I always liked making things, and then I fell into animation. And then luck comes into it as well.
When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.
Animation did not become the dominant form of children's television until the '60s.
I don't dislike the process of animation. . . I find it daunting, but only as much as I find everything daunting.
Animation means to invoke life, not to imitate it.
The album [Blaxistential crisis] artwork is by a friend of mine who is a brilliant artist named Sara Pocock. We've been friends for a couple of years and she worked with me on the animation. I believe she's still working over at BuzzFeed.
Animation is tremendously resilient. Animation will recover, as art always recovers. There's always cycles of good art.
What's most important in animation is the emotions and the ideas being portrayed. I'm a great believer of energy and emotion.
Motion-capture is not a genre. Motion-capture is a tool and technique and what we tried to do was to really use both motion-capture and traditional animation to build a system.
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
People are funny -- they are able to project personality onto anything. I remember as a kid I spent a $ 5 bill once and felt so bad because the other $ 5 bill was now going to be lonely without all the other bills I had in my wallet, you just invest these dead things with life and that is our tendency as people. So animation takes advantage of that, grabs on to it, and runs with it.
Every medium has its own projection, and I find animation is much bigger than normal.
I'm a true fan of animation, and it's my livelihood. Live-action is secondary to me.
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.
Cartooning at its best is a fine art. I'm a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.
I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.
Tidiness makes me think of held breath, of suspended animation.
You're not going to make Hemingway better by adding animations.
