There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
I've done animated TV stuff, but I'd never done animated film work, which is much more involved and much more labor intensive. The animators are much more meticulous and detailed. It's just been really fun and really satisfyingly creative.
When I was at Pixar, I was in my hole. I was an animator, I had my shots and I was like, "Yeah, I've gotta make this perfect!" It's a very selfish thing.
Watching Ray Harryhausen's films growing up was a pure joy. He brought legends to life and he became a legend himself. And I am sure that future generations of animators will continue to look to him for inspiration.
I usually get involved in the interviews about the animators and the filmmaking in general, because I had a chance. I got to know, not only Marc Davis, but Frank Thomas, Artie Johnson, Ward Kimball, all these great animators, and just ask them all these questions about how they did certain things, what their trials and errors were, the ups and downs.
It's like, the more you commit, the happier the animators are; if you're at all iffy and concerned, then it doesn't free them up to do as much fun stuff, so you have to just go for it and, again, trust the people around you and not be seemingly guarded and numb. Throw caution to the wind a bit.
(The) process of acting is no different to conventional screen acting, in that it's providing a perfect interface between the director and the performer. So there's no sort of long way around a viral committee of animators.
I animated 20 years at Terry Toons. It's important to know that animators like pizza and a raise once in a while, and you've got to treat them with love.
We [film supervisors] always try to encourage discussion in the room because a lot of times newer animators who are just out of school or people come from other studios, they're gonna have different points of view and we want to make sure we're vetting all the ideas to get the best ones. A lot of people are shy about speaking up if this is their first time at Pixar or if they don't have a lot of experience, so we try to encourage that.
The animators are fantastic though. They'll shoot their own reference material, and just go into the car park or something. And they might shoot a very funny scene, or sometimes a serious scene. But they're really just trying to work out the motion. Yet what we get treated to is hilarious video of someone running around a parking lot with a broomstick and a helmet!
I know reels can be expensive but even if you construct one on your own if you don't have enough money to get a more professional one while you're getting started, as far as college animators go or young indie developers I don't think they are going to care if you have the highest quality reel yet.
I found a lot of animators bring a lot of baggage to the party, just that there's a certain way of doing things in that world that's a little hard to unlearn.
I was an animator for a while early on, but a 2D animator.
Being an animator, and I've directed tons of mo-cap, which really is about how do characters move through space.
I decided to work on hand animate because the animators work as authors in every little scene and it brings real soul for characters.
Joanna Priestley’s amazing body of animated films have deservedly earned their place in the pantheon of contemporary international animators. Inventively visioned, superbly crafted, and rich with insight into the physical and spiritual dilemmas that confront us all, each new work provides an unexpected pleasure.
Nine times out of ten, I'm trying to meet someone else's expectations, whether it's the director or the writer or the animator, when I go back in to re-record a line. I'm the icing on the cake, but the cake is the thing. I'm really just a hood ornament on a very solid vehicle.
The industry in Japan moving toward CGI is not as severe and extreme as in the U.S. The animation industry in the U.S. is firing 2D animators and closing those studios, but I think it's possibly because the national traits of the U.S. prefer super-realism. Since Japan is a country that prefers plane vision, I don't think we will leave 2D and substitute hand-drawing with CGI entirely.
I grew up near Disneyland, and my brother's an animator, so I was always really inspired by bright, cartoony colors and that whole feeling of happiness.
People are mystified by it and so they kind of think, the acting community thinks they're gonna be replaced by CG characters and animators think they're gonna be replaced by performance capture (and) a lot of directors, particularly European directors, who have no experience of it.
I do not draw any of the pictures for my movies as an animator. The reason for that is that I am terribly lucky to have many staff members who I look up to, and who are overflowing with talent, that work with me on each project.
We want to be proud of our work and make sure it's worth the talent of the animators, who spent four years of their love, sweat and tears on it.
I get a lot of credit for Tron. They called us scene choreographers back then because the animation unit wouldn't let us be called animators because we were working on computers. And we were some of the first people ever to make 3-D computer animation.
Since the waiting time required during the rendering process has been dramatically shorter in the last 10 years, I think that CGI animation has finally become practical. It is a fact that I processed the Steamboy work based on the assumption that the machine spec would be higher. In that context, young 3D animators have also gotten more skillful in recent years. But what I didn't expect is that the skills of traditional 2D animators have become worse, and notable young animators have not come out to the scene. This is a big issue for the industry.
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