Priyanka Chopra Quotes

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

I am not interested in one-sided characters.

Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.

It was actually after I saw 'Pinocchio' that I thought I might try and work in that industry in some way.

We use music, cinematic storytelling and very stylized backgrounds to create mood and atmosphere as 'Samurai Jack' travels an exotic landscape. The environment is a major character in each show.

The identity of Studio Ghibli movies are how the characters move. They move like live, real people.

'Trolls' was a blank slate - there was no world, no mythology. We talked a lot about the Grinch and we liked how they showed his heart growing, but how do you show a photographable device like that for the Bergens? We ended up using color for a lot of that: desaturating and then pulling the saturation up.

Animation is incredibly difficult - much like doing a giant sweeping fantasy novel.

Coming from the world of animation, every single line counts; every single gesture counts. You put thought into every single one of those things and the way a frame is composed.

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

For characters where, in a comic, I'd avoid using screen tone because it's such a bother, I'd deliberately use it in animation in order to highlight their individual characteristics.

For me, one thing I love is having an arc for a character. I love being able to see a character go through something and to learn.

I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.

Most writers, I'm afraid, live very boring lives sitting in front of a screen. However, having said that: every writer puts a bit of themselves into the characters to bring them alive.

I really wanted our male characters to be a lot stronger. We gave them careers, lives.

It was fun figuring out the science of the world as much as we wanted to figure out, and then playing fast and loose in other places. Which we do with our show in general. One of the things we love about the BoJack Horseman show is that we can always fall back on, "It's a ridiculous cartoon." And it is! It's a serious, relationship-based grounded character tragedy, but it is also a ridiculous cartoon.

Every character I've had in my act - none of them have a similar creation story. I actually thought up Peanut and designed him in my head. I described him to a woman that was making soft puppets and she drew up some sketches. And the character came to be just because he popped into my head.

The idea right now - and it may evolve - would be a live-action movie where some of his characters would be animated. To me, this movie is very much about the creative process.

I like - it's not that I want to be someone different from me, but I suppose it partly is that. I love creating a character in a fantastical situation, like Dr. Frankenstein, like Leo Bloom, a little caterpillar who blossoms into a butterfly. I love that.

I love actors. I love working with actors. I really enjoy the process. I love having those in-depth discussions about the interior of their character, and actors really love to discuss that too.

All my characters exist in risk, in the places we are either too afraid to go to, or have enough privilege not to have to, but whatever the reason, these characters I fashion go before us and come back transformed for us. For me, at least.

My own idea about 3D is that it is there to enhance the viewing experience but I don't think that you have to use it in a tricky way, I think that the minute you sacrifice story and character for something coming out of the screen, I think you've lost it.

You basically go in animation and it's all in the imagination. There aren't even pictures to look at. You usually go in there and work with whoever the director is to create this voice and this character.

A character on a page has to feel real, and for me the greatest fun is if you could gender-swap the role.

I don't think you can teach someone how to come up with good characters or a story.