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I was a film major with a concentration in animation.
When business executives are making the artistic decisions and don't understand animation, things can go awry.
I usually have 10 different animation projects going at a time.
I'm having the same problems today that I had when I first started, saying that outrageous adult animation works.
I love great animation.
Well, directing is doing the key drawings, not the key animation, mind you.
Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.
I'm meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.
In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.
The animation of the canvas is one of the hardest problems of painting.
Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.
Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!
The success of 'The Simpsons' really opened doors. It showed that if you were working in animation you didn't necessarily have to be working in kids' television.
It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.
Nobody does animation better than Disney; it's just that some of us wanted out of the box. Burton was one. I was another. We were the mutual complaint society.
I did B com but realised that it was not my cup of tea. I was always fascinated by animation, and after I completed my course, I wanted to go abroad and pursue it. I used to sketch a lot and was rather serious about it. But all this was until I joined films.
I miss animation very passionately. Not continuously, but every once in a while I would die to do another film.
I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.
The nice thing about animation is that you can realise your inventions without understanding all the hard theory.
I was always into cartoons and animation.
I was a little shocked at how adult some of the humor was, because I was never that into animation before and when I watched 'Shrek' I really laughed out loud.
I have to admit to not being the greatest technician, but stop motion animation gives me licence to create machines that wouldn't otherwise be possible - inventions that seem real and actually work.
When I was a teenager, my dad watched my films and told me I could go to art college and study animation. He made me see that I could do this for a living.
In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.
My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
A. P. J. Abdul Kalam
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