Quotes About Animation

I've been able to work with some incredible voice talent, most of whom I grew up hearing in my favorite cartoons.

A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.

You're not going to make Hemingway better by adding animations.

'SpongeBob,' 'Hey Arnold!,' 'Rocket Power.' I watched all those shows, man.

I loved animation and cartoons, even when it was not cool when you were in high school. I raced home to see the Bugs Bunny cartoons.

I didn't really watch 'Beavis & Butt-head' that much or 'King of the Hill,' but I was a huge 'Office Space' fan.

I remember trying to stay up late and catch as much 'Beavis and Butt-Head' as I could, and then 'King of the Hill.'

La vie, c'est-à-dire une énergie considérable.

The animators working with these 3D models, they're artists, right? They're great at what they do. They're artful in how they move characters about.

Historically, stop-motion animation has had a jerky-jerky quality, which is a constant reminder to audiences that they're looking at artificial objects. It creates a barrier between the audience having an emotional experience and what they're looking at. We're working hard to get past that.

I'm having the same problems today that I had when I first started, saying that outrageous adult animation works.

The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.

When I was little, I used to watch Disney movies all the time, and it drove me crazy that Cinderella's tights wouldn't gather at her ankle when her foot bent, so I kept trying to make sure that I didn't get those little creases on my ankle because Cinderella didn't have them.

'Bambi' is an amazing film, and when you watch it today, it's just as beautiful. It's timeless. It's just as beautiful today as it was back then.

The early years of Hanna-Barbera were more fun than the later ones. I was working more in the creative areas of timing and direction then. But as the studio grew, I became more involved in administration and got away from the creative aspects.

I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.

When me and my sister were toddlers, it was 'The Jungle Book' literally every day. If it was lunchtime, it was 'Jungle Book' time.

I enjoyed doing the 'Tom and Jerry' cartoons, and if we had never done anything else, I would have been perfectly satisfied.

I think that - whether I should admit this or not - Joe and I, going back to 'Tom and Jerry,' have been very lucky in being able to do cartoons that have universal appeal.

'Tom and Jerry' seemed to be as well liked by adults as by children. 'The Flintstones,' of course, was geared more to adults, but I guess we were just lucky that the kids seemed to enjoy 'The Flintstones,' too.

We used to make a 'Tom and Jerry' short every six weeks and they were about six minutes long, so we were producing about a minute of animation a week.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

I saw one of the old 'Tom and Jerry' cartoons the other day. I hadn't seen it for 30 years and I didn't remember it. We made 160 of them! I thought it was a very funny cartoon.

I think we had made 160 'Tom and Jerry' cartoons.