Quotes About Animation

Ora o desenho animado, si nos convence e nos ilumina tanto, deve ser também porque ele nos reverte a esse infantilismo profundo e inamovível que persevera em nós, apesar de toda a nossa adulta materialidade. Ele arromba o limite existencial das coisas e nos coloca num mundo de milagre. Num mundo fantasmagórico, mais exatamente que fantasmal.

Grave of the Fireflies is an emotional experience so powerful that it forces a rethinking of animation... It belongs on any list of the greatest war films ever made.

Sweetie, the bluebird has flown. We're too young to sit around the rest of our lives waiting for it to fly back in the window. It won't. It can't fly backwards.' He was using his hands again in that disagreeable stagey way, and Ruth was angered by the flicker of conceit in his expression when he struck upon the image of the bluebird fying backwards - a piece of animation on the screen of his face.

'Family Guy' is relentlessly excellent.

When I was four years old some friends of my family took me to see 'Fantasia' and I was totally blown away. From that minute on I wanted to be an animator.

When 'Family Guy' started, we wanted to make it more like a sitcom. And there was very little music.

There's a strange quality in stop-motion photography, like in King Kong, that adds to the fantasy. If you make things too real, sometimes you bring it down to the mundane.

Well, luckily with animation, fantasy is your friend.

Sheer animated fantasy is still my first and deepest production impulse.

For me, part of the fascination with making animation is you go to a place; it's a complete immersion in someone else's fantasy.

And as I was sort of doodling, I was thinking, surprise and fear - probably fairly similar so let's just lose surprise. And that left us with five.

Radford. Miriam's face was animated. She laughed

To be animating at the same time, it's the ultimate freedom in filmmaking because you can literally put anything on the screen that you can imagine.

his desperate sale of The Rite of Spring to Walt Disney, to be used in an animated film called Fantasia.

The Simpsons are ugly-looking, and they should be. That's what works. That's one of the things that's funny.

To me, little Mike Wazowski is one of the best characters I ever got to play because he was funny. He was outrageous. He got angry. He was romantic. He was a full, well-rounded character.

When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.

He reminded me a little of Walt Disney's version of a mad scientist.

Beauty and the Beast seemed like it all was really brown. The whole thing was just so brown and orange and yellow, like Burger King or something. I don't think I would have liked Beauty and the Beast at any age.

It takes us nine months, from concept to finished product, to make a single episode of The Simpsons.

Our team of Korean animators hand-draws twenty-four thousand cels to make one episode of The Simpsons; these days, color is added by computer, but for the first decade of the show, each cel had to be hand-painted.

Holiness is the suspended animation of the mind, for awakening in a better place.

We can do things that we never could before. Stop-motion lets you build tiny little worlds, and computers make that world even more believable.

When I get up in the morning and put on a pink or a green wig, I see myself as a piece of animation. It lets me be the person I want to be, a person who's not embarrassed to have fun.