Discover the most popular and inspiring quotes and sayings on the topic of Animated. 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 Animated Quotes And Sayings by 81 Authors including Chris Wedge,Anonymous,Ralph Waldo Emerson,Marc Davis,Signe Baumane for you to enjoy and share.
Animation has always been about technology. You can't have animation without technology.
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.
We animate what we can see, and we see only what we animate.
What we were in on, really, was the invention of animation.
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.
Modern animated movies are the products not of anyone's individual vision, but rather a scattered accumulation of compromises made out of fear by members of large committees.
I've loved all forms of animation.
The animated bug has bitten pop culture. It makes me feel happy and free. When you don't act seriously, you can make up your own rules.
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.
Horse racing is animated roulette.
For me, animation is the caricature of life. It's something that we create, from the ground up.
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.
Did I not tell you that I, too, in my way was an artist? I realised in myself the same desire as animated him. But whereas his medium was paint, mine has been life.
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.
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.
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.
There's nothing harder to do in animation than nothing. Movement is our medium.
With an animated show you can make a banana purple. You can put three hats on a cowboy. That would require several days of stitching, in live-action, that you wouldn't be able to afford. I mean, you can just do tons and tons and tons.
Animation means to invoke life, not to imitate it.
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.
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.
I keep wondering why the Academy decided that they needed a separate category for animated films just at a moment when there are a lot of people who couldn't tell you whether a film is animated or not. - Roy E. Disney
I like animation: you can go to work in your pyjamas.
You're not supposed to animate drawings. You're supposed to animate feelings.
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.
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.
Nothing's occurring in animation - you manufacture everything.
Animation is manipulating the difference.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
This is a Disney animated feature; it's eternal, it's history. What's there to think about'
Animation is the only thing I ever wanted to do in my whole life. I have no desire for live-action or anything else.
The whole point of animation to me is to tell a story, make a joke, express an idea. The technique itself doesn't really matter. Whatever works is the thing to use.
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.
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.
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.
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.
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 was always into cartoons and animation.
Polar Express is not an attempt to do animation. It is a technology-based film.
What I love most about animation is, it's a team sport, and everything we do is about pure imagination.
I'm not honestly a real student of animation. I never was into it all that much. I don't really watch any animated shows.
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.
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.
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 nice thing about animation is that you can realise your inventions without understanding all the hard theory.
Every animator is really an actor performing in slow motion, living the character a drawing at a time.
In terms of writing characters or stories, at least initially, there's no difference between live-action and animation. A good story is a good story, whatever the medium.
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.
You basically go in animation and it's all in the imagination. There aren't even pictures to look at. You usually go in there and work with whoever the director is to create this voice and this character.
In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.
The animators are absolutely extraordinary. It's mind-boggling.
Born of necessity, the little fellow literally freed us of immediate worry. He provided the means for expanding our organization to its present dimensions and for extending the medium cartoon animation towards new entertainment levels. He spelled production liberation for us.
Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!
I'm a fan of animation and so, the more stuff that doesn't look like the other stuff that's out there, I'm in favor.
One of the great things about doing animated movies is that you don't have to dress up or put on make-up.
For me, animated film is about magic. This is how magic becomes part of daily life, invading daily life.... Magic enters into a quite ordinary contact with mundane things ... (making) reality seem doubtful.
Hand-drawn animation is something that I feel really strongly about. A Pixar movie may be really great, but it looks like it was drawn by a machine.
Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
My livelihood depends on the art of animators.
Animation is a technique, not a genre.
This landscape is animate: it moves, transposes, builds, proceeds, shifts, always going on, never coming back, and one can only retain it in vignettes, impressions caught in a flash, flipped through in succession, leaving a richness of images imprinted on a sunburned retina.
Animating is a very slow, pain-staking process and the animators become the actors at that point.
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 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.
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 think hand-drawn animation can be something really special. If the character design is quite simple it has the ability to allow people to easily relate to the characters in a special manner.
Sheer animated fantasy is still my first and deepest production impulse.
I love animation, I really do, but I don't do it for the children.
The whole thing that drew me to doing an animated film is that you're freed from the physical limitations of your physical body. All of a sudden, you get to be something that has nothing to do with the fact that I'm a 6'4, lumbering dude, and that is really exciting.
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.
Animation is a great way to work. No early morning call times, no make-up chair. In live action, you're always fighting the clock; the sun is always going down too soon.
A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.
I'm a true fan of animation, and it's my livelihood. Live-action is secondary to me.
Animation had been done before, but stories were never told.
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
The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.
I don't dislike the process of animation ... I find it daunting, but only as much as I find everything daunting.
We are all God's animated cartoons.
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.
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.
People are very harsh critics of animated humans.
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.
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'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.
Seeing your work in something animated, you realize how little you have to do with all of it. It's always a surprise, and its always exciting to see. You never know what is going to happen when you're in that room by yourself.
I do feel like animated films really combine a lot of different of art forms: film-making and writing and drawing and painting - to a certain extent, even sculpting. It's a wonderful medium to work with as a craftsman because it's such so rich and so varied and so expressive.
I really like the animated film process. It's kind of like doing a play, because you can experiment with it, rewrite it, screen it, go back, then work on it a little bit more. If the joke doesn't work, you can fix it. It's different from a live action movie.
If you are going to describe the history of animation, you'd look at the early Disney work, then 'Bugs Bunny,' 'Road Runner' and other Warner Brothers theatrical productions. But when you got to 'Rocky and Bullwinkle,' you'd see they were unique: They assumed you had a brain in your head.
An animatic is a process where every voice and every sound effect is added to rough animated drawings and it lasts exactly as long as the final movie. So you actually get to go into a screening room with the rest of the cast and you get to see it all at the same time.
I don't know if I really watched any Disney animation as a kid.
Where as in animation you have to kind of do a series of drawings in between to complete the movement.
Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.
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.
There's something known as the Uncanny Valley where things look a little too real and you're not quite sure what you're looking at. It becomes weird like it did in 'The Polar Express,' where the eyes seem so realistic, and yet you know it's animated.
I'd love to be animated. I've always wanted to jump off of a bridge and not be hurt, like Bugs Bunny.
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.
I was an animator for a while early on, but a 2D animator.
All new tools are useful to animators, but great animation comes down to great animators.
To describe the animate life of particular things is simply the most precise and parsimonious way to articulate the things as we spontaneously experience them, prior to all our conceptualizations and definitions.
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.