Quotes About Animation

In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.

I wrote for 'King of the Hill' for three seasons.

I wrote on a show called Johnny Bravo when I was at Hanna-Barbera.

I have more faith in doing something creative for a cable station or something like Yahoo or Google or Amazon. What Netflix did with 'House of Cards' and David Fincher was brilliant. That is inspiring to me. I think there is more chance for creativity in animation, it just hasn't happened there yet.

Animation has revitalized a part of my brain that says, 'Oh yeah, I do like doing this. This is fun.'

I would love to continue working on animated films. Yeah, those are my ambitions. No doubt.

Mickey Mouse popped out of my mind onto a drawing pad 20 years ago on a train ride from Manhattan to Hollywood at a time when business fortunes of my brother Roy and myself were at lowest ebb and disaster seemed right around the corner.

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.

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

'How To Train your Dragon 2' is an amazing film. I think it's an extraordinary film. The animation in it is fantastic.

In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.

I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.

I loved Disney. 'Fantasia' was my first, favorite Disney movie. And it just kept going. I loved 'Bambi.' I loved 'Cinderella,' 'Lady and the Tramp' and 'Snow White' and even 'Mary Poppins' which wasn't even fully animated - it was just a little bit animated. They were such a part of my growing up years; I was just very connected to them.

For me, the thought of spaghetti and meatballs conjures up the image of that scene where 'Lady and the Tramp' gaze into each other's eyes as they slurp a strand of pasta into a fateful kiss.

For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.

Very few people have made the transition from animation to live-action; I'm certainly not one.

Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?

I have to say I regretted giving up animated movies.

Life depends on, how much you're alive

I was very moved by shows that combined things that were funny and sad. I remember liking 'Simpsons' episodes in which emotions were central.

It's a hilarious part of my past, all the sitcoms I did in the '80s. And then all the animation - animation is amazing. It's really been great.

It feels like animation has a little more independence than traditional sitcoms ever did.

It's funny: in the middle of making 'The Muse,' I was offered, at the time, the first 'Ice Age,' the part that Ray Romano took: I was offered the elephant. And I couldn't even stop to breathe, so I didn't do it. They've made, like, six of them. And in the animation business, for a voice actor, that's what you want. You want six, you know?

I went back over the sketch books I'd filled at Sheffield for ideas and discovered Wallace and Gromit, except Gromit was a cat then. I made them into Plasticene shapes and started 'A Grand Day Out.' It took me longer than I expected.