Henry Selick Quotes

A puppet, for example, is just a piece of wood, a couple of rivets, but put them together, and if you know how to do it, and the audience's imagination joins in with this, then a miracle will come out of that machine. That is what we and the audience do in the theatre - we create miracles in that space.

Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

It's exciting to have a role in anything that's Claymation, just because you're always intrigued by what a clay wizard version of yourself would be.

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 think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do. There's something about creating life out of things that have no life.

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

I made tons of stop motion films with my friends in my neighborhood.

Sculpture is like farming. If you just keep at it, you can get quite a lot done.

I love the creative process. That's always been the closest thing to my heart, creating something.

Things develop in front of my camera, and then I will try to do the best out of it. I am close, but in most of the scenes, I am trying not to be seen. I think that's the trick. I think it starts in your heart, goes to the head, and the head puts it into the finger.

I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself - love it so much that we're always going to be looking for new ways to make our films.

God has given us an imagination, and our imagination is really the principle tool from which all creativity and artistry comes from.

I think either you're creative or you're not. In general, I don't think you need to be in pain to actually be creative unless you're writing love songs. Then you might need to have some ups and downs within your emotions to start to capture that.

First of all, writing at best - certainly fiction writing - more and more I think is magic.

The best songwriting comes from being as creative as you can and editing it down to the good bits, essentially.

I show elements of the set in my pictures because it's not real. When I see movies, I often love the 'making of' more than the movie itself. It's not so final. When you have a woman just standing there, it doesn't mean much.

Poetry is an echo, asking a shadow to dance.

I want to create. I think that's the one word I can grow on.

Animation is not the art of drawings that move but the art of movements that are drawn.

I want to spend my time between the creation of ideas and the creation of things.

The body is your instrument in dance, but your art is outside that creature, the body.

Sometimes we think of a creature like a person in a suit, but then you have limitations of two eyes and two legs - they have to see and breathe. I got more into puppetry because it offered more possibilities.

Where the spirit does not work with the hand, there is no art.

What's kind of wonderful about being the voice in an animated film is you're a small part of an enormous production. And in a way, you get to remain a little bit objective.

Pixar is not about computers, it's about people.