Brendan Fraser Quotes

I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.

Animation is very singular. Like, even the 'Toy Story' movies. People will go, 'Oh, gosh, you're so lucky, getting to play opposite Tom Hanks!' And it's, like, 'It may have appeared to be that, but we were never in the room together.'

I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

There's something about seeing this little inanimate object coming to life that's just very exciting. That's why with 'Nightmare' I held out for so long to do it.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

Animation is a technique, not a genre.

Animators have to live life 24 times as long as we do - every 24 frames of a second.

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.

I always wanted to do animation.

I won't say which one, but one shot on 'Kubo' took two months to get the expression right. It's ridiculous on some level.

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.

I've always loved animation and animated films.

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

I learned how to do stop-frame animation and I experimented with that a lot, and pretty much that was my mode of animating through high school.

I like animation: you can go to work in your pyjamas.

I love the idea of animation just because it removes the actor from the character, and you can be anything. I've been devouring 'Adventure Time' and 'Archer.' I'd love to get my hands dirty on either of those shows.

Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.

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

I think it's the most extraordinary studio around. I would love to do my next project with Pixar.

When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

I love great animation.