Quotes About Animation

Pixar films are not realistic. They are believable for the worlds we are creating.

We always thought the Tom Tom Club could change to anything, but it acquired this image, which was cartoon animation and this real light-hearted dance music.

I used to pretend that I was Tom attacking Jerry, who was drawn on the ball.

Tom Kenny is awesome.

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.

The way Disney characters move, they're very kind of slow and fluid and flowing; one pose kind of eases into the next. If you look at a show like 'The Simpsons' and subsequently a show like 'Family Guy' - the characters will jerk from pose to pose a lot, a bit more snappy. Which sort of goes along with the writing tone of the show.

With a standard editorial cartoon, you're taking tons of information and synthesizing it down to a single bite - a single moment in time. With animated editorial cartoons, it's more storytelling.

I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.

I made Tony a person. For me, Tony was real. I made him become a human being, and that affected the animation and everything.

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

We use technology in service of the art, as a storytelling tool - and if we want to do something that's never been done we have to invent the technology. 'ParaNorman' represents the realization of stop-motion's potential.

We're not purists about stop-motion. If there's a tool we can use that makes more sense to bring something to life in a better way, we'll use it, whether that's hand-drawn animation or CG or some newfangled technology we're developing.

I think it is really important to not only take advantage of these tools that you have at your disposal but also to really take the time to develop ideas within yourself and think about what you want to animate, and then you can use these tools to create what you want to create.

I was working in a gaming company, but I really wanted to make animation. I didn't really have anything special, no special tools at my disposal, so I used what I had on hand like Photoshop, and that's really how I started.

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

Working on the 'Ice Age' movies, I'm really proud to be in them.

There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.

There's always kids who become stop motion animators. I get stuff all the time. They put it on YouTube. It's exciting to see.

I was totally involved in Bobby's World from the time we started the idea to sitting with the artists on how he would look, to the script meetings, the music, the lyrics, the songs.

Edison believed that living beings were animated and controlled by "life units," smaller-than-microscopic entities that inhabited each and every cell and, upon death, evacuated the premises, floated around awhile, and eventually reassembled to animate a new personality—possibly another man, possibly an ocelot or a sea cucumber.

I became myself capable of bestowing animation upon lifeless matter.

After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter.

Remember, I am not recording the vision of a madman. The sun does not more certainly shine in the heavens, than that which I now affirm is true. Some miracle might have produced it, yet the stages of the discovery were distinct and probable. After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter.