I think the biggest difference is in live action, you show up, and there’s a set there and a ground to stand on, at least, and in animation, there’s kinda nothing. You are making decisions on everything.
In the ’70s, as a kid, someone took me to a Tournee of Animation festival at the L.A. County Museum of Art.
I’d love to go back to Broadway; I’d love to do animation; I’d love to do hair and make-up campaigns because I love hair and makeup – and, I’d love to do film. I mean, there are a lot of doors I’d love to open up!
I loved ‘The Matrix,’ so when they asked me to do some animation relating to it, I was thrilled.
I’ve auditioned for animation stuff for a long time; that’s a tough field to crack into. I don’t think I have the strongest voice. I don’t have a theater-trained voice or a radio voice, but I think I make good character choices.
My early experiences in animation taught me that following someone else is not a great idea.
‘The Critic’ was so absurd, and I loved that. I loved working with Jon Lovitz, I think he’s got a great, great voice for animation.
Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation.
There was a manga boom, so I read ‘Astro Boy,’ ‘Osomatsu-kun,’ and such. But what influenced me the most were things like ‘Popeye’ and Disney animation.
I love to get involved with projects that take me out of my comfort zone. I try to do things that are not necessarily what I’m used to. I always wanted to do a big animation movie and stick to the codes that this genre sometimes implies.
I’ll do anything that sparks me. Sometimes I’ll want to do something random with ballet, and then I’ll want to be a hippie caterpillar in an animation film. Who knows what will come my way, but I’m going to try and put little hints into the universe, and hopefully they’ll float on by.
I love working with rotoscopic animation because under the incredible handpainted artwork are real actors and real human performances.
I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.
The success of ‘The Simpsons’ really opened doors. It showed that if you were working in animation you didn’t necessarily have to be working in kids’ television.
I’ve seen animation features just languish until the right combination of things come along to keep it alive.
I don’t want to do animation to mimic reality. I want to push reality.
Hollywood has cracked emotions very well with animation, and that is where India will eventually cover because it is an emotional country, and we just want a right story to tell, which will stir the right emotions with the audience.
Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.
After Pixar’s 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.
I am an animator. I feel like I’m the manager of a animation cinema factory. I am not an executive. I’m rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.
False friendship, like the ivy, decays and ruins the walls it embraces; but true friendship gives new life and animation to the object it supports.
From an animation perspective, it doesn’t get better than Pixar. You’re working so much in the blind because the huge circle of collaborators that’s required to pull off a film like this means that you are just one small arc in that large circle. The level of trust that you have to give into is significant.
Where as in animation you have to kind of do a series of drawings in between to complete the movement.
In animation, there’s not a medium I believe that’s more collaborative. It is a team of people, of different disciplines, coming together. The decisions are made by consensus in many cases. My job as a director is to exercise the best judgement I can in terms of which decision is the best one to make for the movie.
For me, one of the great tragedies is the conclusion studios have drawn about traditional animation. I believe that 2D animation could be just as vital as it ever was. I think the problem has been with the stories.
My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.
Animation is awesome because there’s a really bold type of comedy you can get away with that you couldn’t get away with in live action: a broader, campier style.
I love to do animation movies, and those might be some scores that are lesser known, unless you really kind of dig through my work and see.
Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.
I run advertisements and sell T-shirts to cover overhead costs and pay the few people who help me out behind the scenes. Anything left over is spent on production costs, animation costs, etc.
Animation is very similar to sketch comedy: you have a short amount of time to do something big and ridiculous and funny.
Anybody in animation today would be lying if they said they weren’t somehow influenced by ‘The Simpsons’ to a certain degree. Except for the shows that go out of their way to look as far from ‘The Simpsons’ as possible.
I prefer that animation reach into places where live action doesn’t go, and it seems like all of animation nowadays is trying to go where live action is.
It is no surprise that animation is Hollywood’s most successful and innovative genre.
I like doing everything. That’s why I came to Pixar, as opposed to Disney or any other studio – it’s small. At the time I started, I was, like, the 10th person in the animation group, and we all had to do everything. That’s the way I like it, keeping it fresh.
I think of Ray Harryhausen’s work – I knew his name before I knew any actor or director’s names. His films had an impact on me very early on, probably even more than Disney. I think that’s what made me interested in animation: His work.
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 Grimaldi’s in Queens.
My mental faculties remained in suspended animation while I obeyed the orders of the higher-ups. This is typical with everyone in the military.
On ‘The Dragon Prince’, we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can’t get in traditional 2D animation.
I love animation, I really do, but I don’t do it for the children.
Well, luckily with animation, fantasy is your friend.
For characters where, in a comic, I’d avoid using screen tone because it’s such a bother, I’d deliberately use it in animation in order to highlight their individual characteristics.
It feels like animation has a little more independence than traditional sitcoms ever did.
The Walt Disney Animation studio is the studio that Walt Disney started himself in 1923, and it’s never stopped and never closed its doors and never stopped making animation, and it keeps going as kind of the heart and soul of the company.
Loom.ai will accelerate making human co-experiences more immersive and personal, adding world-class facial animation technology as part of Roblox’s efforts to provide expressive emotive actions to avatars that will enable deeper connections for our community.
When you take something that’s inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that’s animation. But when you take something that’s live-action, and move a part of it, that’s a special effect.
People, they think that animation is a style. Animation is just a technique. It’s like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
I have a confession. I don’t enjoy animation. I have no idea why because I absolutely adore doing voiceovers. I think part of me feels that animation has put an actor out of work.
One of the things I learned in animation is that you never, ever want to start doing a voice that you can’t sustain for four straight hours.
My experience is that there’s absolutely a correlation between the enthusiasm within an animation studio for a given character and the enthusiasm the audience feels when seeing the movie.
I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.
You have to love Dr. Seuss to take on the responsibility of conveying his work in animation or any medium.
You have to always physicalize, when you do animation recording. Otherwise, you won’t get the performance right.
