Quotes About Animation

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.

I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.

Although all studios are now moving towards digitalization, a foundation in which we draw pictures by hand hasn't changed, so I foresee that we will continue to keep it in the future. After all, we used the digital method based on a conception of expanding and advancing the expression of the traditional animation cel in Steamboy. The first goal of this project was to overcome limitations of camera angles caused by platforms. On that aspect, I won't go back to the traditional method. I hoped to combine the merits of the traditional method of cel animation with the merits of the new CGI method.

I am trying my best to stay above the water. Right now ACID does not only offer animation. I offer real life productions as well and also compositing (animation composited into real life video)

Characters in animation do not cheat. They do not let you go for another. Animation is on certain points, very close to the pornography industry. All your physical needs are met. You can watch different animations and find anything you desire.

I don't dislike the process of animation... I find it daunting, but only as much as I find everything daunting.

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

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.

Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.

In a certain way working in animation has become very democratic because now anyone with the right technology can at least prepare a project from home in order to attract investors. Some people can even set up a small home studio and start working.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

Polar Express is not an attempt to do animation. It is a technology-based film.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.

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'm always astounded that people know who I am and what I do. I still have a lot of anonymity and that's good. I don't get bothered in restaurants and stuff like that. But when I'm at events that are really geared toward animation fans, they know who I am. And I'm so very pleased and so flattered by it. People are extremely complimentary to me, and that only encourages me to continue to do more really good work. I get paid by the studios, but I know I work for the fans.

It's a film made in a very radical creative manner. It was possible because we didn't have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It's a film [Boy and the World] with sensitivities completely opposite to what the market wants to sell.

My husband and I are in preproduction of three movies, a Latin show, and a children's animation. I'm doing a very unique nail polish line, and finally, I'm developing a hair care line because people always ask me about my hair care system. I do a mask once a week that my grandma taught me how to make, so I want to share it with everyone.

I wrote for television some, animation. Batman the Animated Series, Superman the Animated Series, Son of Batman, things of that nature were made and I'm happy about that, but now the recent film and TV stuff have validated me, as if that makes any sense.

My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.

With the quality of films it seems animation can do almost anything these days. It’s amazing what goes on. But for us it’s always about trying to tell a good story, with great characters. And that will probably always be the philosophy as far as Disney and Pixar is concerned.

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

I feel like there's a lot of experience I have from doing TV animation that would be especially useful doing an animated film in terms of some efficiencies of the process that are necessary for TV, just because you have to crank out material every week, that could be applied to film.

You'll see why, in animation circles, Miyazaki himself is considered one of the gods.

I was trying to foster a great working relationship between those two departments [design and the writing teams], because classically in animation the two don't get along.

I really can't stand any more to pay for a burst of animation when someone comes in for drinks with a depressed and low-keyed next day, in which I have to go around on my hands and knees.

The quality and success of Disney was actually bad for us animators because everyone on the planet thought that animation was only for kids and only in a certain domain. The big film festivals never thought much about animated films.

I grew up, obviously, watching tons of animation; Saturday morning cartoons or anything that we could get our hands on. And then when 'The Simpsons' premiered, that just kind of changed the landscape of everything. We hadn't had prime time animations since 'The Flintstones.'

I don't know how to animate on the computer, and I'm really grateful that I worked with a couple of other guys. We called it our triumvirate, John Kahrs and Clay Kaytis, who really understood computer animation but loved and embraced hand drawn, which is Disney's heritage.

Animation is the only thing I ever wanted to do in my whole life. I have no desire for live-action or anything else.