Here, we’ve compiled a list of the best Animation Quotes from famous persons: John Lasseter, Sean Hayes, John Knoll, Martellus Bennett, Pamela Adlon. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Animation Quotes before, but that’s because they truly are great.
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If you‘re sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that’s entertaining you as you drive and listen? No, it’s the storytelling. That’s why we put so much importance on story. No amount of great animation will save a bad story.
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If you‘re sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that’s entertaining you as you drive and listen? No, it’s the storytelling. That’s why we put so much importance on story. No amount of great animation will save a bad story.
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When you work on animation, the music has a great task: to create a sound and melodies and mood and atmosphere and energy dedicated to these extraordinary characters.
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From an animation perspective, it doesn’t get better than Pixar. You’re working so much in the blind because the huge circle of collaborators that’s required to pull off a film like this means that you are just one small arc in that large circle. The level of trust that you have to give into is significant.
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Animation is my love, but I think there’s definitely room in live-action. I mean, ‘Iron Man 2’ was fun, and I got to see that world.
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I’m a true fan of animation, and it’s my livelihood.
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Animation is just another way of telling a story.
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With animation, because you can draw anything and do anything and have the characters do whatever you want, the tendency is to be very loose with the boundaries and the rules.
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Animation films are about entertainment and about fun for the whole family, and if you went too far down a dark path, it’s not what people, I think, expect from a great animated film.
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I think the biggest difference is in live action, you show up, and there’s a set there and a ground to stand on, at least, and in animation, there’s kinda nothing. You are making decisions on everything.
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Loom.ai will accelerate making human co-experiences more immersive and personal, adding world-class facial animation technology as part of Roblox’s efforts to provide expressive emotive actions to avatars that will enable deeper connections for our community.
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One good thing about animation is that, if you do screw up a line, they won’t use it. You can keep going until it’s right.
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It’s interesting when you’re trying to create a character in animation. It’s really a communal effort.
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There was a manga boom, so I read ‘Astro Boy,’ ‘Osomatsu-kun,’ and such. But what influenced me the most were things like ‘Popeye’ and Disney animation.
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Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.
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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.
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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.
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Animation is a technique, not a genre.
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I’m in love with kid’s stories and animation.
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We draw inspiration directly and indirectly from all sorts of things, like movies, documentaries, TV dramas, novels, non-fiction books, animation, science and nature shows, and our own life experiences.
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The same sort of thing was supposed to happen when performance animation was invented: Everybody thought it would save so much time. But it became its own niche altogether.
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Everyone knows Aquaman, probably from all the animation he’s been in over the years from the ’70s and the ’80s, entering him into the pop culture.
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When it comes to producing breakthroughs, both technological and artistic, Pixar’s track record is unique. In the early 1990s, we were known as the leading technological pioneer in the field of computer animation.
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The weird thing is, if I’d made ‘The Incredibles,’ shot-for-shot – exactly the same script, same timing, same shots – in live action, it would be perceived very differently, and somehow more adult than me doing it in animation. I find that fascinating and frustrating.
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I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!
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We’re not purists about stop-motion. If there’s a tool we can use that makes more sense to bring something to life in a better way, we’ll use it, whether that’s hand-drawn animation or CG or some newfangled technology we’re developing.
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I think with animation there’s a certain freedom that you’re given. You don’t have a thought at the back of your mind, that worry that you’ll have to cut and go back to the top of the scene. You’re not working with anyone else from the cast. It’s just you.
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I get asked a lot if I’d want to get into live-action movies, and the answer, honestly, is ‘no.’ I’m an illustrator, and I think animation is an extension of that way of expressing myself. That’s not to say I’d never make a live-action movie, but I don’t strive for it.
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I’ve always loved animation and animated films.
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I don’t think I would want to do an animated movie because I’ve already made so many hours of animation that what’s the point? I’d want something new and weird to challenge me in a different way.
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Since I was a kid, I’ve always been obsessed with animation.
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What do I mean when I say ‘suspended animation’? It is the process by which animals de-animate, appear dead and then can wake up again without being harmed. OK, so here is the sort of big idea: If you look out at nature, you find that as you tend to see suspended animation, you tend to see immortality.
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My first movie I saw when I was a kid was ‘The Jungle Book.’ I was 5 years old, and I saw it in a movie theater. Seeing that movie really lit the fuse and ignited my passion for animation.
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My respect for animation has gone way up. It’s a truckload of work. I have to sit with my animators the same way I’d sit with my actors and cast them.
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My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.
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You have to always physicalize, when you do animation recording. Otherwise, you won’t get the performance right.
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I think, in Japan, animation isn’t relegated to being a genre unto itself. It’s just a medium by which you can tell any number of stories, be it horror or action or adventure or drama or whatever, and we’re trying to do that as well. Every film that you go see from Pixar, we’re hoping is a little bit of a surprise.
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I was always into cartoons and animation.
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It’s amazing what they can do with animation nowadays. It’s really beautiful. The 3D stuff is out of hand.
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All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.
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I was a big comic, cartoon, animation nerd.
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There’s nothing like watching hand-drawn animation on the big screen.
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Stop-motion is sort of the redheaded stepchild of animation. But it’s incredibly beautiful.
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For me, animation is the caricature of life. It’s something that we create, from the ground up.
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The best way for a beginner to write for animation is to closely watch animated films, then read the screenplays for them afterwards.
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I’ve done every imaginable job possible out there – movies, TV, animation, TV movies… and, at this point, almost reality, it seems. It’s been a real blessing. It’s been a great ride.
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Comics and animation have some of the deepest stories I’ve ever seen.
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When you do animation – well, straightforward animation, although it’s not straightforward – the voice for a character or something, they’re always singular experiences, really.
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That’s what happens in three-dimensional animation, you tell the computer what the subject is like and the computer can figure what it would look like from any camera’s point of view.
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When I was a kid, at Disneyland, they used to sell Animation Cels for $5.00 at a Fantasyland store. They were called Courvoisier Cels. I was too young to be aware of just how cool that really was.
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For me, one of the great tragedies is the conclusion studios have drawn about traditional animation. I believe that 2D animation could be just as vital as it ever was. I think the problem has been with the stories.
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I’ve loved all forms of animation.
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I’m interested in animation. I actually feel like I’ve learned so much about the process how to make an animated movie.
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In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap – happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
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I love doing both animation and live acting.
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One of the best animated films I’ve seen come out of Disney was the Tarzan movie. I wasn’t crazy about the story or the design on Tarzan’s face, but the traditional animation was spectacular.
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‘Ice Age 4′ came totally out of nowhere for me. I was told Fox Animation was interested in hiring me as a story supervisor or something or other that sounded way too professional for me.
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In my opinion, animation will continue to thrive as long as there are children, parents, television, movies and the need to laugh.
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My work is so unorthodox that from one panel to the next, the drawings are completely different… totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
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Live-action films are very much a director’s medium, and that director is going to be a very strong voice, a stronger individual voice than you’d have in animation.
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There’s a process in the movie industry in both live action and animation called development hell!
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The surprising thing was, it’s actually easier working on animation than working on a comic strip, because Garfield is animated in my head.
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For characters where, in a comic, I’d avoid using screen tone because it’s such a bother, I’d deliberately use it in animation in order to highlight their individual characteristics.
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One of the things I’ve learned from animation is that some guys are really good at writing, some guys are really good at design, some guys are really good at directing. It’s almost like working in a band – not everybody plays every instrument.
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It’s always hard when you’re working on a project, and you’re seeing it in bits and pieces, whether that be film, television, video games, animation – you only really have perspective of what you’re interacting with.
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I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.
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It’s a strange business, and unfortunately, what we do in animation is a mystery, especially the directors.
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In animation, what’s wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
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Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation.
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I learned so much from my life as an actor, as a kid actor through being an adult actor, and then becoming a writer and producer and doing animation.
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My experience is that there’s absolutely a correlation between the enthusiasm within an animation studio for a given character and the enthusiasm the audience feels when seeing the movie.
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If I’m really feeling good and not having a lot of interruptions, I can do a minute of animation a day, so theoretically, I could do a film in three months without any interruptions.
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As to the differences between game work and novel writing, well, obviously the former is a lot less lonely – you’re in and out of meetings all the time, bouncing stuff back and forth with the level designers, the art department, the animation team, so forth.
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I do a lot of teen shows and voice over work for animation, so when I got the part in ‘The Number 23,’ it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.
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Animation had been done before, but stories were never told.
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When I was in fifth grade – so, about 11 – my folks moved us to Denmark. And so not only did I have all new friends and all new surroundings, I didn’t even understand what they were talking about, which was very difficult and kind of started me, I think, on my path to animation.
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As animation directors, you’re the first one on the film; you’re the last one off, and you get to learn from and touch every department throughout the whole journey. I don’t know any other job in the world that’s like that. I don’t think live-action is like that. It’s a very different sort of experience.
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I love working with rotoscopic animation because under the incredible handpainted artwork are real actors and real human performances.
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If you are going to describe the history of animation, you’d look at the early Disney work, then ‘Bugs Bunny,’ ‘Road Runner‘ and other Warner Brothers theatrical productions. But when you got to ‘Rocky and Bullwinkle,’ you’d see they were unique: They assumed you had a brain in your head.
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‘Toonami’ was a tremendous vehicle, delivering the art of Japanese animation to a massive audience that may have otherwise never experienced it. I feel an immense debt of gratitude to everyone involved with the show and to every fan who supported it.
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In animation, there’s this exhilarating moment of discovery when you see the film and you say, Oh THAT’S what I was doing.
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Are the Simpsons cool? They are, and that is crude 2D animation.
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One of the great sources of employment for people with Ph.D.s in geometry is the animation industry.
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In feature animation, cartoony or exaggerated animation is almost taboo. There is this precedent that if you do that kind of stuff people won’t like it or it will be too zany.
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If I’m doing a voice-over session, like animation or something, and I’m doing three different voices, you’ve gotta separate them. You’ve gotta find the different places and do your different things.
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In terms of writing characters or stories, at least initially, there’s no difference between live-action and animation. A good story is a good story, whatever the medium.
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So many plays with magic in them that would be a terrific invitation to an imaginative animation team.
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I like animation: you can go to work in your pyjamas.
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‘JoJo’s Bizarre Adventures‘ – it took a long time for that to get animated because the old-school animation wouldn’t have the glorious nature of JoJo justice. Watching shows like that and ‘Super Kia,’ ‘Black Clover,’ ‘Attack on Titan,’ being able to watch some anime the night before the game definitely helps relax me.
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In overseeing both Disney and Pixar Animation, each studio has a unique culture.
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In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they’re working on. They work collaboratively.
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There was a gap in minority heroes in animation, books, and storytelling for me as a kid, and being a father now, I felt the responsibility I had to the next generation to create stories that allow us to wish and dream and build worlds that inspire young people who haven’t traditionally had these heroes to look up to.
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I brought in the stories many times. I don’t just do animation.
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I loved animation and cartoons, even when it was not cool when you were in high school. I raced home to see the Bugs Bunny cartoons.
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Cartooning at its best is a fine art. I’m a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.
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Being in the body of an African-American woman, I prefer animation. I get to be everybody. I don’t have to always be the white girl‘s best friend. I can be the princess. I can make an inanimate object come to life. I can be a little boy. I can be anything.
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Animation is not the art of drawings that move but the art of movements that are drawn.
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Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.
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Animation is a fascinating area from an acting point of view because it’s not really like anything else because you are only providing a portion of the performance. That’s very inspiring and it forces you to do things in a different way – to tell stories through your voice.
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I lucked out. I got in just when animation just started to take off.
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I think animation can tell more than live action.
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We always thought the Tom Tom Club could change to anything, but it acquired this image, which was cartoon animation and this real light-hearted dance music.
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Jim Henson once allowed me to visit the Muppets on set and spent an entire day showing me how he and the other puppeteers performed Kermit and all the characters! After that, I was lucky enough to work with both George Lucas and Steven Spielberg on many fun animation projects and learned so much from them.
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I guess my first digital movie was ‘Tintin’ because ‘Tintin’ has no film step. There is no intermediate film step. It’s 100% digital animation, but as far as a live-action film, I’m still planning to shoot everything on film.
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When I first started working at Disney animation, I can’t tell you how many people said to me, ‘Oh, man, take a powder.’ Nobody takes animated musicals seriously. I swear.
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With ‘Toy Story,’ which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. ‘Jumanji’ is shot much like any other action film.
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My animation work is a major source of pride for me.
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What is it about animation, graphics, illustrations, that create meaning? And this is an important question to ask and answer because the more we understand how the brain creates meaning, the better we can communicate, and, I also think, the better we can think and collaborate together.
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Animation has been ghettoized through the years by giving the impression we only do the same kind of stories.
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Since I was a kid, I’ve always been obsessed with animation.
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Walking in stop-motion animation is probably the most difficult thing you can do… The way that they have these puppets connect to the set is they actually drill a hole in the set, and they put a threaded rod up through that hole and screw it into the bottom of their foot, and that keeps them in place.
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I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.
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A lot of the time in animation is spent getting the story right – that’s something you can’t rush.
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Ariel got me into animation. She was the first Disney heroine that really felt alive. She felt like a real young woman.
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In animation, the directors are part of a huge team of animators who all have opinions, too. It’s a much more democratic process. Also, the animation executives oversee things more.
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People think that cartoons are meant to be watched on television and not in cinemas. To get people into cinemas to see animation really boils down to storytelling for the family.
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‘Bolt‘ was made by Walt Disney Animation Studios, not by Pixar.
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In animation, there’s not a medium I believe that’s more collaborative. It is a team of people, of different disciplines, coming together. The decisions are made by consensus in many cases. My job as a director is to exercise the best judgement I can in terms of which decision is the best one to make for the movie.
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It’s been an ambition of mine, before I even wanted to act, to be involved in animation.
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You have to love Dr. Seuss to take on the responsibility of conveying his work in animation or any medium.
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Yes, actually. Animation’s a very easy thing to watch on tour.
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It’s very hard to adapt something. You end up changing it too much to make a good movie out of it. I prefer to work with things that are custom made for my kind of animation.
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All animation is a tremendous amount of work, but when you put ‘Star Wars’ on the top of something, there’s already this bar that people are going to put on it.
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Because good writing in a TV cartoon is so rare, I think the animation on The Simpsons is often overlooked.
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I’ve always loved movies and animation. When I was little, I was always pretending to be some alter ego superhero. For years it was Ultraman, ninjas, Spiderman and other cool super heroes.
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I love animation, I really do, but I don’t do it for the children.
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Well, luckily with animation, fantasy is your friend.
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Any type of animation, it could be really super crude or very sophisticated, it doesn’t mean anything if we don’t make this point in this shot, this one here and this one here. There’s the saying, ‘One shot, one thought.’ It’s pretty much a true way to go.
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In animation, action is changing so quickly that there’s really not a lot of suspended moments.
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The great thing about computer animation is that all of those environments exist as three-dimensional worlds, so these VR worlds already exist.
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Animation is about creating the illusion of life. And you can’t create it if you don’t have one.
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The thing with computer-generated imagery is that it’s an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
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But probably for the last ten years or so, I’ve been fitting in animation work into my other projects.
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On ‘Lost,’ I write a score and orchestrate it on days one and two; I record it on day three. In animation and film and videogames, you have a little more time to work things through.
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