Kelly Asbury Quotes

A lot of the time in animation is spent getting the story right - that's something you can't rush.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

When I was doing 'Baahubali 2,' the story was being discussed with many people. The story evolved over 9-10 months in that way.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

Every Pixar film, when we start developing the story, it takes about four years to make one of our films.

A big part of directing animation is deciding what you really want to do and making sure it's about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don't just write and leave.

The first thing I put down on paper is a storyboard, like a film director.

I haven't thought about getting into production. I'm interested in the creative aspect of storytelling.

Getting your screenplay right is the most important thing you'll ever do on your film.

We start with strong characters and build the movie from there. That not to say we don't struggle with story - that's the most challenging part.

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

Mr. Disney and his staff were constantly scouting for great stories to bring to life on film.

We start out talking about the story, trying to figure out who is who and what should happen, taking notes the whole time. Then I do a rough layout of the issue, showing what happens on each page. Then we discuss that some more.

The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

It's sort of one ongoing process where writing ends and directing starts.

One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I leave the story room to grow into what the movie is driving me to do.

Matthew Wiener on 'Mad Men' writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.

The question I get more than any other is, 'What does it mean to direct an animated film?' And the reality is that it's not a whole lot different from what you do in live action.

I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.

We got together as a group to come up with the idea for 'Toy Story 3' in the same cabin where we dreamed up 'Toy Story.'

I go straight into shooting with a script that's 80 per cent complete and I wait for my characters to grow on me before I finalise the climax.