There are many animation films out there for teens, tweens and family but there are not that many real life stories.
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.
I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.
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.
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.
A lot of the time in animation is spent getting the story right - that's something you can't rush.
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.
I think I probably am doing animation because I started as a kid and I learned on my own, and I worked by myself a lot. It's the only thing I really prepared myself to do in any kind of depth. And I've just kind of imbibed the technology and techniques and the thinking about telling stories this way. It just feels natural to me.
Ordinary Women was shot on a soundstage with a professional crew and a professional animation studio creating everything.
I was trying to foster a great working relationship between those two departments [design and the writing teams], because classically in animation the two don't get along.
The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn't really matter. Whatever works is the thing to use.
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.
I take time to watch anime. I don't know whether I'm allowed to, but I do it anyway.
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.
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 a huge fan of animation, and just the arts in general - anything that emanates from someone's mind and soul and is capable of touching other people's minds and souls.
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