Gerald Scarfe Quotes

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.

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

To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.

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

Someone at Disney heard one of the records and called me in to do the sounds of Lucifer the Cat in Cinderella.

My first ambition was to be an animator for Walt Disney. Then I wanted to be a magazine cartoonist.

You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.

'Ice Age' felt like stage acting. You'd write a sequence, and sometimes you'd submit pages, but other times, I would actually perform it for the directors and producer in my office.

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

It's funny, because what happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images.

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.

Working at Pixar has been like my graduate school for screenwriting.

You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.

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

My job was to give 'The Secret Life of Pets' production team lots of options when it came to Duke. So that's what I always tried to do.

I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.

I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.

I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.

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

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

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

Working on a green screen set, yeah, it's almost like reading from a novel, taking those black words and creating a world around you.

'Alice' took over two years to make and took a great deal of planning, obviously much more than usual. We spent so much more time prepping the film, and that was unique for us.

Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.

I spent a lot of time on my own working out the physical vocabulary for how Gollum moved. As I say, I drew on a lot of Tolkein's descriptions of how he moves, but also the conceptual artist sketches.