I take time to watch anime. I don't know whether I'm allowed to, but I do it anyway.
I think the idea of a traditional story being told using traditional animation is likely a thing of the past.
We tend to forget that words are, themselves, ideas. They might be called ideas in a state of suspended animation. When the words are mastered the ideas tend to come alive again.
A person should go out on the water on a fine day to a small distance from a beautiful coast, if he would see Nature really smile. Never does she look so delightful, as when the sun is brightly reflected by the water, while the waves are gently rippling, and the prospect receives life and animation from the glancing transit of an occasional row-boat, and the quieter motion of a few small vessels. But the land must be well in sight; not only for its own sake, but because the immensity and awfulness of a mere sea-view would ill accord with the other parts of the glittering and joyous scene.
This Golden Globe nomination is sweet validation for the years of hard work it took to bring Coraline to life using stop-motion animation with the greatest crew of animators, artists, and technicians I've ever been privileged to work with. I share this nomination with all of them and we all share our thanks to the Hollywood Foreign Press.
My kids love anime, but I don't show them the really graphic stuff
Computer animation is one way to liberate people from their circumstantial gravity, and it is one way to give them mental freedom.
You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
Our griefs, as well as our joys, owe their strongest colors to our imaginations. There is nothing so grievous to be borne that pondering upon it will not make it heavier; and there is no pleasure so vivid that the animation of fancy cannot liven it.
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.
There is a scene in the movie where Astrid and Hiccup fly on Toothless's back toward the island of Berk. The animation is intensely real, from the waves on the sea to wisps of wind blowing in the characters' hair. The feeling I get watching that scene is why I fly - just for that feeling.
Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
To take full advantage of computer animation, you have to pay as much attention to the believable as you do the unbelievable.
Shark Tale feels borrowed, sampled and dittoed from the collective funniness of the past 10 years in studio-made animation.
Characters in animation do not cheat. They do not let you go for another. Animation is on certain points, very close to the pornography industry. All your physical needs are met. You can watch different animations and find anything you desire.
I'm part of the first generation who grew up with manga [comics] and anime [animation], you know, after 'Godzilla.' I was absorbed with Ultraman on TV and in manga. The profession of game designer was created really recently. If it didn't exist, I'd probably be making anime.
The problem is that every time people have deviated from the Disney playbook in hand-drawn animation, they've done so with staff that are nowhere near Disney-level talent or Disney-level budgets.
I think hand-drawn animation can be something really special. If the character design is quite simple it has the ability to allow people to easily relate to the characters in a special manner.
A lot of the time in animation is spent getting the story right - that's something you can't rush.
I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.
First I did animation films, when I was young, in time-lapse. And then in the '80s I went directly to video. The main reason for that was that I could control all the steps.
It used to be trained professionals doing animation and they were great. Now they have celebrities and famous actors doing the voices, but that does not always work. But I think this film turned out really well, partly because the three of us (me, Ray and Denis) are comedians who are used to doing solo acts and doing certain types of voices. The three of us are New York guys, we all came up the same way in the profession and we are all edgy and enjoy doing family movies. It was a good combination I think.
My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.
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.
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