Michael Giacchino Quotes

You're using such different muscles and you rely on physicality in live action, but in animation, you totally throw that out the window. But somehow, they're both as satisfying.

The great thing about animation is it's like the radio. I used to do lots of radio when I was a kid, and you get to play parts you would never get to play ordinarily.

In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.

For years, I have been inspired by the inventive and masterful storytelling of the 'SAO' franchise. I'm thrilled to get the opportunity to work with such talented partners to bring this cutting-edge yet timeless story to a new format at Skydance.

With 'Korra' we've really taken a lot of time to craft it. We're aiming pretty high, and in order to keep up the quality it just takes a lot of time and a lot or work.

In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.

CGI is done after the film is done. It's through the computer. Most of the film is not computer-generated special effects. Most of it is that creature that is in the room with you.

I think 'Paranorman' was a great adventure.

What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.

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.'

'Shadow Hero' was a dream to work on.

And because performing for a game involves real acting. The way they create a game is very similar now to how they create a film. I've always wanted to stretch my acting skills, and the timing being what it is, I couldn't say no.

It's a very big collaborative effort to do an animated feature and to do a Broadway show.

'Smurfs' just seemed like a great way to represent a young father to be, guy in a marriage, work in conflict, and I was really interested in the technical CG side of things. I'd never done a movie that I thought would be so physical and yet so precise. So I was intrigued by all of that.

It is so exciting to get a phone call saying you're going to be working on a Disney film.

If you look at a lot of animated movies, they don't pay attention to how things move through space.

A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.

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.

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

Working on the 'Ice Age' movies, I'm really proud to be in them.

Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.

'How To Train your Dragon 2' is an amazing film. I think it's an extraordinary film. The animation in it is fantastic.

That's the thing with animated films - I often feel that puppets get the better parts compared to us normal actresses.

Working for Disney for the last eight and a half years, people come and go - production staff and actors. I stepped onto the sound stage and it was a literal time warp.

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.