Animation Quotes

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.

The animation of the canvas is one of the hardest problems of painting.

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.

Animation is not the art of drawings that move but the art of movements that are drawn.

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.

I usually have 10 different animation projects going at a time.

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.

In animation, there's this exhilarating moment of discovery when you see the film and you say, Oh THAT'S what I was doing.

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.

So many plays with magic in them that would be a terrific invitation to an imaginative animation team.

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.

Well, luckily with animation, fantasy is your friend.

One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.

You don't have a face to work with, so your voice has to do all the work until you see the animation. So, a lot of it I had to pull back because it was too big.

In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

My secret ambition was always to provide music for animation films: something with an Indian theme, either a fairy tale or mythological tale or on the Krishna theme. I still have a very deep desire, but these sorts of chances don't always come.

Animation had been done before, but stories were never told.

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

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.

Animation did not become the dominant form of children's television until the '60s.

I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

The best way for a beginner to write for animation is to closely watch animated films, then read the screenplays for them afterwards.

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

Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.

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

My mental faculties remained in suspended animation while I obeyed the orders of the higher-ups. This is typical with everyone in the military.

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.