What seems real to the mind can be as important as any material fact. We live by the spirit and the imagination as well as by our senses. Cartoon animation can give fantasy the same reality as those things we can touch and see and hear.
Here's my take, for what it's worth: I think that a lot of people in the US, as well as other countries, have the idea that animation is primarily for children, and kids like to be entertained! And animated films here tend to have crazy fantastic situations that would be difficult to do in live action, like with talking animals or monsters or whatnot, and that lends itself well to comedy, I think.
Clutter and mess show us that life is being lived...Tidiness makes me think of held breath, of suspended animation... Perfectionism is a mean, frozen form of idealism, while messes are the artist's true friend. What people somehow forgot to mention when we were children was that we need to make messes in order to find out who we are and why we are here.
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.
The idea kind of started with me just thinking about what would be fun to see in animation, you know - what have I not seen? For some reason, I got thinking about the human body and realizing, well, I've seen, like, traveling through the bloodstream and into the, you know, stomach and things.
I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.
With the assumption that animation is a medium for children, I want to make movies that reaffirm the future, and let them know that this world is a world worth living in.
I get nervous about the effect that the high speed of everything will have on creativity. It's already sad for me to see that a lot of young aspiring cartoonists are putting stuff on the web, doing animation on the computer rather than making zines or mini-comics, which seem to be going the way of the dinosaur.
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.
If we want to make friends, let's greet people with animation and enthusiasm.
The process of producing a project is one long string of delight and anxiety, but I think the real thrill of animation would have to be drawing the pictures.
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. It was a lot easier to draw people than to talk and interact with them.
I want to take themes that are shared throughout the world, express them through animation, and make movies from them.
And usually I'm not watching the screen. I'm kind of sitting and looking off to the side, spying on people to see what they react to' cause it's - as Joe Ranft used to say, you know, animation is like telling a joke and waiting for three years to see if anyone laughs
For me, drawing is the greatest joy. Animation is never as good as when I'm sitting at that desk drawing. Even when it's up on the screen, it's never as wonderful as those moments when it's drawn, to me.
I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldis in Queens.
The rise of anime had to happen. If the Japanese could tell better American stories, it would go through the roof. They still tell stories which are very much oriental. I take my hat off to them.
I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.
I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.
If you make the wrong decision, you make the wrong decision. That's all there is to it. There are few guarantees in life. One of them is that you will make lots of mistakes The worst thing you can do is wimp out and spend your life in suspended animation refusing to make a choice because it may not be a perfect one.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
I love animation, I really do, but I don't do it for the children.
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.
A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.
I used to watch every episode of 'Justice League,' I went to all the movies, I had the Superman lunchbox. I was enamored with animation in general and always wanted to somehow be a part of it.
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