Rich Moore Quotes

I'm always there at home thinking of Wallace and Gromit ideas.

My experience with video games is a far cry from 'WWE 2K17.' Did I ever aspire to be that character? Man, I just wanted to be a hero to kids. Whether it's a character in a video game, a movie or a TV series, it's an accolade that I'm greatly appreciative of.

It was actually after I saw 'Pinocchio' that I thought I might try and work in that industry in some way.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

When I see things in the world that leap out at me, I want to make use of them in fiction. Maybe every writer does that. It just depends on what you claim or appropriate as yours.

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.

The puppet characters were combinations of people I had known and to some degree aspects of my own personality. Weird was based on someone I knew in Chicago. Dirty Dragon was based on a good friend I had in Indianapolis.

My mother is a huge fan of my work. I told her about 'Coraline' long before the film was made, and she got the book and read it. She reminded me that when I was about five years old, I used to sit in the kitchen for hours and talk about my 'other' family in Africa, my other mother and father. I had totally forgotten that.

I probably get more inspiration for human stories and idiosyncrasies than I do animal stories.

There's something about seeing this little inanimate object coming to life that's just very exciting. That's why with 'Nightmare' I held out for so long to do it.

One of the things that helps me tell a story through music is to create a character. I have to have a muse, whether it's Frida Kahlo, Martha Graham, Marlene Dietrich, or Pippi Longstocking.

I know that when I watch TV, I want to be transformed and transported, not just by the characters that I grow to love over the hours and seasons of watching but also the world that it plants me into.

I do what I do because of Walt Disney. Goofy. Mickey Mouse. I never forgot how their films entertained me.

One day I had an idea for a movie. Everything came after that.

Rowling is a luminous storyteller. I love her sense of humor and the intricate wizarding world she built around Hogwarts. I think all writers aspire to be like her, to capture readers like she does. But I didn't think about 'Harry Potter' when I wrote 'The Bone Season.'

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

You have to decide what kind of story you're going to tell. For instance I would argue a movie like 'Toy Story 3,' which isn't realistic at all, is really emotional and involving. It just depends. I played this game called 'Superbrothers: Sword & Sworcery EP' for iPad that is totally old school 8-bit, which I found very moving.

Animation is about creating the illusion of life. And you can't create it if you don't have one.

I try to write the kind of books I like to read.

What's most important in animation is the emotions and the ideas being portrayed. I'm a great believer of energy and emotion.

When you're an actor or any kind of artist, you use your life as something to draw from in every experience.

'How to Train Your Dragon,' the first one, was a film I'd seen prior to being approached for the sequel. I don't often watch family animated movies, but it's one that I loved and thought was really well done: beautifully crafted storytelling.

I joke that I learned the essentials of storytelling from Hanna-Barbera, but I pretty much did. That kind of television is what enamored me as a kid, and that's what really got me hooked. You could say that's where it all began.

I started playing video games, and in 1978 I discovered Dungeons & Dragons and started game-mastering and writing my own adventures and creating my own worlds.

On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.