In timing a film, we used to assume that sneaks move slowly. This was great for animators-thirty-six to forty-eight drawings for a single step-but it was sheer hell for the pace of the picture. So the rapid tiptoe was invented.

Fog and smog should not be confused and are easily separated by color.

There's only one test of a great children's book, or a great children's film, and that is this: If it can be read or viewed with pleasure by adults, then it has the chance to be a great children's film, or a great children's book.

As you become acquainted with a character you are creating, you add parts of yourself that are pertinent to that character.

The close-up, according to D.W. Griffith, allows subtle changes of facial expression-the raising of an eyebrow or the flicker of a smile-to become part of the action.

The whole essence of good drawing - and of good thinking, perhaps - is to work a subject down to the simplest form possible and still have it believable for what it is meant to be.

Animation isn't the illusion of life; it is life