At one point, I animated villains in our stories, a bear or a giant, then on The Little Mermaid Ariel just called to me and I started to fall in love with characters who had that burning desire inside of them, this hope.
I have a goal to do my own animated film, something all my own.
When I talk to people and I get animated, I touch them and am very physically involved. It's actually been really hard, but it's an acting challenge.
Toward the end of the film ['Life, Animated'] we see 'The Sidekicks Story,' and that is a story that Owen drew himself. We took that style, which is decidedly different from Disney animation, and used it as a basis. It's a 'two-dimensional' hand drawn animated form, so I went to this company in Paris called 'Mac Guff,' and they assembled an amazing group of young animators, and brought it to life.
The computer is designed to mimic reality. And in an animated world, in my perspective, that's the worst thing to do. I want people to walk into a movie theater and be transported to a different world.
I wasn't that much of a Disney buff growing up, but I love the mystical and magical nature of Peter Pan, and I have connected with that character through Owen [Suskind] in making this film ["Life, Animated"].
I'm not honestly a real student of animation. I never was into it all that much. I don't really watch any animated shows.
If you are animated by right principles, and are fully awakened to the true dignity of life, the subject of amusements may be left to settle itself.
I'm more of an older school comedian so Tommy Davidson still makes me laugh a lot no matter how many times I've heard his jokes or not. He's just an animated comedian that I don't mind seeing over and over again.
I animated everything traditionally, on paper. I love how the texture of paper looks (it also matches textures of papier-mâché) and I love the tactile process.
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.
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg, and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.
I personally just want to do as many different things as I can do, whether it's comedy, drama, science fiction, horror, narrator... You've got a documentary, I've got a voice. Animated films. Big films, small films.
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.
Art is animated by invisible forces that rule the universe.
That for which Paul lived and died so gloriously; that for which Jesus gave himself to be crucified; the end that animated the thousand martyrs and heroes who have followed his steps, was to redeem us from a formal religion, and teach us to seek our well-being in the formation of the soul.
Slavery is dead, but the spirit which animated it still lives.
sight-seeing gratifies us in different ways. First, there is the pleasure of novelty; secondly, either that of admiration or fault-finding - the latter a very animated enjoyment.
In a universe animated by the interaction of yin (female) and yang (male) energies, the moon was literally yin visible. Indeed, it was the very germ or source of yin, and the sun was its yang counterpart.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
Employers, have you ever stopped to reckon what the goodwill of your workers is worth? ... In most large concerns it would be worth more in dollars and cents to have the goodwill of the working force than of those on the outside. It has been repeatedly demonstrated that the average working force is capable of increasing its production 25% or more whenever the workers fell so inclined. Workers animated by ill will cannot possibly give results equal to those of workers animated by goodwill. The tragic fact appears to be that a tremendous number of working forces are not so animated.
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?
We shall therefore take an appropriately correct view of the origin of our life, if we consider our own embryos to have sprung immediately from those embryos whence our parents were developed, and these from the embryos of their parents, and so on for ever. We should in this way look on the nature of mankind, and perhaps on that of the whole animated creation, as one Continuous System, ever pushing out new branches in all directions, that variously interlace, and that bud into separate lives at every point of interlacement.
Donald Trump understood America. He animated America, and now he'll be the president of all Americans.
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