Travis Knight Quotes

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

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.

What happened in the early days of Disney is that Walt Disney used all of the new technologies as they came out. When matting came out, they adopted it. They adopted sound and color and xerography. Walt did that. And then, when he died, people began to think that this is just about making films, so they stopped bringing in new technologies.

'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.

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.'

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

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.

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

Whether you make an action blockbuster or a comedy or a drama, you've got the right camera and all the right technology to do it. In games, it's not the same yet, and I would like to see technologies dealing with cameras the way we do - dealing with bouquet, dealing with performance capture, with lighting - with all this stuff the way we do.

One of the tricky things with animation is, because we spend four years on the movie and everything is done so methodically day by day by day, it can be a struggle to have the finished film feel spontaneous and loose and naturally occurring.

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

I wrote a big animation scene for 'Iron Fists,' but we couldn't afford all that.

Yes, actually. Animation's a very easy thing to watch on tour.

The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.

On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.

Animation has completely changed, and I've always been a big fan.

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.

Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.

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

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

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?

Animation is a great way to work. No early morning call times, no make-up chair. In live action, you're always fighting the clock; the sun is always going down too soon.

I love great animation.

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

Unless you're making Marvel movies, I think CGI usually suffers, especially in mid-budget-range horror movies where you see CGI.