Deep Roy Quotes

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

It's been about 15 years, and I've never really worked seriously in CGI and I thought that here was an opportunity to do the kinds of things that I was not able to do on Ghostbusters.

I just love to be able to actually build a character.

Originally, I thought, 'Gollum's such a fantastic character, why are you doing him CG? Surely you need to be able to humanise him as much as possible - he's so full of pathos and real emotion.'

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

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.

A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

As I look back on my career, I had a goal, which was to build the first feature computer-animated film.

Making the visuals photo-realistic lets us do things we were never able to do before. The voice acting, the facial expressions, are all that much deeper.

Doing 3D on 'Hugo' was a big learning curve for me, but fun!

It's fun to do accents; it's fun to do different periods - that's why you become an actor. Because it's fun to be a storyteller and play make-believe.

'Twelve' was a total indie drama character piece. It wasn't that it was more about the performance, but it was just a very different thing where, with horror, there's this whole added element of the visual and the technical and the choreography.

The way I write my shows, every character is its own organic thing. No character has a life at all until I see it played by somebody.

It is no surprise that animation is Hollywood's most successful and innovative genre.

Whether you need to like a character, I don't think that's necessary in order to portray him.

I could take my grandma and put her in a cape, and they'll put her on a green screen, and they'll have stunt doubles come in and do all the action. Anybody can do it. They're relying on stunt doubles and green screen and $200 million budgets - it's all CGI created. To me, it's not authentic.

I learned a lot from Dick Wolf. I'll always remember playing that character because it was such a good character. It was great to be able to be a character like that for television. I think the thing that I'll bring from the whole experience, the whole 10 years, is I had never been interested in the television business before.

I don't have anything against CGI.

If people want to watch a CG movie, there's plenty out there.

The nice thing about animation, you don't even really have to account for yourself. All of the physical stuff that you work on as an actor, you just throw away.

I would love to do some motion capture work just to be able to challenge myself.

One of the things I learned on medical drama 'Bodies' was that actors can't play ambiguity.

The challenge is to stay true to the characters while also having them be entertaining every day, because it turns out that just watching someone be true to themselves isn't that rad to watch.

'Avatar' means so many things to so many different people. When I think of the creation of it, I think of me and Mike at the computer in a little apartment in Burbank.