Brad Bird Quotes

I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!

In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.

I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.

Stop-motion is sort of twitchy; you can feel the life in it. If we were to remove that completely, there'd be no point in it.

One of the great sources of employment for people with Ph.D.s in geometry is the animation industry.

Mike Judge is very specific about how people look in his projects, and I think it's because he's an animator.

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 don't think that photorealism is required to offer emotions. You can have very abstract characters and renderings offering the same type of emotions - look at Pixar movies: they're not photorealistic; they're stylised, and it doesn't prevent emotion from happening.

I don't know if animation is a style. It's a format.

I do love sparse cartooning.

We had so many firsts on 'Coraline' that I couldn't quite see where we'd go from there, but for 'ParaNorman' we developed this 'skewed naturalism' that marries a lot of intricate detail with a more cinematic approach, then just built on all that and pushed those techniques even further, so we can tell our stories that much more effectively.

Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.

For characters where, in a comic, I'd avoid using screen tone because it's such a bother, I'd deliberately use it in animation in order to highlight their individual characteristics.

One of my favorite things about the Kung Fu Panda 3 is the look of it. We never go for realism. I think a lot of time when people go for 3D that's the mistake. Because we're never going for full realism - for computer generated live action films like Avatar the goal is realism, to make the audience feel like they are seeing something that is real. Lord of the Rings had character design and environments to make it look real, whereas we aren't going for that, we are going for something that is theatrically, viscerally, and emotionally real.

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

The animators working with these 3D models, they're artists, right? They're great at what they do. They're artful in how they move characters about.

I keep my face covered during concerts. That's just something that is part of me, an artist, and I think it's a cool concept and look. It is really inspired by my love for video games, especially with the videogame 'Watchdog' that I love.

When you make an animated film, you make it over and over and over. We almost do ten versions of the film.

My films are personal-voice-driven films about human characters and the place we live. Technically, I'm an independent filmmaker.

I've always been a fan of animation. As a kid, I used to watch a lot of the Saturday-morning cartoons, and I was always a fan of even claymation and that whole medium.

As a director, I start with the visual.

If you look back at Disney's 'The Hunchback of Notre Dame' or 'Pocahontas,' animated films were trying to get more and more real before CG really arrived.

I've been a huge animation fan since I was a kid, so the idea of seeing my characters in full motion on the big screen is completely mind-blowing.

We need people who are open to doing something with theme, something with a cartoonish twist.

Game development combines all this disparate art stuff I'd been doing into one single thing that I could use to say very specific stuff.