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My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.
But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.
I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.
I did what we call dry for wet effects, some of the miniatures work and two animation sequences.
The best way for a beginner to write for animation is to closely watch animated films, then read the screenplays for them afterwards.
I learned my lesson that in the live-action world, you have to earn the support of people over a very, very long time. And in animation, I already have the support.
I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.
I have not grown up on movies. I didn't watch much films in my childhood, but I was fond of animation films.
You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.
Also, painting and animation are really solitary pursuits, so the collaborative aspects of music making and acting are pretty welcome sometimes.
How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think.
My respect for animation has gone way up. It's a truckload of work. I have to sit with my animators the same way I'd sit with my actors and cast them.
You're using such different muscles and you rely on physicality in live action, but in animation, you totally throw that out the window. But somehow, they're both as satisfying.
It's very hard to adapt something. You end up changing it too much to make a good movie out of it. I prefer to work with things that are custom made for my kind of animation.
Animation scripts tend to be much more descriptive and are lighter on dialogue.
We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.
My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.
Geoffrey S. Fletcher
The same sort of thing was supposed to happen when performance animation was invented: Everybody thought it would save so much time. But it became its own niche altogether.
It's awesome, because in live-action, most of my comedies have been rated R, so I'm trying to make adults laugh. While animation is a completely different world where you're trying to make children laugh. So that difference is a blast to do.
If you were to look at an old 'Betty Boop' cartoon or an 'Out of the Ink Well' animation, there are many things about 'Adventure Time' that really remind you of that, even though it doesn't look like any of those cartoons.
Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.
Where as in animation you have to kind of do a series of drawings in between to complete the movement.
When I was a teenager, I did one animated series back when I was on 'General Hospital.' It was 1971 or '72. Then I didn't do animation until 'Batman.'
One of the things I learned in animation is that you never, ever want to start doing a voice that you can't sustain for four straight hours.
We always thought the Tom Tom Club could change to anything, but it acquired this image, which was cartoon animation and this real light-hearted dance music.
Martin Luther King, Jr.
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