Michael Giacchino 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.

There was a guy that I got to know pretty well - Joe Grant. He was one of the creators of Dumbo and worked side-by-side with Disney. Being a total Disney nerd, I was obsessed with asking him questions. He was 92 when I got to know him.

My livelihood depends on the art of animators.

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

I do feel like animated films really combine a lot of different of art forms: film-making and writing and drawing and painting - to a certain extent, even sculpting. It's a wonderful medium to work with as a craftsman because it's such so rich and so varied and so expressive.

I had - I was pretty hell bent on getting into the cartoon business specifically as an artist from the get-go.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

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

Luckily, I went to school at CalArts, and then ended up here at Disney, starting in the Animation Building and working my way up. I started as an animator, and then did character designing and storyboarding, and eventually, directing.

In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.

I'd love to have done 'John Carter.' I'd love to work for the Disney Corporation.

I love animated movies in general. I like making them.

Working on the 'Ice Age' movies, I'm really proud to be in them.

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

I've ended up working with Disney a lot, which is kind of peculiar. In theater, I've done a couple of projects with them and written a couple movies and whatnot.

Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.

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

When I was a kid, I wanted to make movies. In particular, I loved animation and would love to have been an animator.

Animation is very much a team effort so you must be a team player.

As long as I can recall I've always wanted to make cartoons.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.

Actually, no, but I am close to the people who are working on Chicken Little, and I'm very close to the people over at Pixar. I mean, as far as stories are concerned, almost everything we have could be told that way.

The nice thing about animation is that you can realise your inventions without understanding all the hard theory.

I realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.

It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.