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Very few people have made the transition from animation to live-action; I'm certainly not one.
Cartooning at its best is a fine art. I'm a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.
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.
My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
My husband and I are in preproduction of three movies, a Latin show, and a children's animation. I'm doing a very unique nail polish line, and finally, I'm developing a hair care line because people always ask me about my hair care system. I do a mask once a week that my grandma taught me how to make, so I want to share it with everyone.
I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.
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.
I used to watch every episode of 'Justice League,' I went to all the movies, I had the Superman lunchbox. I was enamored with animation in general and always wanted to somehow be a part of it.
I like animation: you can go to work in your pyjamas.
I'm in love with kid's stories and animation.
Jewish history has been in my cultural DNA since I was a child growing up in post-war London. In the midst of that dark, gray, lamenting monochromatic world of the '50s, I had a sense that both Jewish and English history were full of color and light and animation.
I do a lot of urban fantasy, which is modern-day cities, but you've got magic, you've got fairies running around, or cryptozoological creatures running around, and I'm pulling very heavily on my background as a folklore major and having done some animation work and all of that, and I'm pulling from the modern fairy tale narrative.
I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldi's in Queens.
'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.
You've got to be able to make animation for much less... Less is not the studio's way.
When an executive walked on our floor, it was at their own risk. As far as what others thought of working for me, I know I was very tough at times, and would storm down the hall after watching some bad animation from Korea. But overall, I feel we had a good time.
I love animation, I really do, but I don't do it for the children.
In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
For me, part of the fascination with making animation is you go to a place; it's a complete immersion in someone else's fantasy.
I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.
I think it reflects well on the state of animation that people are knowledgeable about it and love the fantasy and imagination that goes into it.
And having suffered for part of the war when I was a child. I was too young to really understand what was going on but one of my favorite pieces of animation now is that Goodbye Blue Sky in The Wall because that deals directly with that period in time.
Doing animation is closer to pretending than anything else you get to do. It's much more like when you're a kid putting on a character.
But probably for the last ten years or so, I've been fitting in animation work into my other projects.
Martin Luther King, Jr.
John F. Kennedy
C. S. Lewis
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