Animation Quotes - Page 8

• Will Arnett and I were never in the same room, but once I saw early animation we started writing music for that and then he just kind of did his little rap over top, some of it was free form and some of it I made up, we all just kind of contributed to it.

  Mark Mothersbaugh

  Rap, Writing, Littles

  Source: collider.com

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• If you were to look at an old 'Betty Boop' cartoon or an 'Out of the Ink Well' animation, there are many things about 'Adventure Time' that really remind you of that, even though it doesn't look like any of those cartoons.

  Fred Seibert

  Adventure, Cartoon, Ink

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• I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.

  Zack Snyder

  I've Learned, Process, Animated

  "Director Zack Snyder and Producer Debbie Snyder Interview LEGEND OF THE GUARDIANS – They Also Talk SUCKER PUNCH, 3D, and More". Roundtable Interview, collider.com. March 29, 2010.

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• The same sort of thing was supposed to happen when performance animation was invented: Everybody thought it would save so much time. But it became its own niche altogether.

  Lev Yilmaz

  Niche, Performances, Happens

  "A Cleaner, faster animation" by Katie Dean, www.wired.com. October 19, 1999.

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• I was always tinkering around with stuff but nothing serious at the time. I was doing animations and drawing like crazy, but I wasn't imagining that I'd be performing music for people, that's for sure.

  Chad VanGaalen

  Crazy, Drawing, People

  Source: www.avclub.com

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• Aladdin' was probably my favorite Disney animation when I was a kid. The animation was great and Robin Williams was unbelievable as the Genie. 'Aladdin' was an amazing adventure and the lead character was a hero for guys, which I loved. It wasn't a princess or a girl beating the odds; it was a street rat. That seemed really cool to me.

  Zachary Levi

  Girl, Princess, Hero

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• A lot of the time in animation is spent getting the story right - that's something you can't rush.

  Jennifer Yuh Nelson

  Stories

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• 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.

  Pipilotti Rist

  Video, Lapses, Firsts

  Source: www.interviewmagazine.com

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• I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.

  Chris Wedge

  Roots, Way, Classic

  "Director Chris Wedge Talks EPIC, the Road to Finally Getting a Greenlight, the Oscars, Branching into Live-Action with MONSTER TRUCKS, and More". Interview with Christina Radish, collider.com. December 15, 2013.

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• I'm surrounded by a lot of live-action movie professionals, and I'm just taking their lead, as far as what to schedule to do next. I'm guessing the challenge is going to be not having two characters together, and shooting the live-action without having the animation. In animation, you get to get in between every frame and you work it all out together.

  Chris Wedge

  Character, Two, Challenges

  "Director Chris Wedge Talks EPIC, the Road to Finally Getting a Greenlight, the Oscars, Branching into Live-Action with MONSTER TRUCKS, and More". Interview with Christina Radish, collider.com. December 15, 2013.

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• When in doubt, resort to animation.

  Michael Palin

  Doubt, Resorts, When In Doubt

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• The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.

  Jonathan M. Goldstein

  Taken, Different, Shifting

  Source: collider.com

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• I do have more directorial control over animation, because it's like trial and error: If something doesn't work, you can always go back and change certain things. Whereas in live action, every day is a challenge, and you have to make decisions on an hourly basis. So in live action I have more freedom as a director, but in animation, I have more control over the final product.

  Mamoru Oshii

  Errors, Decision, Challenges

  Source: www.avclub.com

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• Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.

  Mamoru Oshii

  Needs, Action, Projects

  Source: www.avclub.com

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• When you're dealing with clay animation, people forget that every single set is built to scale and by hand.

  Jeffrey Katzenberg

  Hands, People, Clay

  Source: editorial.rottentomatoes.com

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• It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.

  John Leguizamo

  Differences, Different, Body

  "Ice Age 2 - John Leguizamo (Sid) interview". Interview with Jack Foley, www.indielondon.co.uk.

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• Traditionally, animation has been dominated by men in the past. I don't know why it attracted guys.

  Pete Docter

  Past, Men, Guy

  Source: blogs.indiewire.com

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• A lot of the issues I faced in junior high was what got me into animation. It was easier to sit on the side and draw cartoons than to engage with people.

  Pete Docter

  Issues, People, Cartoon

  Source: blogs.indiewire.com

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• 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.

  Satoshi Tajiri

  Anime, Games, Generations

  "The Ultimate Game Freak". Time Magazine Interview (Volume 154, No. 20), content.time.com. November 22, 1999.

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• I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.

  Hayao Miyazaki

  Drawing, Different, Stories

  Source: www.midnighteye.com

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• Storyboards are kind of inflexible, once you finish making them you have to stick to them. Since animation takes such a long time you become a slave to a storyboard that was created four years ago while as an artist and storyteller you change, you have new ideas.

  Signe Baumane

  Artist, Years, Ideas

  Source: blogs.indiewire.com

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• In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.

  Marv Wolfman

  Running, Mean, Writing

  Source: www.grouchoreviews.com

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• I've never felt really creative or intuitive using software. I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].

  Don Hertzfeldt

  Fun, Real, Drawing

  Source: www.notcoming.com

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• I'm a bit of a weird creature... I'm self taught and went to a regular film school, not art school, and I think it's unusual for somebody to approach animation from that angle. In a sense I've sometimes consclassered myself more of a filmmaker who just happens to animate.

  Don Hertzfeldt

  Art, School, Thinking

  Source: www.notcoming.com

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• With animation, if something does not fit, you always have the time to change it. When you make a live-action movie, when your days of shooting are over, they are over forever.

  Marjane Satrapi

  Forever, Doe, Shooting

  "Marjane Satrapi: Superman is Boring, Batman is Hot, Dictators Are Clueless". Interview with Michael Mechanic, www.motherjones.com. August 13, 2012.

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