Joseph Barbera Quotes

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 want to be an animated character. I'm also doing more writing and directing.

'Ice Age' felt like stage acting. You'd write a sequence, and sometimes you'd submit pages, but other times, I would actually perform it for the directors and producer in my office.

I try to build a full personality for each of our cartoon characters - to make them personalities.

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.

If you look at the Disney Villains, I think you'll find that they do have mass appeal in some way, and it usually has to do with a voice quality that also matches very well with the animation.

I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.

Ghibli is about craftsmanship. They draw characters and put life in it.

Animation is incredibly difficult - much like doing a giant sweeping fantasy novel.

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

Someone at Disney heard one of the records and called me in to do the sounds of Lucifer the Cat in Cinderella.

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

Animation is a fascinating area from an acting point of view because it's not really like anything else because you are only providing a portion of the performance. That's very inspiring and it forces you to do things in a different way - to tell stories through your voice.

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.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

Animation is about creating the illusion of life. And you can't create it if you don't have one.

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.

I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter.

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.

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

Voice acting is very creative, especially 'Star Wars' voice acting, because there's so much you have to imagine.

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.

At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.

When Disney was creating Elsa, they based a lot of her movements on that of a ballerina, which was interesting for me to find out because I actually did ballet years ago. That definitely informed some of the ways I made her walk and move.