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I don't believe that an animation studio should be an executive-driven studio.
When I get up in the morning and put on a pink or a green wig, I see myself as a piece of animation. It lets me be the person I want to be, a person who's not embarrassed to have fun.
I loved animation and cartoons, even when it was not cool when you were in high school. I raced home to see the Bugs Bunny cartoons.
Animation has completely changed, and I've always been a big fan.
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 think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
Of all studios that should be doing 2-D animation, it should be Disney.
Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.
When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.
No movement can afford to be caught in a time warp and exist in a state of suspended animation.
Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.
When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
Because good writing in a TV cartoon is so rare, I think the animation on The Simpsons is often overlooked.
When The Simpsons came around, there really was nothing else like it on TV. It's hard to imagine, but when Fox first took the plunge with it, it was considered controversial to put animation on prime time.
I think animation is like running a marathon, and making a movie is like a 100 meter sprint. The question is: are you a marathon man or are you a sprinter? I realized that I was more of a sprinter than a marathon man. With a long, long project, I get bored easily.
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
Animation did not become the dominant form of children's television until the '60s.
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.
John C. Reilly
The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
My secret ambition was always to provide music for animation films: something with an Indian theme, either a fairy tale or mythological tale or on the Krishna theme. I still have a very deep desire, but these sorts of chances don't always come.
So many plays with magic in them that would be a terrific invitation to an imaginative animation team.
I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.
You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.
Acting is a plum gig, and then animation is an even more plum gig.
John F. Kennedy
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