Animation Quotes

Tigress is my alternate personality, especially with children. I love animation because you get to do things you don't normally get to.

In animation, you can throw away people's defense. You can go right to the center of things, right through inside someone's heart. The characters anyway, they do represent different aspects of all of us - and put them all together, you get a human being. And so it's got a wonderful purity, a real purity that's so moving, exiting, everything.

Animation had been used only for things like King Kong and the destruction of cities, which was very popular in the 1950s. I got tired of destroying cities. I destroyed New York, I destroyed San Francisco's Golden Gate Bridge, Rome, and Washington. I was looking for a new outlet, and I came across the Sinbad legends.

I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.

Now it's fantastic, this is a medium that adults should be able to enjoy, it's not just for our kids. I feel like now with Adult Swim and all these different outlets for adults to enjoy animation, it's huge. I love being a part of it, absolutely love it.

I don't like animation. I hate animation, actually.

Animation should be an art…what you fellows have done with it, making it into a trade…not an art, but a trade…bad luck.

Computer animation is one way to liberate people from their circumstantial gravity, and it is one way to give them mental freedom.

The biggest problem in countries that don't have a tradition in animation or a film industry, is that precisely, that it's not an industrial activity as it is in Hollywood where there are clear production procedures. Because of this we all become snipers making our films any way we can and crossing our fingers to get distribution so people can see them.

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

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.

I'm not honestly a real student of animation. I never was into it all that much. I don't really watch any animated shows.

Toward the end of the film ['Life, Animated'] we see 'The Sidekicks Story,' and that is a story that Owen drew himself. We took that style, which is decidedly different from Disney animation, and used it as a basis. It's a 'two-dimensional' hand drawn animated form, so I went to this company in Paris called 'Mac Guff,' and they assembled an amazing group of young animators, and brought it to life.

The first animation thing I did was the first Transformers, the one that was animated many years ago. And I had heard that Orson Welles was doing a voice on it.

As I got into the animation, as I learned more about the business, I learned that you need a lot of people to do anything animated - even a short, let alone a feature film. And you need a lot of money.

I am a proud mother - that's another reason I love doing any kind of animation. When my son was growing up, if he was watching something animated and I was in it, that was way cooler to him than seeing me in a movie.

That's what's great about animation: It's collegial, and it's all about collaboration. Any good animated film is good for animation.

I think the animation helps divorce the violence from reality. The sex certainly doesn't look all that realistic. I think the fact that it's animated, we get some leeway because of that.

I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.

I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.

I wrote for television some, animation. Batman the Animated Series, Superman the Animated Series, Son of Batman, things of that nature were made and I'm happy about that, but now the recent film and TV stuff have validated me, as if that makes any sense.

On an animated movie, I'm learning as I go. There are so many details in animation. Doing the voices was the easy-part. Doing live-action, you have to be on the set, every day.

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.

All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.

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

Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation.

The quality and success of Disney was actually bad for us animators because everyone on the planet thought that animation was only for kids and only in a certain domain. The big film festivals never thought much about animated films.

I've always loved animation and animated films.

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.

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.

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].

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.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

It's been my ambition for about 30 years to do a full- length animation film.

I have more faith in doing something creative for a cable station or something like Yahoo or Google or Amazon. What Netflix did with 'House of Cards' and David Fincher was brilliant. That is inspiring to me. I think there is more chance for creativity in animation, it just hasn't happened there yet.

There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.

Animation is a great way to work. No early morning call times, no make-up chair. In live action ,you're always fighting the clock; the sun is always going down too soon.

When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.

I'm having the same problems today that I had when I first started, saying that outrageous adult animation works.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

I have a company that does design and animation, so obviously graffiti is definitely an intricate part of what we admire and respect in the art world.

Animation remove you from a visual reality - if it was live action, you wouldn't be able to see through the person's mind. But animation takes a step away. It creates a very stylized landscape, but at the same time it is the form that is best able to address the reality of being alive and being in pain.

I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.

In our animation we must show only the actions and reactions of a character, but we must picture also with the action. . . the feeling of those characters.

In my opinion, animation is best when it communicates without words, because it is the perfect medium through which to make shortcuts to meaning. When actors are not talking, just acting out, it looks kind of weird. But in animation, mime is constant, and you accept it.

I am trying my best to stay above the water. Right now ACID does not only offer animation. I offer real life productions as well and also compositing (animation composited into real life video)

We actually tried to put in [Kung Fu Panda 3] all the things we wanted to put into the first two films. We're all the same people who've been working on the other films and we all had things we couldn't do, and had to leave on the table. We just couldn't achieve them before. This time we have multiple new environments and different styles of animation.

When you think of painting as painting it is rather absurd. The real world is before us - glorious sunlight and activity and fresh air, and high speed motor cars and television, all the animation - a world apart from a little square of canvas that you smear paint on.

I think animation is a very truthful way to express your thoughts, because the process is very direct. That's what I've always liked about animation, particularly abstract animation. You go from the idea to execution, straight from your brain. It's like when you hear someone playing an instrument, and you feel the direct connection between the instrument and his brain, because the instrument becomes an extension of his arms and fingers. It's like a scanner of the brain and thought process that you can watch, or hear.