Quotes About Animation

I started doing my own animated movies when I was in ninth grade; that's when I got the filmmaking bug. When I was about 16, I started writing jokes for doing stand up, and then I was 19 and started doing stand up.

Most of the time one is discouraged by the work, but now and again by some grace something stands out and invites you to work on it, to elaborate it or animate it in some way. It's a mysterious process.

Awkward disturbances will arise; people will not submit to have their throats cut quietly; they will run, they will kick, they will bite; and, whilst the portrait painter often has to complain of too much torpor in his subject, the artist, in our line, is generally embarrassed by too much animation.

I was a big comic, cartoon, animation nerd.

I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself - love it so much that we're always going to be looking for new ways to make our films.

We use shorts at the studio extensively to develop talent. I always love to give opportunities for young story people, animators, layout people something like that to take the next step up in their career and try things out.

Some Nickelodeon executives were worried about backing an animated action show with a female lead character. Conventional TV wisdom has it that girls will watch shows about boys, but boys won't watch shows about girls. During test screenings, though, boys said they didn't care that Korra was a girl. They just said she was awesome.

Pete Corley stood up—which was like watching a closet full of broomsticks animating all at once under a sorcerer's spell.

If there was a Toon Town ranch, it would be decorated in Monterey.

It's a strange business, and unfortunately, what we do in animation is a mystery, especially the directors.

I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.

Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!

It is ironic you could make an animated film about a dog that's a universal character, but God forbid it be a human being who is not a man.

I don't think of 'Monsters, Inc.' as existing in the same space as Carl Frederickson from 'Up,' or whatever, you know? They seem like completely different universes to me.

When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.

Every actor I know pretty much wants to be a rock n' roll star, and we'd all give it up to be in a rock n' roll band, but we're never going to do that. But being in cartoons - that's as close as you get without being an action figure.

Animated editorial cartoons are completely different from static editorial cartoons.

I've been very fortunate in animation - when I get on a project, people tend to keep me, so I have long stays of work rather than bouncing around.

I don't remember the very first animation I saw, but the one that stays deepest in my memory is definitely 'Astro Boy.'

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

You're going to get different kinds of animation for different kinds of audiences. Traditionally, adult animation has been for the young male audience. There's no reason why that should be.

I loved cartoons as a kid, and so many funny moments in animation for me are nonverbal sounds, unarticulated mouth noise.

In live action, sometimes a mood or a feeling can go on for quite a while. Animation is a lot more effort. There are a lot more notes.

If you look back at Disney's 'The Hunchback of Notre Dame' or 'Pocahontas,' animated films were trying to get more and more real before CG really arrived.