Animation Quotes

I love great animation.

If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.

You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.

Where as in animation you have to kind of do a series of drawings in between to complete the movement.

Disney had such a hold on the mind of America-they were Adolf Hitler. The whole country thought Disney was some sort of god and that animation was some sort of pure thing for children.

I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.

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.

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

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

Well, directing is doing the key drawings, not the key animation, mind you.

I'm having the same problems today that I had when I first started, saying that outrageous adult animation works.

I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.

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.

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.

But probably for the last ten years or so, I've been fitting in animation work into my other projects.

Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.

A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

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.

No movement can afford to be caught in a time warp and exist in a state of suspended animation.

Animation can explain whatever the mind of man can conceive. This facility makes it the most versatile and explicit means of communication yet devised for quick mass appreciation.

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.

Animation is different from other parts. Its language is the language of caricature. Our most difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and animals.

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

Because good writing in a TV cartoon is so rare, I think the animation on The Simpsons is often overlooked.

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

Depression is melancholy minus its charms - the animation, the fits.

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.

When business executives are making the artistic decisions and don't understand animation, things can go awry.

When an executive walked on our floor, it was at their own risk. As far as what others thought of working for me, I know I was very tough at times, and would storm down the hall after watching some bad animation from Korea. But overall, I feel we had a good time.