Animation Quotes - Page 7

• Now that had worked very successfully at Pixar, and he ended up adding one at Walt Disney Animation and one at DTS. So, I'm part of that Brain Trust where I sit in on all things creative for the whole studio, but especially in the Planes area.

  Klay Hall

  Disney Animation, Creative, Brain

  Source: collider.com

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• My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.

  Dan Fogelman

  Jobs, Careers, People

  Source: collider.com

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• When you're dealing with clay animation, people forget that every single set is built to scale and by hand.

  Jeffrey Katzenberg

  Hands, People, Clay

  Source: editorial.rottentomatoes.com

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• This is, in fact, the biggest show that Marvel television has ever taken on, in the animation world. We had a real challenge that was posed to us, and that was this little, tiny art-house movie that came out last year, that I don't know if you saw, called Marvel's The Avengers, written and directed by our friend Joss Whedon, and it really set the template.

  Jeph Loeb

  Art, Real, Taken

  Source: collider.com

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• I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.

  Chris Wedge

  Character, Two, Challenges

  "Director Chris Wedge Talks EPIC, the Road to Finally Getting a Greenlight, the Oscars, Branching into Live-Action with MONSTER TRUCKS, and More". Interview with Christina Radish, collider.com. December 15, 2013.

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• I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.

  Chris Wedge

  Roots, Way, Classic

  "Director Chris Wedge Talks EPIC, the Road to Finally Getting a Greenlight, the Oscars, Branching into Live-Action with MONSTER TRUCKS, and More". Interview with Christina Radish, collider.com. December 15, 2013.

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• I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.

  Hayao Miyazaki

  Drawing, Different, Stories

  Source: www.midnighteye.com

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• When you assemble animation teams the way you do a live-action film, you're often struggling a bit to get a cohesive team together, so if you have a team that works well together, you're hoping for another film so that you can refine the team.

  Brad Bird

  Team, Struggle, Together

  "Brad Bird Talks 'Iron Giant: Signature Edition', The Original Ending, And More". Interview with Matt Goldberg, collider.com. October 1, 2015.

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• I absolutely think that hand-drawn animation is valid and I actually hope to do one in the future with a large budget.

  Brad Bird

  Thinking, Hands, Budgets

  "Brad Bird Hopes to Make another Hand-Drawn Animated Film". Interview with Matt Goldberg, collider.com. September 17, 2015.

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• 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.

  Graham King

  Voice, Details, Action

  Source: collider.com

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• 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.

  Raul Garcia

  Long, Desire, Spain

  Source: blogs.indiewire.com

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• Animation wasn't my love, but drawing was. I loved drawing, and when it came time to graduate from high school, I looked around and it was like, "Wow, I don't really want to study math. I don't really want to study science. I don't really want to study literature. Is there a place where I can go and draw cartoons?"

  Harland Williams

  School, Math, Drawing

  Source: www.avclub.com

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• I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.

  Wes Anderson

  Fur, Puppets, Reason

  "Wes Anderson Interview FANTASTIC MR. FOX". Interview with Steve Weintraub, collider.com. November 27, 2009.

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• I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.

  Seth Green

  Focus, Vision, Use

  "Seth Green Talks ‘Yellowbird’, Animation, & Pop Culture Nostalgia". Interview with Andy Crump, screenrant.com. April 6, 2015.

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• It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.

  John Leguizamo

  Differences, Different, Body

  "Ice Age 2 - John Leguizamo (Sid) interview". Interview with Jack Foley, www.indielondon.co.uk.

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• It [voicing animation] is very freeing. Nobody in the cast is doing their voice. No one is talking like they normally talk and it's because, all of a sudden, you're freed from the physical limitations of how you look, which is amazing.

  Jason Segel

  Talking, Voice, Looks

  Source: collider.com

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• When an executive walked on our floor, it was at their own risk. As far as what others thought of working for me, I know I was very tough at times, and would storm down the hall after watching some bad animation from Korea. But overall, I feel we had a good time.

  Joe Murray

  Korea, Risk, Storm

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• My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.

  Geoffrey S. Fletcher

  Brother, Taught, Storytelling

  "Biography/ Personal Quotes". www.imdb.com.

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• As I got into the animation, as I learned more about the business, I learned that you need a lot of people to do anything animated - even a short, let alone a feature film. And you need a lot of money.

  Jeff Smith

  People, Needs, Film

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• Aside from my love of animation, as an actor I like the total lack of vanity in terms of not having to worry at all about your appearance. You don't have to deal with hair or makeup or wardrobe.

  Justin Long

  Makeup, Vanity, Hair

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• It used to be trained professionals doing animation and they were great. Now they have celebrities and famous actors doing the voices, but that does not always work. But I think this film turned out really well, partly because the three of us (me, Ray and Denis) are comedians who are used to doing solo acts and doing certain types of voices. The three of us are New York guys, we all came up the same way in the profession and we are all edgy and enjoy doing family movies. It was a good combination I think.

  John Leguizamo

  New York, Thinking, Voice

  Source: www.indielondon.co.uk

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• I went to the archives to see what Dumbo work there was, not for current film, but just for my love of animation. And I couldn't believe all the artwork the guys had done to find this universal empathy to Dumbo. There was one drawing where they used his ears as a sign: "Eat at Joes!" These guys were continually searching and digging to see what that is.

  Peter Sohn

  Believe, Drawing, Empathy

  Source: blogs.indiewire.com

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• If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.

  Marjane Satrapi

  Unity, Narrative, Might

  Source: www.indiewire.com

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• The problem is that every time people have deviated from the Disney playbook in hand-drawn animation, they've done so with staff that are nowhere near Disney-level talent or Disney-level budgets.

  Brad Bird

  Hands, People, Levels

  Interview with Matt Goldberg, collider.com. October 1, 2015.

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• I'm part of the first generation who grew up with manga [comics] and anime [animation], you know, after 'Godzilla.' I was absorbed with Ultraman on TV and in manga. The profession of game designer was created really recently. If it didn't exist, I'd probably be making anime.

  Satoshi Tajiri

  Anime, Games, Generations

  "The Ultimate Game Freak". Time Magazine Interview (Volume 154, No. 20), content.time.com. November 22, 1999.

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