At one point, I animated villains in our stories, a bear or a giant, then on The Little Mermaid Ariel just called to me and I started to fall in love with characters who had that burning desire inside of them, this hope.
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.
What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg, and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
I've worked in animation for a long time. I started in Spain and I wanted to make feature films. That desire to figure out how to make animated features brought me to the U.S. to work for Disney.
I animated everything traditionally, on paper. I love how the texture of paper looks (it also matches textures of papier-mâché) and I love the tactile process.
I'm more of an older school comedian so Tommy Davidson still makes me laugh a lot no matter how many times I've heard his jokes or not. He's just an animated comedian that I don't mind seeing over and over again.
If you are animated by right principles, and are fully awakened to the true dignity of life, the subject of amusements may be left to settle itself.
I'm not honestly a real student of animation. I never was into it all that much. I don't really watch any animated shows.
Toward the end of the film ['Life, Animated'] we see 'The Sidekicks Story,' and that is a story that Owen drew himself. We took that style, which is decidedly different from Disney animation, and used it as a basis. It's a 'two-dimensional' hand drawn animated form, so I went to this company in Paris called 'Mac Guff,' and they assembled an amazing group of young animators, and brought it to life.
I wasn't that much of a Disney buff growing up, but I love the mystical and magical nature of Peter Pan, and I have connected with that character through Owen [Suskind] in making this film ["Life, Animated"].
I have a goal to do my own animated film, something all my own.
I went to Canada and played in this tiny bar where the windows were steaming up and everybody was so animated and singing along right there at the foot of the stage, looking up, and I got my mojo back .
The first animation thing I did was the first Transformers, the one that was animated many years ago. And I had heard that Orson Welles was doing a voice on it.
I was one of several songwriters I think interviewed [for Moana]. I'm a huge fan of Disney animated movies, and I've always wanted to write an animated score since I was a little kid.
Kids get very animated when it comes to food and it's nice to see how they react.
I'm there [on Moana] with the other actors, so you play off one another. It's not just your idea of what the character is and what the world is like it would be in an animated [film], where it all sort of exists in your head. It's all right there, and if Diego's performance is doing what it's doing, it affects yours.
I enjoy the fact that we have these mobile comics now, which are sort of a cross between a comic book and an animated cartoon.
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
When I talk to people and I get animated, I touch them and am very physically involved. It's actually been really hard, but it's an acting challenge.
Donald Trump understood America. He animated America, and now he'll be the president of all Americans.
I make a lot of expressions constantly. I'm animated.
In the 1970s, for example, I found myself learning to relish the poetry of Andrew Marvell and Sir Thomas Wyatt, and getting a handle on poetry of plainer speech than I had dwelt with heretofore. Which led me into a new appreciation of middle [William Butler ] Yeats, of the short three-beat line and forward-driving syntax, and that paid in, in turn, to a poem like Casualty in Field Work. The traffic, however, was usually the other way. My teaching was animated by what I was reading and being excited by as a poet.
A few Disney TV composers had me pinch-hit writing some scoring cues to picture. Disney tapped me to be the composer for the underscore and song producer for this new show called "Phineas and Ferb."There is nothing like a successful animated show to get your chops up. You have to do every style - action, adventure, romantic, suspense, spy, poignant, rock, funk, big band - delivered on a deadline.
Yes, the electoral struggle [in U.S.S.R.] will be animated. It will proceed around numerous very sharp questions, namely, practical questions having first-rate significance for the people.
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