Peter Jackson Quotes

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

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

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.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

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 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!

What we were in on, really, was the invention of animation.

I always wanted to do animation.

I'm definitely looking to do more animation stuff.

I would love to continue working on animated films. Yeah, those are my ambitions. No doubt.

I did B com but realised that it was not my cup of tea. I was always fascinated by animation, and after I completed my course, I wanted to go abroad and pursue it. I used to sketch a lot and was rather serious about it. But all this was until I joined films.

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.

The days when you needed amazing Silicon Graphics machines to run animation software are gone now.

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.

It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.

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.

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

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.

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

I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.

I think I might do an animated film next. I'm serious.

When I was younger, I was hopefully going to do animation and special effects.

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

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.