There was a point a few years ago where I realized I started out playing boys on camera and stage, and then I translated that to playing boys in animated shows. I was like, "Whoa, this is intense."
I think speaking Italian affects your whole body movement. It's so musical and animated and passionate.
All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.
There are so many options in animation right now and this is such a great time to make animated movies that I want to make another one.
Warner Bros. is really open-minded, as far as studios go, when it comes to the types of movies they'll entertain, even with animated movies. It's a great place to be.
I decided that I wanted to be a voice on every animated cartoon in the history of the world - even shows that haven't been on the air for a very long time, that's going to be harder to pull off.
I've known Owen's father Ron [Suskind] for years, and this was based on his best-selling book ["Life, Animated"]. We worked together as journalists at ABC-TV News, and I knew about the book since its inception. Before he finished it, he approached me and said he thought it would make a great documentary, and I agree with him, and moved forward from there.
My teaching was animated by what I was reading and being excited by as a poet.
If we didn't have the Electoral College there would have been no George W. Bush presidency. Algore would have been elected. The Democrats have not gotten over that, and they never will get over the recount, the aftermath of that election in 2000. They are still animated by it today. It is a significant portion of the rage and anger they carry around with them every day, so they want to get rid of it.
Marylata [ Elton] introduced me to Hans Zimmer. Hans tapped me [to] work on songs for DreamWorks' animated features. I arranged Elton John's opening main title for The Road to El Dorado, I played guitars on Shrek for Harry Gregson-Williams and John Powell, I co-produced "I Can See Clearly Now" for Antz.
Every once in a while, someone comes up to me and says, "Excuse me, are you Tim Daly?" And I say yes and they say "I have to tell you, I am such a huge fan of yours, and my favorite work of yours is the voice of Superman." I'm always sort of surprised when that happens - I used to think that it was all about the kids watching those animated shows, and who did the voices didn't really enter their consciousness. But there are people that it means a lot to and I'm always a little bit taken aback by that. And I'm thrilled when that happens.
I had co-written one episode of an animated show called Jem and the Holograms. Which at the time I didn't view as the start of a career, I viewed it as, "Hey, someone wants to pay me to write something, and I might get a TV credit, isn't that cool?" So I did it with my writing partner at the time, Cary Bates, and it was interesting but it didn't lead to anything and I didn't think too much about it.
Here's my take, for what it's worth: I think that a lot of people in the US, as well as other countries, have the idea that animation is primarily for children, and kids like to be entertained! And animated films here tend to have crazy fantastic situations that would be difficult to do in live action, like with talking animals or monsters or whatnot, and that lends itself well to comedy, I think.
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