Bob Iger Quotes

The great thing about computer animation is that all of those environments exist as three-dimensional worlds, so these VR worlds already exist.

I've been working in computer animation for 25 years. I'm obviously a devotee of the technology. I just think it's the one aspect of the medium that's going to continue to revolutionize the filmmaking. It's constantly changing and it's constantly opening up new possibilities. The technology is evolving where 2-D animation was ultimately limited by how long you could pay how many people to make a movie. I mean computers, not that it's in anyway a labor saving device, but it promises to open up exciting new technical possibilites.

We have grown up in an age where there is nothing that cannot now, courtesy of computer-generated imagery, be convincingly rendered in the visual field.

It's quite amazing what 3D is doing to movies. Just simple things like a paper plane flying at you or flower petals fluttering about are wonderful.

When you think about it, 'Avatar' is almost completely an animated movie.

To me, the future of TV and movies is going to be 3-D animation.

Usually, companies, when they approach other people to do VR, they're like, 'We're gonna offer a virtual reality experience' - to me, that usually means they're gonna put a bunch of 360° cameras in a room, film something, and wrap the video in a sphere so you can head-track and look around. To me, that's not virtual reality. That's 360° video.

Certainly the animation technology is growing like crazy. All media technology is.

I know a lot of games have been going to the facial capture. And movies like 'TinTin' are using it, as well.

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

3D is the way we experience life.

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

We're in a time now where technology is such that we can create anything, and that's what's new about television and film these days.

Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.

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

I mean I've seen 3D films so far and I think it's a long way to go before they replace actors. It's a funny thing with 3D, I haven't quite got it yet. Yet.

Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.

I remember feeling that technology was like trying to draw with your foot. In a ski boot. It was the most indirect way to work imaginable, but the potential had us all excited. I started in stop motion.

Special effects are becoming more and more affordable and looking more and more like the real thing.

I hope that memes jump out of our computers in the future.

As I look back on my career, I had a goal, which was to build the first feature computer-animated film.

Working with CGI is more like doing theater where your sort of imagining things. I didn't experience it as restrictive.

For artists diving into a new technology, it is a triple short-cut to mastery: you get a free ride on the novelty of the medium; there are no previous masters to surpass; and after a few weeks, you are the master. Try that with the violin.

If Michaelangelo or Leonardo Da Vinci were alive today they’d be making Avatar, not painting a chapel.