William Hanna Quotes

I think with animation there's a certain freedom that you're given. You don't have a thought at the back of your mind, that worry that you'll have to cut and go back to the top of the scene. You're not working with anyone else from the cast. It's just you.

Movie characters rarely get to think out loud or talk very much about their emotions. Instead they have to, very briefly, show their feelings through their action or through dialog.

The nice thing about animation is that you can realise your inventions without understanding all the hard theory.

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.

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.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

It's hard to tell writers, especially in movies, that words are secondary. Behavior is important.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

If an actor only comes alive when he has lines to say, it doesn't work, and the same goes for illustrated characters.

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

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

As long as I can recall I've always wanted to make cartoons.

You have the hilarity and the great production. These films are distinctive because they are not just topical, they tell good stories and they let scenes play out physically. Apart from the dialogue, the characters also have a non-verbal existence, for example with Scrat.

Cameron Crowe can write dialogue and shoot it with warmth and humor like nobody else.

Everyone at Junction Point has been inspired by the creative folks at Pixar and Disney Feature Animation to make 'entertainment for everyone.'

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.

Acting is a plum gig, and then animation is an even more plum gig.

It's interesting when you're trying to create a character in animation. It's really a communal effort.

You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.

Animation had been done before, but stories were never told.

For me, part of the fascination with making animation is you go to a place; it's a complete immersion in someone else's fantasy.

The best way for a beginner to write for animation is to closely watch animated films, then read the screenplays for them afterwards.