Tim Burton Quotes

I love the flexibility of saying, "Today we're making 50-foot paintings, and we're going to have to join hands and figure out how that's going to work." But in the end, it's a possibility.

I will not allow anyone to take anything off my palette but if I do then within that, I can be creative.

I've always been somebody who, when I started a picture, never knew what the next picture would be.

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

Well, luckily with animation, fantasy is your friend.

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.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

Then, as now, the Disney studio buzzed with activity. You had a strong impression of being at the center of something very exciting.

It struck me that working digitally with a small crew, I could lay out a general plan for Famous and hope for mistakes which would create something more than satire and something less than truthful reality.

I'm literally open to any medium that will have me.

When you make new musicals, you have the great freedom and the great burden that it can be changed.

People ask, like, 'How are you going to incorporate what you do onstage into everything else?' I'm not too worried about that. Whether it's theater or a TV show idea, or an animated thing or, I don't know, an animated screensaver. I really just want to keep creating things. And I've always been able to do that.

With each job that you're given an opportunity to do, you're asked to use new parts of yourself and to figure the play out with other tools that you perhaps didn't use with the last show.

One of the privileges you have of living the life of an artist and creating your own world and everything is the fact that, in-between times, you can kind of spend them however you want. Because, you know, once you open up your candy store again, you're open for business. And you have to be responsible. You have to be available.

My idea of artistry has always been 'try everything until you find out what works.'

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.

I want to be the first person to animate bags - everything done for handbags bores me to tears - I want to make it more playful.

We're not purists about stop-motion. If there's a tool we can use that makes more sense to bring something to life in a better way, we'll use it, whether that's hand-drawn animation or CG or some newfangled technology we're developing.

I have an imagination that will go in any direction it is prodded. I pride myself on being able to become enthusiastic about anything: If you tell me to write a screenplay about cucumber farms, I'll swallow hard, and in 48 hours, I'll be in love with cucumber farms.

You know, the only way I've found to make these pictures is with animators. You can't seem to do it with accountants and bookkeepers.

I can do something with almost anything I see. Everything is still interesting to me.

My thing from the beginning is to have it be useful, and be able to help others. It's about being efficient and getting there as fast as you can. If people want to do it more artistically or in a freestyle way, I have absolutely no problem with it — that's the way it's going to evolve. It's not my style, but if it's other people's [style], that's perfect.

When I haven't any blue I use red.

Animation is different from other parts. Its language is the language of caricature.

When in doubt, resort to animation.