Animation Quotes - Page 17

• 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.

  Mick Ebeling

  Art, Design, Graffiti

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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.

  Michael Arndt

  Lonely, Real, Writing

  "Toy Story 3′ screenwriter talks toys with the Daily". Interview with Lorrayne Shen, tuftsdaily.com. November 4, 2010.

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• People are funny -- they are able to project personality onto anything. I remember as a kid I spent a $ 5 bill once and felt so bad because the other $ 5 bill was now going to be lonely without all the other bills I had in my wallet, you just invest these dead things with life and that is our tendency as people. So animation takes advantage of that, grabs on to it, and runs with it.

  Pete Docter

  Life, Running, Lonely

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• I learned how to do stop-frame animation and I experimented with that a lot and pretty much that was my mode of animating through high school.

  David Bolinsky

  School, High School

  "Lives of a Cell, the 3-D Version". Interview with Kim Zetter, www.wired.com. March 14, 2007.

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• One of the great sources of employment for people with Ph.D.s in geometry is the animation industry.

  Margaret Wertheim

  People, Employment, Source

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• 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.

  Stephen Merchant

  Silly, Writing, Kids

  Source: collider.com

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• 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.

  Mike Royer

  Art, Book, Bridges

  "Interview: Mike Royer Talks Classic Cartoons, Jack Kirby and Much More". Interview with Bryan Stroud, comicsbulletin.com. January 30, 2015.

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• Certainly the animation technology is growing like crazy. All media technology is.

  Joseph Gordon-Levitt

  Crazy, Technology, Media

  "‘HitRECord on TV’ maestro Joseph Gordon-Levitt on blending community and Anne Hathaway". Interview with Daniel Fienberg, uproxx.com. June 12, 2015.

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• I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.

  Bill Plympton

  Artist, Drawing, Museums

  Source: blogs.indiewire.com

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• In animation, you can throw away people's defense. You can go right to the center of things, right through inside someone's heart. The characters anyway, they do represent different aspects of all of us - and put them all together, you get a human being. And so it's got a wonderful purity, a real purity that's so moving, exiting, everything.

  Timothy Dalton

  Real, Moving, Heart

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• 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.

  Bill Plympton

  Kids, Thinking, People

  Source: blogs.indiewire.com

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• Films are made the same today, as they've ever been made, in certain respects. The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.

  Rob Minkoff

  Hands, Drawing, Design

  "Director Rob Minkoff Exclusive Interview THE LION KING 3D". Interview with Christina Radish, collider.com. September 14, 2011.

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• Whether it's a street poster on a brick wall, a magazine cover on a newsstand, or animation on a movie screen - art is an effective means of communicating with large numbers of people.

  Eric Drooker

  Art, Wall, Mean

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• The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.

  Wes Anderson

  Jobs, Moving, Personality

  "Wes Anderson on Darjeeling Limited: The RT Interview". Interview with Joe Utichi, editorial.rottentomatoes.com. November 22, 2007.

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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.

  Michael Arndt

  Writing, Character, Differences

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• I hope I don't become just an animation [with a digital film].

  Keanu Reeves

  Digital, Film

  Source: www.pbs.org

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• Well, the nice thing about animation, you don't even really have to account for yourself. All of the physical stuff that you work on as an actor, you just throw away.

  Paul Newman

  Nice, Actors, Stuff

  Interview With Jeff Otto, www.ign.com. June 9, 2006.

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• Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.

  James Boswell

  Hero, Character, Air

  James Boswell, Marlies K. Danziger (1989). “Boswell, the great biographer, 1789-1795”, McGraw-Hill Companies

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• I'd had a belly-full of being subservient. I had to find something else to do, and I did. I went to the animation houses. I went to new fields.

  Jack Kirby

  House, Fields, Belly

  Interview with Gary Groth, www.tcj.com. February 1990.

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• I was invited to join the MGM cartoon department. But if I'd started work in animation I'd have had to take a cut in salary, so I didn't.

  Jack Nicholson

  Cutting, Cartoon, Salary

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• I think it reflects well on the state of animation that people are knowledgeable about it and love the fantasy and imagination that goes into it.

  Bill Plympton

  Thinking, Imagination, People

  Interview with Bob Marshall, www.avclub.com. December 1, 2010.

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• If everybody floated with the tide of talk, placidity would soon end in stagnation. It is the strong backward stroke which stirs the ripples, and gives animation and variety.

  Agnes Repplier

  Strong, Giving, Tides

  Agnes Repplier (2009). “American Austen: The Forgotten Writing of Agnes Repplier”, Intercollegiate Studies Institute

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• 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.

  John Ruskin

  Heart, Dedication, Humanity

  John Ruskin (1858). “The Stones of Venice”, p.41

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• After days and nights of incredible labor and fatigue, I succeeded in discovering the cause of generation and life. Nay, more, I became myself capable of bestowing animation upon lifeless matter.

  Mary Wollstonecraft Shelley

  Night, Causes, Generations

  Mary Wollstonecraft Shelley (1869). “Frankenstein: Or, The Modern Prometheus”, p.41

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• We've got to stay on our [animation] game, make sure we still remember how to animate.

  Victor Navone

  Games, Remember, Stills

  Source: collider.com

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