Quotes About Animation

Disney and I were a bad mix. For a year I was probably more depressed than I have ever been in my life. I worked for a great animator, Glenn Kean. He was nice, he was good to me, he's a really strong animator and he helped me. But he also kind of tortured me because I got all the cute fox scenes to draw, and I couldn't draw all those four-legged Disney foxes. I just couldn't do it. I couldn't even fake the Disney style. Mine looked like road kills.

She turned her head to smile at him, and in that moment she looked rather lovely. With her face lit by affection and happiness, she wasn't actually plain, Hugh realized. Her face was unremarkable, true, but there was a brightness and an animation to her tonight, some spark that made her arresting.

In some ways we describe 'Boxtrolls' as 'Oliver Twist' if Terry Gilliam had made it. I think he's an extraordinary artist, and animator.

Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.

Initially I took the job because I thought it would be really easy. I was like, I'll take the paycheck because I want to do my own movie. That didn't work out. In the first two weeks I fell in love with Kratos from an animation perspective; I'd never been able to do anything like this.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

I think we kind of changed how people did humans in CG animation after. If you look at films before 'Incredibles,' they tended to be photorealistic in a clunky and ugly way, with pores in their skin and too many eyelashes. It's kind of disturbing. And since, the designs have gotten a lot more playful in a lot of people's films, not just ours.

The thing that I enjoy about animation is the fact that it is unbridled, and there are no boundaries; when you are in the room, you don't have to focus on your clothing, make-up, hair, your choreography or your blocking; you really do have total freedom.

CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you.

Mr. Miyazaki's specialty is taking a primal wish of kids, transporting them to a fantasyland, and then marooning them there. No one else conjures the phantasmagoric and shifting morality of dreams - that fascinating and frightening aspect of having something that seems to represent good become evil - in the way this master Japanese animator does.

Mike Judge is very specific about how people look in his projects, and I think it's because he's an animator.

I had - I was pretty hell bent on getting into the cartoon business specifically as an artist from the get-go.

I thought that if I could speed up the production of animation, I could make a big business out of recreating the amazing images of the news because what we get on TV is always the last bit of image.

I run advertisements and sell T-shirts to cover overhead costs and pay the few people who help me out behind the scenes. Anything left over is spent on production costs, animation costs, etc.

As much as I love elements of Spider-Man's past, I don't really want to go back in and retell the Gwen Stacy and Green Goblin story in animation just so I can do my take on it. I don't want to redo the first 'Spider Slayer' story.

I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.

Back in the days before the Internet, there was no place to put a short film, so Mike Gribble and Spike Decker had this festival of animation. My student films got selected.

I love 'Spirited Away,' that's a huge one.

I always liked making things, and then I fell into animation. And then luck comes into it as well.

The Man of a Thousand Voices

I do what I do because of Walt Disney. Goofy. Mickey Mouse. I never forgot how their films entertained me.

Shrek is the Mickey Mouse of DreamWorks.

Where as in animation you have to kind of do a series of drawings in between to complete the movement.

Animation is not the art of drawings that move but the art of movements that are drawn.