Stop Motion Animation Quotes

I love all sorts of animation, probably the most beautiful would be the tradtional hand drawn animation that Disney is known for. Stop-motion has a certain "grittieness" and is filled with imperfections, and yet their is an undeniable truth, that what you see really exits, even it if is posed by hand, 24 times a second. This truth is what I find most attractive about stop-motion animation.

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.

If you were around when 'Them!' or 'Tarantula' came out, those effects were as good as you had ever seen.

I grew up in a bit of a vacuum. And as a kid, you see 'Monty Python's Flying Circus' and you're like, 'Oh, it's a cartoon.' There's mixed media. It's funny, and there's stop-motion. But as an adult, you figure it out, how the entire underpinnings of their comedy was poking fun at the rank and file of the British aristocracy and the monarchy.

'Muppets' was very much an exercise in anti-CG and the anti-effects world. It was very much in camera. We wanted to create a world where tangible puppets walked around and talked to each other. You could touch them. You could meet them.

What I personally gravitate toward tends to be fantasy, medium dark - not too dark - fairy tales and sci fi. Stop-motion takes something on the page that's really dark and adds a little sweetness to it, a living toys realm.

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 have to admit to not being the greatest technician, but stop motion animation gives me licence to create machines that wouldn't otherwise be possible - inventions that seem real and actually work.

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.

And there's a visceral fun in watching Team America and making it, like taking a puppet and throwing it against the wall. Because it's not CG, there's something funny about it.

I mean, I did a film, a musical of 'Scrooge', in '70, and the tricks were done by flat clothes and mirrors. I hope that the day will come when we don't have to turn up at all.

Cartooning at its best is a fine art. I'm a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.

I started off as a model maker, so the first part of my career was a model maker and then a motion control camera operator, so I shot a lot of miniatures.

Literally overnight, I became an animator... and one that was well-known.

'The Nightmare Before Christmas' is my number one biggest influence artistically in every way.

Both Adam and I come from a practical effects background.

Everyone should see 'A Nightmare Before Christmas,' hear 'London Calling,' and read 'Great Expectations.'

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

Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.

I'm meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.

I'm always impressed with the work of animators. You have to be able to draw the scenes in between movements. I'm impressed with the way they can do that - I don't think I could.

One of my first videos on VHS, unknowingly at the time, was a stop-motion of a cup moving across a countertop on its own. I was pretending that I was performing some kind of magic trick. It was my way of doing effects without understanding how to edit.

When I first watched 'Coraline,' I thought, 'If that ever got adapted...' If it was done by real actors, I think that would be a really fun thing to do, just because it's a kind of whole new universe.

It took me five years to make 'Kubo and the Two Strings.'