Timing and Pacing Quotes

Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.

Well, directing is doing the key drawings, not the key animation, mind you.

In standup, you don't have anything near you except a microphone.

When people are telling stories on screen, you can show the reactions of people, play it off those reactions, and it can be fun. But when it's someone just giving an opinion on things, even if the opinion is kind of interesting, that is potentially deadly. It has to be really quick.

Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.

I've always worked toward, and felt comfortable with, you know, pausing and guiding the audience on a longer bit.

In live action, sometimes a mood or a feeling can go on for quite a while. Animation is a lot more effort. There are a lot more notes.

In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.

When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.