Dave Rowntree Quotes

The surprising thing was, it's actually easier working on animation than working on a comic strip, because Garfield is animated in my head.

It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

I've always wanted to be an animator. That's an ultimate art form, right there.

I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.

I used to animate. I started in animation, and you'd end every day with at least one substantive contribution.

You know, the only way I've found to make these pictures is with animators. You can't seem to do it with accountants and bookkeepers.

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

Literally overnight, I became an animator... and one that was well-known.

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

I was involved in a web cartoon of Kung Fu with WB a few years back.

I think it reflects well on the state of animation that people are knowledgeable about it and love the fantasy and imagination that goes into it.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

I love animation, I really do, but I don't do it for the children.

I like animation: you can go to work in your pyjamas.

Animators have to live life 24 times as long as we do - every 24 frames of a second.

Animation is a great way to work. No early morning call times, no make-up chair. In live action, you're always fighting the clock; the sun is always going down too soon.

When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.

Animation is the only thing I ever wanted to do in my whole life. I have no desire for live-action or anything else.

I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.

My respect for animation has gone way up. It's a truckload of work. I have to sit with my animators the same way I'd sit with my actors and cast them.

I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

It's been an ambition of mine, before I even wanted to act, to be involved in animation.

I always idealized the mainstream cartoonists and the packed schedule they worked under.