Best 86 quotes in «animation quotes» category

I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.

I like making comics and animation because it takes such a long time. I'm not a runner of the 100 meter. I like marathons. The longer it takes, the better I feel.

I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.

I love doing animation - mainly because you get to over-act. They're always saying "more," "louder," "bigger," "huger" and you just turn it lose. Plus, doing animation voiceovers, I have learned so much, and it's always good in your career to discover something you didn't know, and to learn to do things differently. So it's a fascinating experience.

I love doing live action movies, but there's a great job in doing animation, especially one with music.

I'm always a person that's a little suspicious of anything that's been converted in post, but if I know that it's been originated, either in live-action or animation, I'm intrigued.

I'm always astounded that people know who I am and what I do. I still have a lot of anonymity and that's good. I don't get bothered in restaurants and stuff like that. But when I'm at events that are really geared toward animation fans, they know who I am. And I'm so very pleased and so flattered by it. People are extremely complimentary to me, and that only encourages me to continue to do more really good work. I get paid by the studios, but I know I work for the fans.

I'm not ashamed to say that I cried at an animation movie

I'm a true fan of animation, and it's my livelihood. Live-action is secondary to me.

I miss animation very passionately. Not continuously, but every once in a while I would die to do another film.

I'm pretty strict with anyone on our crew when people start to draw too well or draw some in-betweens in the animation.

I take time to watch anime. I don't know whether I'm allowed to, but I do it anyway.

In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.

In learning the art of storytelling by animation, I have discovered that language has an anatomy.

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 want to take themes that are shared throughout the world, express them through animation, and make movies from them.

I've always enjoyed animation and voiceover work. That's something that I've been proactive about.

I was always into cartoons and animation.

One of the great sources of employment for people with Ph.D.s in geometry is the animation industry.

Maybe if audiences all over the world would check out animation from other countries, filmmakers would be more sophisticated and experimental.

I was invited to join the MGM cartoon department. But if I'd started work in animation I'd have had to take a cut in salary, so I didn't.

Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!

One of the things about animation is it's so expensive to do the animation, that you can't produce coverage. You only have one chance to make every shot.

Ricardo Montalban is to improvisational acting what Mount Rushmore is to animation.

Polar Express is not an attempt to do animation. It is a technology-based film.

The days when you needed amazing Silicon Graphics machines to run animation software are gone now.

The rise of anime had to happen. If the Japanese could tell better American stories, it would go through the roof. They still tell stories which are very much oriental. I take my hat off to them.

There are so many options in animation right now and this is such a great time to make animated movies that I want to make another one.

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.

There’s nothing harder to do in animation than nothing. Movement is our medium.

The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.

When you're animating a music video, you have to animate to some set music. You're somewhat restricted by that, but you're also inspired by that. The animation becomes secondary if you're animating to a music video. Either way, it's important. Music has really helped my animation, that's for sure.

Tigress is my alternate personality, especially with children. I love animation because you get to do things you don't normally get to.

Tidiness makes me think of held breath, of suspended animation.

When in doubt, resort to animation.

When I was in my early 20s, I was quite into Japanese animation. It's like the same thing that I end up always saying which is, imagery based stuff is the thing that really gets me.

Yes, actually. Animation's a very easy thing to watch on tour.

Brenda Chapman She studied character animation at CalArts, and a few years later found herself exactly where she'd always dreamed: working on animated films for Disney in Los Angeles. She soon discovered that she was one of the very few women animators there. "That's when I realized why princesses in their films were so helpless. They had all been created by men." she recalls. She promised herself that she would create a new type of princess: strong, independent, and... "...Brave" she thought. "What a great name for a film!

You can tell a story clearly in the storyboards, but if you don't keep the correct focus in the animation, it can be ruined.

You've got to be able to make animation for much less... Less is not the studio's way.

Any time you design a character for a Disney picture, especially a fairy tale, it's going to become the definitive design for that character, so you don't want to hack something out. You need to put in the kind of care it warrants if it's going to live in history.

Don’t let the daily routine kill your creativity. Remember who you were before you got that job.

Celui qui te raconte qu'il existe symphonie plus grande que le soufle qui t'anime te ment.

In Hollywood, the real stars are all in animation. Alvin and the Chipmunks don't throw star fits, don't demand custom-designed Winnebagos, and are a breeze at costume fittings. Cruella DeVille, Gorgo, Rainbow Brite, Gus-Gus, Uncle Scrooge, and the Care Bears are all superstars and they don't have drug problems, marital difficulties, or paternity suits to blacken their images. They don't age, balk at promoting, or sass highly paid directors. Plus, you can market them to death and they never feel exploited. I'd like to do a big-budget snuff film starring every last one of them.

Epikta provides one stop solution for the clients which are looking for Logo Design,web design in Los Angeles and Animations in LA.

In many ways, the work of a critic is easy.

Having a purpose is one thing, but the quickening is a total animation of passion.

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I don’t need a medal to tell me I’m a good guy.

Reflecting on the creation of the songs and vocal performances, Peter [Schneider] speaks with respect and regret: "It's sad that Howard [Ashman] never saw the finished movie of Beauty and the Beast, because it's basically him. It was his conception, it was his idea, it was his songs, it was his emotions, it was his storytelling. Alan [Menken] was a very important partner in this: you can't discount Alan. But it was Howard's vision that made this all happen. And what survives is these characters and these emotions and these songs. They will be around a lot longer than we will. And given the choice, that's what he would have chosen to have survive.