Character Animation Quotes

I always wanted to do an animated movie. I find it to be incredibly liberating as a way of telling a story.

Animation is different from other parts. Its language is the language of caricature. Our most difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and animals.

If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception. I've always just loved drawing and loved cartoons.

When Tim and I first discussed the part in 2003, he told me, 'I'd love for you to play five Oompas.' But five Oompas quickly turned into 165 - and they're not computerized; I did each one individually myself.

I think animation can tell more than live action.

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.

In 'Tom and Jerry,' there was hardly any dialogue at all. It was all action. It required a great many drawings to make.

When caricaturist, Al Hirschfeld, did a drawing of a celebrity, it often looked more like the person than the person did. That's our goal in animation.

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

Walking in stop-motion animation is probably the most difficult thing you can do... The way that they have these puppets connect to the set is they actually drill a hole in the set, and they put a threaded rod up through that hole and screw it into the bottom of their foot, and that keeps them in place.

I was mentored by great Disney animators at the end of their careers.

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

I spent much of my later childhood and adolescence very, very involved and interested in art, and particularly in animated movies.

I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.

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.

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

I always liked making things, and then I fell into animation. And then luck comes into it as well.

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.

In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

I always considered Ray Harryhausen's work so fine that it was way out of my league: in terms of realism and naturalism, in terms of animal movement.

Making the AI better in a video game is not like making the AI better in, say, a chess game. Making it better in terms of acting ability - we're basically improving its acting so that the user can have more fun.

When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.

I realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.