Quotes About Animation

Gravity Falls' is a very hard show to produce.

I always thought, if I was gonna make a kids show, I would want to make something that my own 12-year-old self would love. So, I put all that in a blender and stewed it together to create 'Gravity Falls.'

Currently computer graphics are used a great deal, but it can be excessive.

The movies I like watching the most are these sort of cinema verite, handheld films where you really get gritty with people. But I also have this strange affinity for old Rock Hudson/Doris Day movies and things that sort of pop out where you see the frames, where you have these 2D animation moments and split-screens and things like that.

I have not grown up on movies. I didn't watch much films in my childhood, but I was fond of animation films.

Walt Disney grew up in Marceline, but almost every child has grown up with his beloved characters.

People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.

My father was a restaurant man, laundry man in his lifetime. And I've often wondered how and why did I become an actor? Where did I get the so-called talent to express myself? And I look back, and I see that my mother was very animated. I can remember that she used to, what she called 'bei zhu.'

In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.

I saw 'Sleeping Beauty' when I was, like, 6 years old at the Mercury Theatre. Then, when I came to Disney, I was in the company of these wonderful artists. People like Glen Keane, like Mark Henn, who were brilliant animators who could really bring these things to life.

This medium of stop-motion, it can be much more than it's been kind of defined as - it's not just a creaky and anachronistic way of making films, it actually is a very vital art form that can do wonderful things if put in the right hands.

Winnie the Pooh and his friends from the Hundred Acre Wood are among the most entertaining and beloved characters ever animated by Disney.

I hated Woody Woodpecker and Scooby-Doo, but I was a cartoon freak.

I just find 'Scooby-Doo' unwatchable. I can't stand it. I like all those other Hanna-Barbera shows about a thousand times more than 'Scooby-Doo.'

If you look at 'Coraline' and you look at 'ParaNorman' certainly you can tell that there are threads of the same DNA between those two movies, but they're two very different kinds of movies. They look different, they feel different, they are very different kinds of movies.

There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.

That's what happens in three-dimensional animation, you tell the computer what the subject is like and the computer can figure what it would look like from any camera's point of view.

Anything Pixar does, you know, I really just am in awe of them and thrilled to be included in anything they do.

I loved 'The Matrix,' so when they asked me to do some animation relating to it, I was thrilled.

In my opinion, animation will continue to thrive as long as there are children, parents, television, movies and the need to laugh.

I could hardly sit through 'Frozen.' There was an attempt to craft a moral message and to build the story around that, instead of building the story and letting the moral message emerge. It was the subjugation of art to propaganda, in my estimation.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

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.

When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.