Georgina Haig Quotes

I spent a lot of time on my own working out the physical vocabulary for how Gollum moved. As I say, I drew on a lot of Tolkein's descriptions of how he moves, but also the conceptual artist sketches.

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.

In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.

There was a guy that I got to know pretty well - Joe Grant. He was one of the creators of Dumbo and worked side-by-side with Disney. Being a total Disney nerd, I was obsessed with asking him questions. He was 92 when I got to know him.

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.

The identity of Studio Ghibli movies are how the characters move. They move like live, real people.

Because Naughty Dog relies on their facial team to hand animate the faces of each game character and they do such a remarkable job, I think you can be more realistic with your acting. It gives the story and what's happening to you the feeling that it's a game.

Someone at Disney heard one of the records and called me in to do the sounds of Lucifer the Cat in Cinderella.

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

Animation is a fascinating area from an acting point of view because it's not really like anything else because you are only providing a portion of the performance. That's very inspiring and it forces you to do things in a different way - to tell stories through your voice.

It's a different way of getting across an emotion. You're trying to get it across to the animator because the animator is inspired by the voicetrack in terms of how to animate the character.

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.

I want to be an animated character. I'm also doing more writing and directing.

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

The thing that I enjoy about animation is the fact that it is unbridled, and there are no boundaries; when you are in the room, you don't have to focus on your clothing, make-up, hair, your choreography or your blocking; you really do have total freedom.

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

I'm a big fan of pantomime storytelling, being an animator.

Making cartoons means very hard work at every step of the way, but creating a successful cartoon character is the hardest work of all.

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

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.

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.

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.

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

Working at Pixar has been like my graduate school for screenwriting.