Quotes About Animation

Animation, for me, is a wonderful art form. I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.

Animation has always been about technology. You can't have animation without technology.

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

Approximately 400 cuts - that would make 25 percent of the total - use CGI. I worked on the Steamboy's animation production based on the usual handwriting method. Digital animation is just supplementary. I didn't do anything surprising, because the idea is to overcome the limitation of expressions done by handwriting with the help of CGI.

My mental faculties remained in suspended animation while I obeyed the orders of the higher-ups. This is typical with everyone in the military service.

Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.

I've worked in animation for a long time. I started in Spain and I wanted to make feature films. That desire to figure out how to make animated features brought me to the U.S. to work for Disney.

Animation is manipulating the difference.

False friendship, like the ivy, decays and ruins the walls it embraces; but true friendship gives new life and animation to the object it supports.

Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.

But probably for the last ten years or so, I've been fitting in animation work into my other projects.

Now that had worked very successfully at Pixar, and he ended up adding one at Walt Disney Animation and one at DTS. So, I'm part of that Brain Trust where I sit in on all things creative for the whole studio, but especially in the Planes area.

Animation, by necessity, is a team sport, and the fewer people with input into my work, the better I like it.

On played the Mayor's daughters in Horton Hears a Who: I had never done animation, so I thought it would be cool to try something different.

I was always into animation, especially.

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.

You basically go in animation and it's all in the imagination. There aren't even pictures to look at. You usually go in there and work with whoever the director is to create this voice and this character.

What happens in animation is that you don't really start the story until you're boarding it, which usually means that you've gotta go through some sort of a script phase. And you can get caught in the doldrums there, overdeveloping that, when you don't really know what you have until you put it up in storyboards.

I like making comics and animation because it takes such a long time. I'm not a runner of the 100 meter. I like marathons. The longer it takes, the better I feel.

If everybody floated with the tide of talk, placidity would soon end in stagnation. It is the strong backward stroke which stirs the ripples, and gives animation and variety.

If I was ever to ask advice, it could be from any actor or showrunner or writer. I wouldn't necessarily ask an animate. I don't want to say that the wrong way, but animation's not really my world.

France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.

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.

To take full advantage of computer animation, you have to pay as much attention to the believable as you do the unbelievable.

Animation has completely changed and I've always been a big fan.

I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.

It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.

I'm involved with every single thing that they do as far as just being aware, and then they ask my opinion. I'm involved in the sequence reviews and some of the animation reviews and character designs and things like that. I give my input on that movie as well.

Even if you have money, access to MoCap technology, and strong choreographic and computer-animation abilities, don't try to make a film like this if you don't have a lot of patience, perseverance and a deep affinity for risk-taking.

As far as CGI and hand-drawn animation, I consider them both nothing more than tools for drawing pictures, the same as crayons or oils. Which is why, to me, the most important thing is what it is you are drawing, and in the themes that I depict, I think hand-drawing is the most effective.

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.

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

People are funny -- they are able to project personality onto anything. I remember as a kid I spent a $ 5 bill once and felt so bad because the other $ 5 bill was now going to be lonely without all the other bills I had in my wallet, you just invest these dead things with life and that is our tendency as people. So animation takes advantage of that, grabs on to it, and runs with it.

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 have more faith in doing something creative for a cable station or something like Yahoo or Google or Amazon. What Netflix did with 'House of Cards' and David Fincher was brilliant. That is inspiring to me. I think there is more chance for creativity in animation, it just hasn't happened there yet.

Nothing's occurring in animation - you manufacture everything.

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.