Joanna Priestley is one of the most interesting and adept personal animators and filmmakers. I have enjoyed her work for years and been amazed at how she gets into her own thoughts onto the screen in a very elegant and focused way. You have to see this.
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.
With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.
Theresa strode over to us in a swish of cloth. "Enough of this, animator. He can't do it, so he pays the price. Either leave now, or join us at our...feast." Are you having rare Who-roast-beast?" I asked. What are you talking about?" It's from Dr. Seuss, How the Grinch Stole Christmas. You know the part, 'And they'd Feast! Feast! Feast! Feast! Feast! They would feast on Who-pudding and rare Who-roast-beast.'" You are crazy." So I've been told.
I got out my jar of ointment. I knew animators who had special containers for the ointment. Crockery, hand-blown glass, mystical symbols carved into the sides. I used an old Mason jar that had once held Grandma Blake's green beans. Larry fished out a peanut butter jar with the label still on it. Extra-crunchy. Yum-Yum.
I've always drawn, for example, and I did consider when I was younger, it was either do I become an actor or do I become an animator cartoonist at that point. Do I work at Disneyworld or something and do animated cells or something?
The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.
I have friends and illustrators who can't stand drawing on the Cintiq. [A graphic pad tablet used by digital animators] There's a certain tension and friction when you draw on paper that they miss. The tablet is very slick. It's like drawing on glass. But that didn't bother me at all.
The Catholic Church sees voluntary vampirism as a kind of suicide. I tend to agree. Though the Pope also excommunicated all animators, unless we ceased raising the dead. Fine; I became Episcopalian.
The animators bring their own spontaneity to it as well, because when they do a take of a shot it really is like just one continuous activity for them. They launch into it and do it, and they're not even quite sure how it's going to turn out when they're doing it. They're sort-of sculpting their way through a scene and trying to make this inanimate object alive.
An actor uses his body as a tool and an instrument. In the same way a musician plays an instrument, the actor uses his body to convey feeling and emotion. An animator uses a pencil or a computer to create the same thing, the same exact way... An actor is taking words that are not his own, and he has to bring some kind of authentic life to those words. It's the same goal, to create this authentic life. Even if it's a drawing, or if it's a cartoon, you're still trying to create authenticity because, if the character emotes authentically, it has a power to connect with the audience.
The quality and success of Disney was actually bad for us animators because everyone on the planet thought that animation was only for kids and only in a certain domain. The big film festivals never thought much about animated films.
In timing a film, we used to assume that sneaks move slowly. This was great for animators-thirty-six to forty-eight drawings for a single step-but it was sheer hell for the pace of the picture. So the rapid tiptoe was invented.
First of all, computer animation is certainly a tremendous and viable medium today. But the warmth and personality derived from 2-D animation, in my opinion, cannot be surpassed. Certain stories lend themselves well to 3-D animation and I won't labor this with naming them, but in my bones, I still respond more emotionally to the artists feel in 2-D. You feel the 'actor' in the animator more personally...it's hard to explain.
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