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I'm in love with kid's stories and animation.
You've got to be able to make animation for much less... Less is not the studio's way.
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 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.
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.
I grew up, obviously, watching tons of animation; Saturday morning cartoons or anything that we could get our hands on. And then when 'The Simpsons' premiered, that just kind of changed the landscape of everything. We hadn't had prime time animations since 'The Flintstones.'
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.
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.
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.
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.
But probably for the last ten years or so, I've been fitting in animation work into my other projects.
In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.
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.
One of the great sources of employment for people with Ph.D.s in geometry is the animation industry.
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.
Animation had been done before, but stories were never told.
What we were in on, really, was the invention of animation.
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.
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.
In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
Unlike other voice-over situations which are done in a recording studio, Roger Rabbit was live action and animation combined, and there was a time factor, so my voice was recorded live on the set. So I'm on the set rehearsing and recording my voice as a performance with the other actors, and they're all wearing costumes, and it made sense to me.
You must lose yourself if you want to be successful in animation and be the character.
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.
I've always loved animation and animated films.
John F. Kennedy
Martin Luther King, Jr.
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