Quotes About Animated

I've done animated TV stuff, but I'd never done animated film work, which is much more involved and much more labor intensive. The animators are much more meticulous and detailed. It's just been really fun and really satisfyingly creative.

I was one of several songwriters I think interviewed [for Moana]. I'm a huge fan of Disney animated movies, and I've always wanted to write an animated score since I was a little kid.

There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.

On an animated movie, I'm learning as I go. There are so many details in animation. Doing the voices was the easy-part. Doing live-action, you have to be on the set, every day.

Our belief in education is unbounded, our reverence for it is unfaltering, our loyalty to it is unshaken by reverses. Our passionate desire, not so much to acquire it as to bestow it, is the most animated of American traits.

Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography. And a world normally animated by abrasive differences is blithely reduced to a single, homogeneous National Geographic way of seeing.

Animated program was definitely a different process but it was fun though, it had elements of doing my podcast where we were all in a booth with microphones joking around and stuff. It was definitely a fun process.

Disney will never make a movie about my life story, and that's a shame--I'd make a really cute animated creature.

When I was younger and inexperienced, I was a very animated pitcher. I pitched with a lot of adrenaline. I was my own worst enemy when things weren't gong well.

I grew up watching all the great Disney animated films and to be able to carry that torch and know that I'm contributing to the same magic and wonder for a whole new generation is a great thing.

[Doogal] wasn't even animated. It was still and the audience had to move.

I think speaking Italian affects your whole body movement. It's so musical and animated and passionate.

That's what's great about animation: It's collegial, and it's all about collaboration. Any good animated film is good for animation.

My craziest ideas come from cartoons. I approach music by taking that cartoon extreme and the real life extreme and finding somewhere in the middle. The animated element lures people in, but the real-life substance puts the nail in the coffin.

I know there's been a lot that's been said about animated voice work, as though it's 'you can do this in your jeans and there's no camera and no pressure there. It's no big deal. It's easy.' The truth is, it's really a great test: how deep is your ability is to access your imagination?

The music is an important and crucial part to an animated film. You don't think about it, but you can watch Tom and Jerry with no words, for hours, and the music dictates the emotion and where the story is going and how you're supposed to feel. Everything is in the music.

I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.

Unlike the rationalism of the French Revolution, true liberalism has no quarrel with religion, and I can only deplore the militant and essentially illiberal antireligionism which animated so much of nineteenth-century Continental liberalism. ... What distinguishes the liberal from the conservative here is that, however profound his own spiritual beliefs, he will never regard himself as entitled to impose them on others and that for him the spiritual and the temporal are different sphere which ought not to be confused.

It is not a struggle merely of economic theories, or forms of government or of military power. At issue is the true nature of man. Either man is the creature whom the psalmist described as a little lower than the angels ... or man is a soulless, animated machine to be enslaved, used and consumed by the state for its own glorification. It is, therefore, a struggle which goes to the roots of the human spirit, and its shadow falls across the long sweep of man's destiny.

The perpetual tendency of the race of man to increase beyond the means of subsistence is one of the general laws of animated nature, which we can have no reason to expect to change.

Art consists precisely in making us admire old stories, charming us with them eternally, as Nature charms with her eternal sun, her ancient earth, and her men built all on the same pattern, and all animated by the same feelings.

I've done the voice for the Hulk for the animated cartoon.

They... threw themselves into the interests of the rest, but each plowed his or her own furrow. Their thoughts, their little passions and hopes and desires, all ran along separate lines. Family life is like this - animated, but collateral.

Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.

[Before introducing the nominees for best animated film] If you're at the awards party with the guys who made the Lego Movie, now would be a good time to distract them.

One thing I always heard from the begining when I talked about this being a movie - was that the rule is that animated movies don't work unless they're Disney movies for kids. Unless they're family movies.

Discipline is, in a manner, nothing else but the art of inspiring the soldiers with greater fear of their officers than of the enemy. This fear has often the effect of courage: but it cannot prevail against the fierce and obstinate valor of people animated by fanaticism, or warm love of their country.

Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit of which nature herself is animated.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.

Every time I do a movie, especially an animated movie, I just seem to scream and shout and hyperventilate for money.

I decided that I wanted to be a voice on every animated cartoon in the history of the world - even shows that haven't been on the air for a very long time, that's going to be harder to pull off.

Modern animated movies are the products not of anyone’s individual vision, but rather a scattered accumulation of compromises made out of fear by members of large committees.

I'm there [on Moana] with the other actors, so you play off one another. It's not just your idea of what the character is and what the world is like it would be in an animated [film], where it all sort of exists in your head. It's all right there, and if Diego's performance is doing what it's doing, it affects yours.

I won't go into detail but this animated one, the story line is very cool and the kids seem to love it.

There is no passion that so much transports men from their right judgments as anger. No one would demur upon punishing a judge with death who should condemn a criminal upon the account of his own choler; why then should fathers and pedants be any more allowed to whip and chastise children in their anger? It is then no longer correction bat revenge. Chastisement is instead of physic to children; and should we suffer a physician who should be animated against and enraged at his patient?

I think I might do an animated film next. I'm serious.

The spectator and historian of [Belisarius's] exploits has observed, that amidst the perils of war, he was daring without rashness, prudent without fear, slow or rapid according to the exigencies of the moment; that in the deepest distress he was animated by real or apparent hope, but that he was modest and humble in the most prosperous fortune.

I was a poet animated by philosophy, not a philosopher with poetic faculties.

I don't know what would be antithetical to do on the other side, maybe a Tyler Perry movie or something. No, there are very few comedies that live in between that. Or you're doing some kid thing like a Jim Carrey movie with animated something that's like that. Yeah, I've wanted to do them. I like doing them. I did Talk to Me. That was pretty much a comedy.

In the 1970s, for example, I found myself learning to relish the poetry of Andrew Marvell and Sir Thomas Wyatt, and getting a handle on poetry of plainer speech than I had dwelt with heretofore. Which led me into a new appreciation of middle [William Butler ] Yeats, of the short three-beat line and forward-driving syntax, and that paid in, in turn, to a poem like Casualty in Field Work. The traffic, however, was usually the other way. My teaching was animated by what I was reading and being excited by as a poet.

With an animated show you can make a banana purple. You can put three hats on a cowboy. That would require several days of stitching, in live-action, that you wouldn't be able to afford. I mean, you can just do tons and tons and tons.