Quotes About Animation

I think animation is a very truthful way to express your thoughts, because the process is very direct. That's what I've always liked about animation, particularly abstract animation. You go from the idea to execution, straight from your brain. It's like when you hear someone playing an instrument, and you feel the direct connection between the instrument and his brain, because the instrument becomes an extension of his arms and fingers. It's like a scanner of the brain and thought process that you can watch, or hear.

Animation remove you from a visual reality - if it was live action, you wouldn't be able to see through the person's mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.

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.

I got a job as the Visuals Art's Teacher at my Alma Mata, St. Mary's College. Then my interests shifted to animation. Ironically, it was one of my students who sparked this energy in me by introducing me to an animation program called FLASH. So I dabbled and played around with it.

If all the actors are in the recording session at the same time, you can record all voices for one episode in an hour. Of course, the animation takes longer but the voice acting is done very quickly.

Making movies wasn't really an immediate thought, where I was raised. I was going to be a lawyer, and I thought I would just draw. So, I was sketching all the time and I realized that I needed some outlet, and then I found animation.

I am a proud mother - that's another reason I love doing any kind of animation. When my son was growing up, if he was watching something animated and I was in it, that was way cooler to him than seeing me in a movie.

I've loved all forms of animation.

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.

I absolutely think that hand-drawn animation is valid and I actually hope to do one in the future with a large budget.

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.

I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.

The scary thing is that sometimes you are wrapping up animation on a sequence and you don't know how the movie ends or begins. You just have to bluff and move forward.

I think the animation helps divorce the violence from reality. The sex certainly doesn't look all that realistic. I think the fact that it's animated, we get some leeway because of that.

I could see how people get addicted to animation, and I understand why it's so great for comedy. You can do whatever you want and it just happens.

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.

Computer animation is one way to liberate people from their circumstantial gravity, and it is one way to give them mental freedom.

The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.

The idea kind of started with me just thinking about what would be fun to see in animation, you know - what have I not seen? For some reason, I got thinking about the human body and realizing, well, I've seen, like, traveling through the bloodstream and into the, you know, stomach and things.

I don't really know what the average person thinks about animation. I think the average person thinks that it's made by cartoonists - and it used to be. When people think of The Simpsons, they think of Matt Groening. They don't think of whoever the 200 writers are.

I was always into cartoons and animation.

No movement can afford to be caught in a time warp and exist in a state of suspended animation.

When you assemble animation teams the way you do a live-action film, you're often struggling a bit to get a cohesive team together, so if you have a team that works well together, you're hoping for another film so that you can refine the team.

Ordinary Women was shot on a soundstage with a professional crew and a professional animation studio creating everything.

I've always enjoyed animation and voiceover work. That's something that I've been proactive about.

Will Arnett and I were never in the same room, but once I saw early animation we started writing music for that and then he just kind of did his little rap over top, some of it was free form and some of it I made up, we all just kind of contributed to it.

The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.

I think that there is always room for improvement so I am seeking to reach as far as I can in my field of art, film and animation.

A person should go out on the water on a fine day to a small distance from a beautiful coast, if he would see Nature really smile. Never does she look so delightful, as when the sun is brightly reflected by the water, while the waves are gently rippling, and the prospect receives life and animation from the glancing transit of an occasional row-boat, and the quieter motion of a few small vessels. But the land must be well in sight; not only for its own sake, but because the immensity and awfulness of a mere sea-view would ill accord with the other parts of the glittering and joyous scene.

Animation did not become the dominant form of children's television until the '60s.

With the assumption that animation is a medium for children, I want to make movies that reaffirm the future, and let them know that this world is a world worth living in.

I love when I get to play these characters that are bigger than life. There are roles in animation that I never get to do in real life - and it appeals to my ego as an actor to play the Queen of Everything. I admit it.

In animation, you can throw away people's defense. You can go right to the center of things, right through inside someone's heart. The characters anyway, they do represent different aspects of all of us - and put them all together, you get a human being. And so it's got a wonderful purity, a real purity that's so moving, exiting, everything.

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!

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

Intelligence, goodness, humanity, excitement, serenity. Over time, these are the things that change the musculature of your face, as do laughter, and animation, and especially whatever peace you can broker with the person inside. It's furrow, pinch, and judgement that make us look older - our mothers were right. They said that if you made certain faces, they would stick, and they do. But our mothers forgot that faces of kindness and integrity stick as well.

There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.

Painting and animation can be kind of long work. Music was more immediate and more fun.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

I'm definitely feeling whatever's going on pretty hard. It's like playing Barbies. You're holding the Barbies, but all of the action is happening inside of your head. You might be holding them or even speaking out loud, but really, all of the animation is internal. That's sort of how I feel about my writing. And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, "Hmm, there's half a page that's good here." Then you throw out everything else.

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.

Doing animation is great fun. It's like a different world.

Years and years of talking and writing versions of the script [Sausage Party] and looking at various versions of the animations - I mean, it's really a lot of workshopping and trying different things, and using the cast to try different voices and characters. And that's the good thing about animation. Because it takes so long, it allows you to explore in a way that you can't in live-action movies.

What's most important in animation is the emotions and the ideas being portrayed. I'm a great believer of energy and emotion.

I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.

I'd had a belly-full of being subservient. I had to find something else to do, and I did. I went to the animation houses. I went to new fields.