T. J. Miller Quotes

Animation is a technique, not a genre.

Stop-motion is sort of twitchy; you can feel the life in it. If we were to remove that completely, there'd be no point in it.

I do love sparse cartooning.

The identity of Studio Ghibli movies are how the characters move. They move like live, real people.

Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.

Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.

There is a sense that animated movies are suddenly a genre. I just don't believe they are; it's a technique to tell a story.

Hand-drawn animation is something that I feel really strongly about. A Pixar movie may be really great, but it looks like it was drawn by a machine.

I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.

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 just really love the cartoon form. I love the plasticity of it.

Japanimation is a whole different art form.

Lighting is vital. Without that they've got nothing. And, of course, color and texture. When they showed me a little piece of Finding Nemo, I said this has got to be the biggest hit.

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.

There is such amazing talent at Disney. My job is 100% creative, and I am very excited to creatively lead them.

I have a couple of games I've wanted to make in the 'Tobuscus Adventures' universe.

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 was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

Great art direction is NOT the same thing as great film direction!

I've loved all forms of animation.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

I think we kind of changed how people did humans in CG animation after. If you look at films before 'Incredibles,' they tended to be photorealistic in a clunky and ugly way, with pores in their skin and too many eyelashes. It's kind of disturbing. And since, the designs have gotten a lot more playful in a lot of people's films, not just ours.

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.

With my own cartoon, it was just me being goofy by myself, but when it comes to an animated film, you're working with 45 animators and assistant animators. It's a whole different ballgame.