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There probably won't be an animated The Roots or Black Thought as there was, say, an animated Michael Jackson when 'The Jackson 5' cartoon show was on when we were kids.
No one's ever going to make a PG-13 animated film unless David Fincher executive produces it and puts it out on Netflix, and then if it's a success everyone will change.
Maybe everyone lives forever. Or maybe, like in the animated movie 'Coco,' only those whose stories get told by the living definitely do. It takes a story worth telling.
I knew early on after the first couple episodes were fully scored and animated that we had a real quality show here. But I always questioned whether or not it would work.
When I first started working at Disney animation, I can't tell you how many people said to me, 'Oh, man, take a powder.' Nobody takes animated musicals seriously. I swear.
My love of visual sequences stems from live-action films like Sergio Leone westerns, Kurosawa, some '70s action films, Tex Avery, and my general love of animated movement.
What's kind of wonderful about being the voice in an animated film is you're a small part of an enormous production. And in a way, you get to remain a little bit objective.
I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.
'Tallica Parking Lot' is, basically, roughly about a four-minute animated short which is centered around the parking lot of Metallica, and that can be anywhere in the world.
I'd like to think that 'Bojack,' in some ways, pushes the edges of what some people think an adult animated show can be. That was an intention of mine while making the show.
When you do an animated movie - at least the ones that I've been a part of - you never see any of the other actors. It's all done separately with headphones in a voice booth.
I was an only child. I needed an alternative to family life - to real life, you could almost say - and cartoons, pictures in a book, the animated movies, seemed to provide it.
I tend toward more adult fare, and I would love to do a voice in an animated film or something the boys could go see, but at a certain point, I made peace with myself about it.
I was a huge fan of the Justice League growing up. I watched all of the cartoons, all of the animated series, all of the movies, superhero related, since my personal beginning.
The question I get more than any other is, 'What does it mean to direct an animated film?' And the reality is that it's not a whole lot different from what you do in live action.
Scoring animated films, I have the exact same approach and philosophy as I do for a live action. It's all story- and character-driven. I don't care if it's a mouse or Tom Cruise.
'Hibakusha' is an animated docu-drama that Choz Belen and I are directing, and it will take you through the earliest memories of a Hiroshima atomic bomb survivor named Kaz Suyeishi.
When we first started, everything was animated, everything was comedy, and there was really nothing that was longer than about two minutes, because that's all audiences would watch.
What I do is draw but if you make an animated feature obviously it takes a whole team of people, and Zippy is my work. I felt that turning it over to a team of people would be wrong.
Animation films are about entertainment and about fun for the whole family, and if you went too far down a dark path, it's not what people, I think, expect from a great animated film.
I want to see someone like Bobby 'The Brain' jumping around in his weasel suit with the rhinestones. Guys who are animated like that make the best translation to TV and to videogames.
I actually grew up watching a lot of these cartoons - a lot of the animated series. 'Batman: The Animated Series,' 'Justice League,' all the stuff that would come onto Cartoon Network.
The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
I grew up, probably like a lot of people, on cartoons. And I never thought I would have the chance to be in an animated movie. It's good also to show the world my sweet side with them.
It's just different discipline, just doing the voice over. I guess I've done about 5 or 6 audio books in the past and I do the animated voice for a show called Fatherhood on Nickelodeon.
There's a lot of possibility in the 'Pacific Rim' universe for additional stories to be told, whether that's additional graphic novels or animated series or video games or movie sequels.
I always laugh when I listen to my old stuff. I was just trying way too much back then. Doing too many harmonies and too many runs and all the crazy stuff. Rapping all funny and animated.
I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.
With my own cartoon, it was just me being goofy by myself, but when it comes to an animated film, you're working with 45 animators and assistant animators. It's a whole different ballgame.
To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.
With animated film, you have to create the sonic world; there's nothing there. You get to color things in more and you're allowed to overreach yourself a little bit more, and it's great fun.
A live action movie is work, and an animated movie is you showing up in your pajamas once every three months, or in my case, just a splash of baby powder. It's not any kind of heavy lifting.
The cost of an animated film really comes down to man hours. If you gather together world-class talent, then the question becomes how do you deploy that talent in a way that minimizes waste.
One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.
'Samurai' is not an animated show like you would normally watch on TV. We tell the stories from a different perspective - backward, very nonlinear. It treats it more seriously as an art form.
For 'Toy Story 3' to be recognized by the Academy as not only one of the best animated films of the year, but also as one of the 10 best pictures of the year, is both humbling and overwhelming.
When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.
Look, it's a mainstream animated movie, and how often are those considered thought provoking? It's meant to be a great time at the theater, but it's also designed to work on more than one level.
With a standard editorial cartoon, you're taking tons of information and synthesizing it down to a single bite - a single moment in time. With animated editorial cartoons, it's more storytelling.
I don't think I would want to do an animated movie because I've already made so many hours of animation that what's the point? I'd want something new and weird to challenge me in a different way.
When you think about 'The Simpsons' or 'King of the Hill' or something like that, the worlds tend to expand each episode, because there's no additional cost incurred to hire an animated character.
As a species, we are most animated when our days and nights on Earth are touched by the natural world. We can find immeasurable joy in the birth of a child, a great work of art, or falling in love.
At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.
We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.
I think God must have had something in mind for me that was not on my radar when I first started out in New York. Back then, doing animated voices meant your career was done - it was looked down upon.
As an actor, I always wondered what it would be like to watch an animated character with your voice behind it and see if it seems seamless or if it seems like your voice is isolated from the animation.
Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much, you approach the songs in pretty much the same way.
I began my career creating art for an animated feature film, and it has been a life-long dream to tell some of the story of my own life - the story behind my art - through the medium of motion pictures.
I was huge fan of most of the animated series growing up in the golden era of '90s superhero animation. I didn't care who was producing - it was much more about the specific heroes that I connected with.
Voice acting is very interesting, I've done several animated projects, and you have to make the voice reflect the character and try and do as much with a word as you can with a look in a live-action film.