Discover the most popular and inspiring quotes and sayings on the topic of Animate. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Animate Quotes And Sayings by 84 Authors including James Taylor,Ross Macpherson Smith,Marc Davis,Tomm Moore,Winsor Mccay for you to enjoy and share.
I am myself for a living. I don't animate a character.
The aeroplane is the nearest thing to animate life that man has created. In the air a machine ceases indeed to be a mere piece of mechanism; it becomes animate and is capable not only of primary guidance and control, but actually of expressing a pilot's temperament.
There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.
Technology is the friend of traditional animation. It doesn't have to replace it. It can help you do it.
Animation should be an art ... what you fellows have done with it, making it into a trade ... not an art, but a trade ... bad luck.
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.
The thing that I enjoy about animation is the fact that it is unbridled, and there are no boundaries; when you are in the room, you don't have to focus on your clothing, make-up, hair, your choreography or your blocking; you really do have total freedom.
Nothing's occurring in animation - you manufacture everything.
Every animator is really an actor performing in slow motion, living the character a drawing at a time.
Your mind, your motion and your expression is an animation to marvel and to praise.
I grew up watching classic animation, and I have always felt that the roots of animation is in fantasy and taking it in places that you can't go, any other way.
I decided to work on hand animate because the animators work as authors in every little scene and it brings real soul for characters.
I don't dislike the process of animation ... I find it daunting, but only as much as I find everything daunting.
What we were in on, really, was the invention of animation.
Every kid has a toy that they believe is their best friend, that they believe communicates with them, and they imagine it being alive, their toy horse or car or whatever it is. Stop-motion is the only medium where we literally can make a toy come to life, an actual object.
Believe in your character. Animate (or write) with sincerity.
I've always tried to make the strip animated, even when the characters aren't moving, with expressions or perspectives or some sort of exaggeration. There's great potential for that which has yet to be fully mined.
I grew up watching movies and being amazed at the animatronics you'd see in stuff like 'The Dark Crystal,' and all those kinds of movies. So, I'm always enthralled with how they can make it all work, behind the scenes, with the visual effects.
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.
On played the Mayor's daughters in Horton Hears a Who: I had never done animation, so I thought it would be cool to try something different.
The animation of the canvas is one of the hardest problems of painting.
After days and nights of incredible labour and fatigue, I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter. The
In my opinion, animation is best when it communicates without words, because it is the perfect medium through which to make shortcuts to meaning. When actors are not talking, just acting out, it looks kind of weird. But in animation, mime is constant, and you accept it.
I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.
I did not seem to have any special project to animate me.
There's the fact that animation is extremely time-consuming, tedious, labor-intensive, and therefore, extremely expensive as an art form to really do it right, to really do full animation.
It's a lot easier to teach someone how to use a computer than it is to teach someone how to be an artist, so we figured if they can animate with a pencil, we can teach them how to animate with a computer.
While on that old grey stone I sat
Under the old wind-broken tree,
I knew that One is animate,
Mankind inanimate phantasy.
Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
For me, animation is the caricature of life. It's something that we create, from the ground up.
I think living things can recognize the movement of other living things, and all the best animators in the world can't quite capture that something.
Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.
I like animation: you can go to work in your pyjamas.
Well, luckily with animation, fantasy is your friend.
First you inspect me Then you dissect me Then you reject me I wait for the day That you'll resurrect me Animate
Motion comics take the underlying physical book material and enhance or modify it slightly enough to make it unique and, we think, best-suited for a digital environment.
All new tools are useful to animators, but great animation comes down to great animators.
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.
Horse racing is animated roulette.
Graphics experts led by computer scientists at Harvard have created an add-on software tool that translates video game characters - or any other three-dimensional animations - into fully articulated action figures, with the help of a 3D printer.
Animation is very singular. Like, even the 'Toy Story' movies. People will go, 'Oh, gosh, you're so lucky, getting to play opposite Tom Hanks!' And it's, like, 'It may have appeared to be that, but we were never in the room together.'
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 have decided that I want animation to be taken seriously; that is the goal of my life. I believe that animation is a very important medium to tell stories, not just for kids but for adults.
I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.
If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.
Allow motion to equal emotion.
It was wearisome to contemplate that animate protoplasm, reasonable by courtesy only, shut up in a car by an incomprehensible civilization, taken somewhere, to do a vague something without aim or significance or consequence.
If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
film is and has always been just a subset of animation - in contrast to how critics presented the relation - if animation is understood to be the inputting of life, or the inputting of the illusion of life, into that which is flat or inert or a model or an image.
In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.
My monumental netted sculptural environments move through time, animated by an ever-changing 'wind choreography,' making invisible air currents suddenly visible to the human eye. I make living, breathing pieces that respond to the forces of nature - wind, light, water.
Polar Express is not an attempt to do animation. It is a technology-based film.
You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.
Everyone has something of the spiti that animates the artist
Animation is a technique, not a genre.
What I love most about animation is, it's a team sport, and everything we do is about pure imagination.
The crucial job of artists is to find a way to release materials into the animated middle ground between subjects, and so to initiate the difficult but joyful process of human connection.
Emotion is created by motion.
I've always loved animation and animated films.
In animation, there's this exhilarating moment of discovery when you see the film and you say, Oh THAT'S what I was doing.
I'm a bit of a weird creature ... I'm self taught and went to a regular film school, not art school, and I think it's unusual for somebody to approach animation from that angle. In a sense I've sometimes consclassered myself more of a filmmaker who just happens to animate.
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.
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
A movement has to move. Constantly.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
I've loved all forms of animation.
I've always been very animated.
I found out animation is incredibly boring. You draw and draw and draw, and it's only a few seconds done in a week.
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.
The process of producing a project is one long string of delight and anxiety, but I think the real thrill of animation would have to be drawing the pictures.
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 love the idea of animation just because it removes the actor from the character, and you can be anything. I've been devouring 'Adventure Time' and 'Archer.' I'd love to get my hands dirty on either of those shows.
Animation is the only thing I ever wanted to do in my whole life. I have no desire for live-action or anything else.
In the world of animation, you can be anything you wanna be. If you're a fat woman, you can play a skinny princess. If you're short wimpy guy, you can play a tall gladiator. If you're a white man, you can play an Arabian prince. And if you're a black man, you can play a donkey or a zebra.
You're not going to make Hemingway better by adding animations.
The idea of an animated film is you always kind of get a little bit daunted by it as a filmmaker because it feels like a lot of your communication is going to be with computer artists, and you're going to have to kind of channel the movie through extra pairs of hands.
My livelihood depends on the art of animators.
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'd wanted emotion but couldn't find it here, so I settled for motion.
Viewing movies in very slow motion, looking for synchrony, one realizes that what we know as dance is really a slowed-down, stylized version of what human beings do whenever they interact.
Without doubt, in animation each frame is important, every movement defines the character.
When one steals a flying balloon and animates it to fly over Paris, one should, ideally, have some idea how said balloon normally works.
What seems real to the mind can be as important as any material fact. We live by the spirit and the imagination as well as by our senses. Cartoon animation can give fantasy the same reality as those things we can touch and see and hear.
In fact, if the conversation had been animate, the merciful thing to do would have been to take it out behind the barn and shoot it.
The film [Boy and the World]gave me the possibility to create a new language. Animation is a very rich medium but hasn't fully been exploited by artists. Often artists are trapped by words.
It is not the natural movement of film that gives the objects their expression, but the artistic movement, that is to say, a rhythmical movement regulated by itself in which variations and pulsations form a part of the artistic design.
If I was ever to ask advice, it could be from any actor or showrunner or writer. I wouldn't necessarily ask an animate. I don't want to say that the wrong way, but animation's not really my world.
Of all the toys available, none is better designed than the owner himself. A large multipurpose plaything, its parts can be made to move in almost any direction. It comes completely assembled, and it makes a sound when you jump on it.
The animators are absolutely extraordinary. It's mind-boggling.
Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.
With animation, because you can draw anything and do anything and have the characters do whatever you want, the tendency is to be very loose with the boundaries and the rules.
Even in hand drawn animation, humans are widely considered to be the most difficult to execute, because everybody has a feeling for how they move.
Animation is a fascinating area from an acting point of view because it's not really like anything else because you are only providing a portion of the performance. That's very inspiring and it forces you to do things in a different way - to tell stories through your voice.
It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.
I became myself capable of bestowing animation upon lifeless matter.
It's not quite the same as other kinds of performing, but I love animation. It is just a different kind of experience. The difference is that making a live action movie you are using your whole body.
I could see how people get addicted to animation, and I understand why it's so great for comedy. You can do whatever you want and it just happens.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
We want to stay with the animatronics because it gives you such a wonderful feel of Chucky's movement. It feels like something that has been brought to life, as opposed to a smooth piece of animation.