Best 86 quotes in «animation quotes» category

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.

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

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.

In the midst of the vagaries of life, they provide us a trip to the land of goodness and fairies, of imaginations and possibilities. A childhood that wasn't spent watching cartoons or reading comic strips, no wonder, seems too dull to imagine.

Out of the ugliness of the ironworks lepers will eat, children will be born, their parents will grow old.

SIMPSONS BLUFFER'S RULE #2 The competent bluffer should always refer to the performers who play The Simpsons as 'the voice talent' never 'actors'. For extra effect, drop their first names... This implies some tacit familiarity and your bluffee will simply melt before your eyes like the witch in The Wizard of Oz

To infinity…and beyond!

The animating fire of life is merely a total devotion to living.

The fairy tale of film—created with the magic of animation—is the modern equivalent of the great parables of the Middle Ages. Creation is the word. Not adaptation. We can translate the ancient fairy tale into its modern equivalent without losing the lovely patina and savor of its once-upon-a-time quality. We have proved that age-old kind of entertainment based on the classic fairy tale recognizes no young, no old.

To be successful in this field, you need to become a problem solver with good observation skills and a desire to create things. You never stop learning in this field. You face new challenges with every new project, many of which require innovative solutions that you must discover on your own.

Since the earliest days of the art form, humans have been the most difficult characters to animate. The more realistic the human being, the more difficult the animation becomes. Audiences will accept distortions in the actions of a cartoony character: no one has ever seen a four-foot-tall rabbit walk on its hind legs, so an artist animating Bugs Bunny enjoys considerable freedom. But everyone knows how human beings move, and if those movements are not rendered accurately, viewers won't believe in the characters. Ward Kimball, one of Disney's "Nine Old Men," commented, "As long as we deal in fantasy, we are on safe ground. The eye has no basis for comparison. But the more we try to duplicate nature realistically, the tougher our job becomes. The audience compares what we draw with what it knows to be true. Any false movement is easily detected.

When Walt became all wrapped up in the theme parks and live-action films, we tried to get him interested in animation again," recalls Frank Thomas, one of the Studio's "Nine Old Men." "Walt said, 'If I ever do go back, there are only two subjects I would want to do. One of them is Beauty and the Beast.' For the life of me, I can't remember what the other one was.

You can make it if you try. Don't give up or quit the fight. If you believe, you will see, you can do it.

While the characters drive the epic story of Robotech, it’s the robotic mecha that capture the imagination.

Acting is a plum gig, and then animation is an even more plum gig.

Your mind, your motion and your expression is an animation to marvel and to praise.

Animation is about timing; movement or lack of movement, often in time with music. These are the tools which make it's visual gags work, or not. Again, comics don't have those tools, so you have to find some sort of parallel to create something that suggests a close approximation of the source material, but without the ability to truly replicate it.

All new tools are useful to animators, but great animation comes down to great animators.

Animation is so much work! I don't know if I have the skills to really hack that. Maybe as storyboard artist or something like that. But you have to go to school to be an animator. I can't just pop behind the animator's table and be like, "Here I am.".

Animation is about creating the illusion of life. And you can't create it if you don't have one.

Animation is a technique, not a genre.

Animation isn't the illusion of life; it is life

All movies are inherently collaborative, and animation even more so. There are hundreds and hundreds of people involved with an animated movie.

Animation means to invoke life, not to imitate it.

Animation is tremendously resilient. Animation will recover, as art always recovers. There's always cycles of good art.

Doing animation is great fun. It's like a different world.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

Every medium has its own projection, and I find animation is much bigger than normal.

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.

For me, animation is the caricature of life. It's something that we create, from the ground up.

I absolutely think that hand-drawn animation is valid and I actually hope to do one in the future with a large budget.

I did what we call dry for wet effects, some of the miniatures work and two animation sequences.

I'd had a belly-full of being subservient. I had to find something else to do, and I did. I went to the animation houses. I went to new fields.

I always liked making things, and then I fell into animation. And then luck comes into it as well.

I don't even know how computer animation works, honestly, and I don't need to.

I don't dislike the process of animation... I find it daunting, but only as much as I find everything daunting.

I don't really know what the average person thinks about animation. I think the average person thinks that it's made by cartoonists - and it used to be. When people think of The Simpsons, they think of Matt Groening. They don't think of whoever the 200 writers are.

I don't like animation. I hate animation, actually.

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 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 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.

If we want to make friends, let's greet people with animation and enthusiasm.

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

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

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

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.

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