Raphael Bob-Waksberg Quotes

Well, luckily with animation, fantasy is your friend.

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.

I'm a big fan of pantomime storytelling, being an animator.

In the high level cartoon world, my number one admired hero would be Chas Addams - really a top, top artist that the 'New Yorker' was lucky to find and employ.

For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.

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.

Cartooning at its best is a fine art. I'm a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.

It's exciting to have a role in anything that's Claymation, just because you're always intrigued by what a clay wizard version of yourself would be.

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.

For me, animation is the caricature of life. It's something that we create, from the ground up.

In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.

I've always tried to make the strip animated, even when the characters aren't moving, with expressions or perspectives or some sort of exaggeration. There's great potential for that which has yet to be fully mined.

Historically, there's been a degree of sameness to animated films.

I really loved that old UPA stuff, like 'Gerald McBoing-Boing' and 'Mr. Magoo.' They were simple yet effective 'toons that talked to everyone, not just kids.

I do love sparse cartooning.

I love being able to bring an animator's vision to life and give the breath to the voice of a character.

I find myself laughing at really bad situations.

'Trolls' was a blank slate - there was no world, no mythology. We talked a lot about the Grinch and we liked how they showed his heart growing, but how do you show a photographable device like that for the Bergens? We ended up using color for a lot of that: desaturating and then pulling the saturation up.

Coming from the world of animation, every single line counts; every single gesture counts. You put thought into every single one of those things and the way a frame is composed.

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

If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception. I've always just loved drawing and loved cartoons.

In manga, nothing actually moves, and you just have to draw the poses in each panel, but in anime, you have to draw the movements between those poses.

All of the things we learned on 'Coraline' we applied to 'ParaNorman,' and all of the things we learned on 'ParaNorman' and 'Coraline' we applied to 'The Boxtrolls.'

Humor is the only way to tell a story. Especially the dark ones.

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.