Quotes About Animation

I love artists whose work feels animated! Matt Cummings, Ian McGinty, Jake Myler, Arielle Jovellanos, Drew Rausch, Zachary Sterling, Troy Little - I feel like most of the artists I've worked with have a lot of movement and life in their work.

I'm meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.

You have to love Dr. Seuss to take on the responsibility of conveying his work in animation or any medium.

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

I remember as a kid being really scared of the Smurfs.

A lot of people feel that there is less artistry involved in cartoon making unless they have painstaking control of each frame.

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

When I was a kid, I wanted to make movies. In particular, I loved animation and would love to have been an animator.

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.

Jim Henson once allowed me to visit the Muppets on set and spent an entire day showing me how he and the other puppeteers performed Kermit and all the characters! After that, I was lucky enough to work with both George Lucas and Steven Spielberg on many fun animation projects and learned so much from them.

Kids cannot follow stories. They don't know what the hell is going on in a cartoon. They like to see funny visual things happening.

If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.

I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.

I've done a lot of dance sequences because I like them; I like to animate dancing because it's fun and visual.

Very few people view stop motion the way we do. We really try to use it - and animation generally - as a powerful visual medium by which you can tell virtually any kind of story in any genre.

I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!

There are so many sitcoms, especially in animation, that we've almost forgotten what animation was about - movement and visuals.

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.

I have always said and maintained that I think being an RJ is the most difficult job in the media business. To have that energy and animation in your voice alone, to capture your audiences through your show, is entertainment in the true sense.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.

When you do an animated movie - at least the ones that I've been a part of - you never see any of the other actors. It's all done separately with headphones in a voice booth.

I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.

I want to do voiceover for animation, so I am looking to do something along those lines. So, my agent is looking for something in that area, and I think that would be a lot of fun.