In learning the art of storytelling by animation, I have discovered that language has an anatomy.
Everything on Saturday morning [cartoons] moves alike that's one of the reasons it's not animation. The drawings are different, but everybody acts the same way, their feet move the same way, and everybody runs the same way. It doesn't matter whether it's an alligator or a man or a baby or anything, they all move the same.
Tidiness makes me think of held breath, of suspended animation.
The good thing about animation is that you can affect it. If something is not working, then you just fix it.
One of the things about animation is it's so expensive to do the animation, that you can't produce coverage. You only have one chance to make every shot.
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!
I'm skeptical that the novel will be "reinvented." If you start thinking about a medical textbook or something, then, yes, I think that's ripe for reinvention. You can imagine animations of a beating heart. But I think the novel will thrive in its current form. That doesn't mean that there won't be new narrative inventions as well. But I don't think they'll displace the novel.
Obviously as a kid, for probably anybody who chose animation voiceover as a career in their adult life, Mel Blanc was the touchstone for everybody. He kind of invented the job and was the first voice actor to get onscreen credit.
So I'm happiest when I'm working with artists and writers, and involved in stories, whether we're talking about animation or movies or comics or television.
Learn how to draw. It's the basis of what we [animation directors] do. Keep a sketchbook. Try making a very simple little film. Try and tell a story clearly and entertainingly. Study the way people move and animate move. Observe all you can, and try and capture that simply in a few lines on paper.
I love doing animation - mainly because you get to over-act. They're always saying "more," "louder," "bigger," "huger" and you just turn it lose. Plus, doing animation voiceovers, I have learned so much, and it's always good in your career to discover something you didn't know, and to learn to do things differently. So it's a fascinating experience.
When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.
America is behind Europe and Japan in terms of accepting adult ideas in animation.
I'm a fan of animation and so, the more stuff that doesn't look like the other stuff that's out there, I'm in favor.
In my opinion, animation is best when it communicates without words, because it is the perfect medium through which to make shortcuts to meaning. When actors are not talking, just acting out, it looks kind of weird. But in animation, mime is constant, and you accept it.
Tigress is my alternate personality, especially with children. I love animation because you get to do things you don't normally get to.
Nothing can inspire religious duty or animation but religion.
Animation remove you from a visual reality - if it was live action, you wouldn't be able to see through the person's mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.
I have decided that I want animation to be taken seriously; that is the goal of my life. I believe that animation is a very important medium to tell stories, not just for kids but for adults.
Technology is the friend of traditional animation. It doesn't have to replace it. It can help you do it.
You're using such different muscles and you rely on physicality in live action, but in animation, you totally throw that out the window. But somehow, they're both as satisfying.
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.
Animation, by necessity, is a team sport, and the fewer people with input into my work, the better I like it.
I don't know what I'd do with my life if it wasn't for animation.' I guess I would be an artist, or do something with animals. I have a passion for animals. Maybe I would've become a veternarian.
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