Animated Quotes

Happiness is that single and glorious thing which is the very light and sun of the whole animated universe; and where she is not it were better that nothing should be.

The life of a savage is beset by glowering terrors: from birth to death he lives in an animated world; where the sun and the stars, sticks, stones, and rivers are obsessed with his fate. He is busy all the time in a ritual designed to propitiate the abounding jealousies of nature. For his world is magical and capricious, the simplest thing is occult.

I have already indicated to you the meaning of the word religion, as applied to Islam. The truth is that Islam is not a Church. It is a State conceived as a contractual organism long before Rousseau ever thought of such a thing, and animated by an ethical ideal which regards man not as an earth-rooted creature, defined by this or that portion of the earth, but as a spiritual being understood in terms of a social mechanism, and possessing rights and duties as a living factor in that mechanism.

It cannot be denied that Islam, regarded as an ethical ideal plus a certain kind of polity - by which expression I mean a social structure regulated by a legal system and animated by a specific ethical ideal - has been the chief formative factor in the life-history of the Muslims of India. It has furnished those basic emotions and loyalties which gradually unify scattered individuals and groups, and finally transform them into a well-defined people, possessing a moral consciousness of their own.

We've rewritten entire scenes and had them animated twelve hours before the show goes on the air. It's not fun.

I keep going because I doubt myself. It drives me to be better. I've learned that the mastery of self-doubt is the key to success. It's like being animated by the love of a woman - the need to be worthy of her.

To captivate our varied and worldwide audience of all ages, the nature and treatment of the fairy tale, the legend, the myth have to be elementary, simple. Good and evil, the antagonists of all great drama in some guise, must be believably personalized. The moral ideals common to all humanity must be upheld. The victories must not be too easy. Strife to test valor is still and will always be the basic ingredient of the animated tale, as of all screen entertainments.

Sheer animated fantasy is still my first and deepest production impulse.

Speaking for the one field which I feel definitely qualified to comment on, I fully believe the animated picture will emerge as one of the greatest mediums, not only of entertainment but also of education.

I think I might do an animated film next. I'm serious.

[Before introducing the nominees for best animated film] If you're at the awards party with the guys who made the Lego Movie, now would be a good time to distract them.

The music is an important and crucial part to an animated film. You don't think about it, but you can watch Tom and Jerry with no words, for hours, and the music dictates the emotion and where the story is going and how you're supposed to feel. Everything is in the music.

The whole thing that drew me to doing an animated film is that you're freed from the physical limitations of your physical body. All of a sudden, you get to be something that has nothing to do with the fact that I'm a 6'4", lumbering dude, and that is really exciting.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

I've done animated TV stuff, but I'd never done animated film work, which is much more involved and much more labor intensive. The animators are much more meticulous and detailed. It's just been really fun and really satisfyingly creative.

I have a goal to do my own animated film, something all my own.

I've been with that project [ Sausage Party] since its inception, since they wrote the script. It took them four years to get anyone to make the movie, because it was so filthy and there was this firm belief that there wouldn't be a market for an adult animated film, even though 10 or 15 years prior, South Park [Bigger, Longer, And Uncut] did really well.

Well, I'd never done an animated movie before, which is why I was so excited about doing it. It was one of the little boxes as an actor that I wanted to tick off. I wanted to do an animated film. So, after my mum got over the fact that I was never going to play Shrek's sister, this was the nearest I was going to get!

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.

There's a bit of a difference in the way he sounds. Samuel E. Wright lent his voice and personality to the animated film with his booming voice. I have a high-tenor voice. Instead, I have to figure out a way to convince the audience to come along with me and accept this new texture and tambour to the way Sebastian sounds. I have a great dialect coach.

I feel like there's a lot of experience I have from doing TV animation that would be especially useful doing an animated film in terms of some efficiencies of the process that are necessary for TV, just because you have to crank out material every week, that could be applied to film.

When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.

I am pretty interested in trying to write and produce an animated film at some point, but that's a job that takes several years, minimum, to get an animated movie going.

I'm a huge fan of the animated film 'The Land Before Time' and that was one of my favourite animated films when I was growing up.

Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?

I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.

What's kind of wonderful about being the voice in an animated film is you're a small part of an enormous production. And in a way, you get to remain a little bit objective.

Ever since I was little, people would always make jokes about my low voice. But I think it's so cool that you don't have to have the picture-perfect, girly voice to do an animated film. I think it's great for kids with different voices to know that they could do something like this.

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.

If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.

One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.

Rather let us imagine the anima mundi as that particular soul-spark, that seminal image, which offers itself through each thing in its visible form. Then anima mundi indicates the animated possibilities presented by each new event as it is, its sensuous presentation as a face bespeaking its interior image - in short, its availability to imagination, its presence as psychic reality. Not only animals and plants ensouled as in the Romantic vision, but soul is given with each thing, God-given things of nature and man-made things of the street.

It is not a struggle merely of economic theories, or forms of government or of military power. At issue is the true nature of man. Either man is the creature whom the psalmist described as a little lower than the angels ... or man is a soulless, animated machine to be enslaved, used and consumed by the state for its own glorification. It is, therefore, a struggle which goes to the roots of the human spirit, and its shadow falls across the long sweep of man's destiny.

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.

Given for one instant an intelligence which could comprehend all the forces by which nature is animated and the respective positions of the beings which compose it, if moreover this intelligence were vast enough to submit these data to analysis, it would embrace in the same formula both the movements of the largest bodies in the universe and those of the lightest atom; to it nothing would be uncertain, and the future as the past would be present to its eye.

I like to service the full audience of America, so I try to do things that are just real artistic, like when they don't have the most money, but it's a great piece of work. Then, there are big, fun comedies and big animated movies for kids. I want to do things for my nieces and nephews. Ultimately, we're trying to deliver something entertaining to an audience. As long as it can entertain the audience, and it makes me or my niece and nephew laugh or cry, then I think it's good.

The progress of the American Revolution has been so rapid and such the alteration of manners, the blending of characters, and the new train of ideas that almost universally prevail, that the principles which animated to the noblest exertions have been nearly annihilated.

Do you like manga?" she asked after a minute. "Anime?" "Anime's cool. I'm not really into it, but 1 like Japanese movies, animated or not." "Well, I'm into it. I watch the shows, read the books, chat on the boards, and all that. But this girl I know, she's completely into it. She spends most of her allowance on the books and DVDs. She can recite dialogue from them." She caught my gaze. "So would you say she belongs here?" "No. Most kids are that way about something, right? With me, it's movies. Like knowing who directed a sci-fi movie made before I was born.

I'm narrating the television series Biography. I'm still involved in my music - I have a new album out. I have an animated project in development. I'm writing a lot of things and you never know if one of them is going to become a six or seven year project.

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.

If the concept of consciousness were to fall to science, what would happen to our sense of moral agency and free will? If conscious experience were reduced somehow to mere matter in motion, what would happen to our appreciation of love and pain and dreams and joy? If conscious human beings were just animated material objects, how could anything we do to them be right or wrong?

Whoever lives for poetry must read everything. How often has the light of a new idea sprung for me from a simple brochure! When one allows himself to be animated by new images, he discovers iridescence in the images of old books. Poetic ages unite in a living memory. The new age awakens the old. The old age comes to live again in the new. Poetry is never as unified as when it diversifies.

Christians are beginning to lose the spirit of intolerance which animated them: experience has shown the error of the expulsion of the Jews from Spain, and of the persecution of those Christians in France whose belief differed a little from that of the king. They have realized that zeal for the advancement of religion is different from a due attachment to it; and that in order to love it and fulfil its behests, it is not necessary to hate and persecute those who are opposed to it.

Art consists precisely in making us admire old stories, charming us with them eternally, as Nature charms with her eternal sun, her ancient earth, and her men built all on the same pattern, and all animated by the same feelings.

Philip Kitcher has composed the most formidable defense of the secular view of life since Dewey. Unlike almost all of contemporary atheism, Life After Faith is utterly devoid of cartoons and caricatures of religion. It is, instead, a sober and soulful book, an exemplary practice of philosophical reflection. Scrupulous in its argument, elegant in its style, humane in its spirit, it is animated by a stirring aspiration to wisdom. Even as I quarrel with it I admire it.

American actors who voice animated movies are so brilliant at it, because by the nature of American speak, it's full of energy and full of commitment. And as a British actor, we have to kind of learn that.

Many a scientist has patiently designed experiments for the purpose of substantiating his belief that animal operations are motivated by no purposes. He has perhaps spent his spare time in writing articles to prove that human beings are as other animals so that 'purpose' is a category irrelevant for the explanation of their bodily activities, his own activities included. Scientists animated by the purpose of proving that they are purposeless constitute an interesting subject for study.

Modern animated movies are the products not of anyone’s individual vision, but rather a scattered accumulation of compromises made out of fear by members of large committees.

However absurd it may seem, I do in all seriousness hereby declare that I am animated mainly by philanthropic motives. I desire to do good to my fellow creatures, even to the Cui bonos.