Douglas Wood Quotes

A big part of directing animation is deciding what you really want to do and making sure it's about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don't just write and leave.

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

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.

I'm meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.

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.

You must lose yourself if you want to be successful in animation and be the character.

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

My respect for animation has gone way up. It's a truckload of work. I have to sit with my animators the same way I'd sit with my actors and cast them.

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.

One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.

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

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

A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.

My job was to give 'The Secret Life of Pets' production team lots of options when it came to Duke. So that's what I always tried to do.

It's been an ambition of mine, before I even wanted to act, to be involved in animation.

I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.

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

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

I've been a huge animation fan since I was a kid, so the idea of seeing my characters in full motion on the big screen is completely mind-blowing.

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

I've written pilots. I wrote a movie.

On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.

I feel that one of the fields that I need to learn a lot is screenwriting. I used to write my own screenplays, but it's just that I remember that at that time, I was saying to myself, 'I wish one day I will meet a screenwriter that will help me because I feel that I need to learn.'

I actually applied at Hanna-Barbera to work on 'The Smurfs' when I got laid off for a brief period of time from Disney. I didn't get the job. That was my first introduction to Smurfs.

Animation tends to have several different writers who serve different functions. I think, on a lot of animated features, there are a lot of writers who don't get credited. It's the policy at Disney, for instance, in deciding who gets credit. It depends on the writer's contract, so many things.