Quotes About Animation

I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.

What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.

I don't like animation. I hate animation, actually.

I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.

Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"

In animation, there's this exhilarating moment of discovery when you see the film and you say, Oh THAT'S what I was doing.

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.

Animation requires a great deal of concentration, and I preferred to work alone because then I'm not deterred by somebody asking me if I want coffee, or the phone ringing or something.

Animation can be a full spectrum of different storytelling techniques and different genres. I think it's sad that there is only one audience that the studios are aiming for and that's the kid audience. It's really tragic that they don't' make films for older people.

I have a company that does design and animation, so obviously graffiti is definitely an intricate part of what we admire and respect in the art world.

When I get up in the morning and put on a pink or a green wig, I see myself as a piece of animation. It lets me be the person I want to be, a person who's not embarrassed to have fun.

The biggest problem in countries that don't have a tradition in animation or a film industry, is that precisely, that it's not an industrial activity as it is in Hollywood where there are clear production procedures. Because of this we all become snipers making our films any way we can and crossing our fingers to get distribution so people can see them.

I've loved all forms of animation.

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.

Humanity and Immortality consist neither in reason, nor in love; not in the body, nor in the animation of the heart of it, nor in the thoughts and stirrings of the brain of it;--but in the dedication of them all to Him who will raise them up at the last day.

We actually tried to put in [Kung Fu Panda 3] all the things we wanted to put into the first two films. We're all the same people who've been working on the other films and we all had things we couldn't do, and had to leave on the table. We just couldn't achieve them before. This time we have multiple new environments and different styles of animation.

I love doing live action movies, but there's a great job in doing animation, especially one with music.

You've got to be able to make animation for much less... Less is not the studio's way.

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.

I find that I have improved in my craft and I have improved considerably in my ability to critique other people's artwork. I forgot to mention that my course of study at the Art Institute is BSC in Media Arts and Animation.

I've been fascinated with gargoyles since I was a kid. I took a high school trip to Europe, the 8 countries in 5 weeks kind of trip. Even then I collected postcards of gargoyles. Then I sort of forgot about it. You flash-forward a few years and I'm at Disney, we're looking for an idea to base a show on. I was running series development at the time at Disney TV Animation. And we came up with the Gargoyles comedy series. Which didn't sell!

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.

A lot of the time in animation is spent getting the story right - that's something you can't rush.

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

When I get hired as an actor as opposed to a writer, one of things that's exciting for me is doing stuff I wouldn't normally do myself. So whether it's a kid's movie or a voice in animation or in this case - where I just get to be silly, it's a different kind of comedy for me. As a performer, it's a different pleasure than when you're writing or directing. As a performer, you're just in the hands of the director and you go with whatever they want to do.

And having suffered for part of the war when I was a child. I was too young to really understand what was going on but one of my favorite pieces of animation now is that Goodbye Blue Sky in The Wall because that deals directly with that period in time.

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.

Perfectionism means that you try desperately not to leave so much mess to clean up. But clutter and mess show us that life is being lived. Clutter is wonderfully fertile ground - you can still discover new treasures under all those piles, clean things up, edit things out, fix things, get a grip. Tidiness suggests that something is as good as it's going to get. Tidiness makes me think of held breath, of suspended animation, while writing needs to breathe and move.

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.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

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.

Animation taught me to draw quickly and clearly and to communicate a character's feelings through his or her body language and facial expressions.

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.

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.

You can tell a story clearly in the storyboards, but if you don't keep the correct focus in the animation, it can be ruined.

It [voicing animation] is very freeing. Nobody in the cast is doing their voice. No one is talking like they normally talk and it's because, all of a sudden, you're freed from the physical limitations of how you look, which is amazing.

Animation is a technique, not a genre.

Maybe if audiences all over the world would check out animation from other countries, filmmakers would be more sophisticated and experimental.

I'm always a person that's a little suspicious of anything that's been converted in post, but if I know that it's been originated, either in live-action or animation, I'm intrigued.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

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.

I love voice over work. To me, voice over and animation is such an art, because you focus solely on your voice. You do not focus on how to speak, combined with facial expressions, movement, etc. You as the actor need to convey all those things with only your voice.