time you become a slave to a storyboard that was created four years ago while as an artist and storyteller you change, you have new ideas.

I was working in a gaming company, but I really wanted to make animation. I didn't really have anything special, no special tools at my disposal, so I used what I had on hand like Photoshop, and that's really how I started.

I always loved Japanese movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.

Here's the key to Jamaica, the secret to Jamaican dancehall parties, no matter where you are in the world. If you do not see Japanese people, you're at the wrong party. They source authenticity like no other culture I've ever seen.

Animation is a fascinating area from an acting point of view because it's not really like anything else because you are only providing a portion of the performance. That's very inspiring and it forces you to do things in a different way - to tell stories through your voice.

The word love carries the same vibration in any language. You probably know this guy, you probably had dinner with him yesterday. The Japanese water crystal guy?

In animation, there's not a medium I believe that's more collaborative. It is a team of people, of different disciplines, coming together. The decisions are made by consensus in many cases. My job as a director is to exercise the best judgement I can in terms of which decision is the best one to make for the movie.

I play around with my Japanese Garden. Since Im half way to 70 today I need to start pruning trees and sharpening plants like an old fart.

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.

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'd say my best memory was climbing Mt. Fuji, and the worst memory was... trying to fit my feet into the free giveaway slippers at Japanese schools.

The Japanese scored an important victory at Pearl Harbor, but the attack pulled the United States into World War II, and four years later, Japan was in ruins, utterly defeated.

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 thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.

You know one little way in which baseball changes us? We don't even think twice about Japanese names anymore. You know what I mean?

A Japanese proverb says fall seven times, stand up eight. We can also say this: Hate zero times, love infinitely!

If you are going to describe the history of animation, you'd look at the early Disney work, then 'Bugs Bunny,' 'Road Runner' and other Warner Brothers theatrical productions. But when you got to 'Rocky and Bullwinkle,' you'd see they were unique: They assumed you had a brain in your head.

When the Japanese occupied Korea in the early 20th century, they brought their passion for baseball with them, and the game swiftly surpassed basketball and soccer as the nation's pre-eminent sport.

Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.

I convinced Tim to add one song, and then we added five. We changed a lot of things while we were shooting, which you should never do in stop-motion animation. With this, it was a much smoother ship, so I wasn't getting sent the scratch reels of things.

I started modeling with a very negative part of me - I didn't really like myself or how I looked because I was very tall for a Japanese girl.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.