Quotes of All Topics . Occasions . Authors
I really set out to do this traditional looking and traditional sounding multi-cam sitcom, but then make the world as elastic as an animated show could be. Make the world as surreal as we wanted it to be.
'Superman' was a total accident. The producers of the animated series were having a hard time finding someone to read the character. I was brought in through a connection and, I think, out of desperation.
One thing I always heard from the begining when I talked about this being a movie - was that the rule is that animated movies don't work unless they're Disney movies for kids. Unless they're family movies.
American actors who voice animated movies are so brilliant at it, because by the nature of American speak, it's full of energy and full of commitment. And as a British actor, we have to kind of learn that.
Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.
A surging, seething, murmuring crowd of beings that are human only in name, for to the eye and ear they seem naught but savage creatures, animated by vile passions and by the lust of vengeance and of hate.
I have yet to meet anyone quite so stubborn as myself and animated by this overpowering passion that leaves me no time for thought or anything else. I have, in fact, no interest in life outside racing cars.
I read Pamela Colloff's oral history about the campus shooting, '96 Minutes,' when it was first published, and my wheels immediately starting turning toward making a film and making it an animated re-telling.
'Allen Gregory' came about because we wanted an animated show and we were just tossing around some ideas about me playing a 7-year-old. We thought that would be cool, because we couldn't do that in real life.
I have agreed to lend my voice to Nature's Guard, an animated series which hopefully will go into production in the near future. The characters are all animals. My voice will be for a character named Longtail.
One of the things I've found about SpongeBob's movement style is that, in addition to being animated and sort of stretching and squeezing, he's really based on the classic silent comedians, physical comedians.
Some people criticise me for not being animated enough, for sitting in stands and not showing any passion. I come down, get involved in a couple of situations and all of a sudden, it's a slightly different angle.
Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?
I started doing my own animated movies when I was in ninth grade; that's when I got the filmmaking bug. When I was about 16, I started writing jokes for doing stand up, and then I was 19 and started doing stand up.
Like most Americans of my age, I was very impressed by the dynamic capacities of the law, demonstrated by the Civil Rights Movement and then Watergate, animated by Sam Ervin's mantra that no person is above the law.
In their efforts to discredit human freedom, the Putinites denounce the sins that may occur under the reign of liberty with the same ardor, the same sincerity, and the same purpose that animated their Soviet forebears.
'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.
The DC Universe animated made-for-videos are a great, specific opportunity to offer fans something that they might not have gotten otherwise; it's also proven to be a great business for Warner Video and Warner Premiere.
I learned so much from the writing on 'King of the Hill', which I thought was just magnificent. They would let real moments happen in this animated, one-dimensional world. I feel like I've been in school this whole time.
I had always loved cartoons, especially 'Bugs Bunny,' and I found I enjoyed making animated films. Even a 30-second commercial involved drawing and painting, storytelling, not to mention actors, music, and sound effects.
When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.
It's all about being comfortable, being easy and having you be able to wear something and not having it wear you. It's classic. Every time I've tried to be bold and crazy, I feel like a Japanese animated cartoon character.
When you are in a live-action movie, you have so many more options to express yourself. You can use your body and your gestures and facial expressions. When you are doing an animated movie, you really only have your voice.
My imagination was really hyperactive as a child and animated. I had those elements, but as you live and go through the hardships, it fades. 'Pete's Dragon' reawakened that. It rekindled the feeling of the invisible dragon.
In some ways, 'The Little Mermaid' was old-fashioned. Rendered in the hand-drawn style, it was the last Disney animated feature to use cels and Xeroxing. Pixar and its CGI imitators soon made that rigorous process obsolete.
In 'Bojack,' at least at first, we had to couch some of the sadder or weirder or introspective stuff we were doing in the costume of a typical adult animated comedy. With 'Undone,' it felt like we'd outgrown that expectation.
All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.
Like, every couple of months you read, they rewrite, you come back in, they've animated more stuff - they usually videotape you while you're reading it - so they'll incorporate some gestures and some facial expressions into it.
As a kid, I just loved cartoons. And as the credits went by, I'd study those names and then try to figure how I could get hired to do what Mel Blanc and Daws Butler did. Create all of these great voices for animated characters.
I was going to be a chemical engineer - I was a science nerd - that was the plan. I secretly applied to USC and NYU and got a scholarship to go to NYU based on a dumb animated short I made. It was a huge shock to me and my family.
I love 'Batman.' I love the Adam West 'Batman.' I love the animated 'Batman.' The character of Batman can encompass any interpretation, which is what makes that character so brilliant and why it's survived so many different media.
Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.
It's embarrassing to tell you how much my friends make fun of me. Seriously, when you have a doll made of your face, it's ridiculous how creative your friends can get... pictures, videos, little animated cartoons that they've made.
I've always drawn, for example, and I did consider when I was younger, it was either do I become an actor or do I become an animator cartoonist at that point. Do I work at Disneyworld or something and do animated cells or something?
'The Simpsons' basically - and 'Futurama' - are really smart shows. They're kind of disguised as these goofy animated sitcoms, but the references within the shows, if you're paying attention, are pretty smart and pretty sophisticated.
I finished 'Ice Age: Continental Drift' in 2012, and I'm living in my agent's guest bedroom in Los Angeles because you don't make a ton of money writing an animated film. The movie makes a billion dollars, and you make 'twelve cents.'
Top 1 Percent progressivism emphasizes the idea of fairness - but it's nevertheless a politics of outrage, animated by at least a trace of envy. It's as if 'millionaires and billionaires' were the principal problem facing America today.
The sexual deviance - I'd be lying if I said I didn't miss that; but we do have hints of it but in a more psychological way and therefore more human way, arguably. Or certainly to the extent that the animated series takes that sexuality.
I remember when I first came around, the computer-generated stuff was pretty wicked. I was like, 'Wow!' but I feel like then for the longest time, we saw so much of it, after a while, you might as well just be watching an animated movie.
I am a Gobot junkie, and I pitched the Gobots movie as an animated movie a few years ago, and we're trying to work something out now that the rights are cleared. But that's my dream project, besides 'The Goldbergs' - doing a Gobots movie.
I really like Braun Strowman. I would turn the volume down on him just a little bit. I think he is a little bit overly animated, and he doesn't have to be. He is already a larger than life character when he wakes up and has a cup of coffee.
I'd like to continue being involved with issues that animated my time as attorney general - criminal-justice reform and civil rights especially. I don't just want to give speeches; I'd like to involve myself in this work in a systematic way.
I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.
I would like to see an animating passion. Tim Kaine actually had a good line. What animated you before you got into politics? And she actually does have a story there to tell about children. And so drawing that animating passion will do good.
'How to Train Your Dragon,' the first one, was a film I'd seen prior to being approached for the sequel. I don't often watch family animated movies, but it's one that I loved and thought was really well done: beautifully crafted storytelling.
I love artists whose work feels animated! Matt Cummings, Ian McGinty, Jake Myler, Arielle Jovellanos, Drew Rausch, Zachary Sterling, Troy Little - I feel like most of the artists I've worked with have a lot of movement and life in their work.
I think 'Wreck-It Ralph' can stand proudly in the pantheon of the great Disney animated films. It's a fairy tale disguised as something more contemporary. With its balance of heart and comedy, it is still very much rooted in the Disney legacy.
What's the most fetching thing that provokes people? A volcano? Fountains that dance? A pirate ship that sinks? Some other animated device or presentation? Is that as strong as mystery? Allure, intrigue, is much more powerful... It taunts you.
On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.
In the digital future, texts will be annotated visually, animated and illustrated like never before. The austere 'prayer book' paper that permitted the space for Shepard's illustrations to Pepys' diaries is now being recreated in the digital era.