Claymation Quotes

I learned how to do stop-frame animation and I experimented with that a lot, and pretty much that was my mode of animating through high school.

I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.

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

I was the original voice of Mattel's Barbie for an '80s claymation workout video.

Animation in itself has so many different looks and styles and possibilities.

Typically, with low-budget stop-motion, you can get away with a cartoony style.

I'm pretty deep into '80s nostalgia, specifically children's entertainment, so a lot of California Raisins, Garfield, Alf - that's kind of a lot of the clothes I have and cherish the most.

I used to do stop motion in my own garage and Claymation and all that stuff. That led to doing backgrounds and matte paintings. I started doing matte paintings professionally back before the computer, sort of painting on glass.

I went back over the sketch books I'd filled at Sheffield for ideas and discovered Wallace and Gromit, except Gromit was a cat then. I made them into Plasticene shapes and started 'A Grand Day Out.' It took me longer than I expected.

I used to draw and make plastic figurines and watch 'Wallace and Gromit' films.

Animation is a technique, not a genre.

Stop-motion is filmmaking at the pace of a glacier. In live action, you're moving so quickly.

What stop-motion does best is present real objects magically brought to life in a very imperfect situation; the hand of the artist is there, the electricity of someone touching, massaging and torturing themselves to get life out of an inanimate object.

I think we all have a Wallace and Gromit inside us. Wallace is the part that has wild plans. Gromit is the sensible side, reining you in.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.

I've always been a fan of animation. As a kid, I used to watch a lot of the Saturday-morning cartoons, and I was always a fan of even claymation and that whole medium.

'Robot Chicken' was one of my favorite shows.

Historically, for a stop-motion film, you gathered the crew together, you made the movie, and then everyone ran screaming to the next project.

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.

In the fourth-grade talent show, my buddies and I dressed up like the California Raisins - they were big then! - and lip-synched.

I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.

Stop-motion is sort of the redheaded stepchild of animation. But it's incredibly beautiful.

I'm a big fan of cel animation, I'm a big fan of computer animation, and, most of all, I'm a big fan of stop-motion animation.

You know, I love stop-motion. I've done almost all the styles of animation: I was a 2D animator. I've done cutout animation. I did a CG short a few years ago, 'Moongirl,' for young kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never be perfect.

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.