Discover the most popular and inspiring quotes and sayings on the topic of Animation. 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 Animation Quotes And Sayings by 78 Authors including Bill Nighy,Mamoru Hosoda,Tom Wujec,Jennifer Yuh Nelson,Ralph Waldo Emerson for you to enjoy and share.
I don't dislike the process of animation ... I find it daunting, but only as much as I find everything daunting.
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 is it about animation, graphics, illustrations, that create meaning? And this is an important question to ask and answer because the more we understand how the brain creates meaning, the better we can communicate, and, I also think, the better we can think and collaborate together.
The great thing about animation is it's like the radio. I used to do lots of radio when I was a kid, and you get to play parts you would never get to play ordinarily.
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.
We animate what we can see, and we see only what we animate.
My livelihood depends on the art of animators.
If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.
Believe in the character; animate with sincerity
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.'
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.
Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
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.
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 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 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.
To be animating at the same time, it's the ultimate freedom in filmmaking because you can literally put anything on the screen that you can imagine.
Well, luckily with animation, fantasy is your friend.
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.
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.
Speaking for the one field which I feel definitely qualified to comment on, I fully believe the animated picture will emerge as one of the greatest mediums, not only of entertainment but also of education.
I've always wanted to be an animator. That's an ultimate art form, right there.
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.
The process by which the inanimate becomes animate seems to the audience to be a real miracle.
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.
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 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.
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.
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.
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.
I've loved all forms of animation.
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 found out animation is incredibly boring. You draw and draw and draw, and it's only a few seconds done in a week.
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.
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
Doing animation is great fun. It's like a different world.
Every animator is really an actor performing in slow motion, living the character a drawing at a time.
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.
The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.
The animators are absolutely extraordinary. It's mind-boggling.
Animating is a very slow, pain-staking process and the animators become the actors at that point.
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.
It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.
I like animation: you can go to work in your pyjamas.
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.
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 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.
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.
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.
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.
All new tools are useful to animators, but great animation comes down to great animators.
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.
I was an animator for a while early on, but a 2D animator.
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.
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.
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.
In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.
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 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.
Animation is a technique, not a genre.
Doing animation is closer to pretending than anything else you get to do. It's much more like when you're a kid putting on a character.
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 miss animation very passionately. Not continuously, but every once in a while I would die to do another film.
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.
There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.
I make a lot of expressions constantly. I'm animated.
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.
I think with animation there's a certain freedom that you're given. You don't have a thought at the back of your mind, that worry that you'll have to cut and go back to the top of the scene. You're not working with anyone else from the cast. It's just you.
I love animation, I really do, but I don't do it for the children.
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.
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 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.
There's always kids who become stop motion animators. I get stuff all the time. They put it on YouTube. It's exciting to see.
I want to take themes that are shared throughout the world, express them through animation, and make movies from them.
I'm a huge fan of animation, and just the arts in general - anything that emanates from someone's mind and soul and is capable of touching other people's minds and souls.
It just seems like the whole, overall animation world is trying to go where maybe animation doesn't belong.
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.
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.
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.
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.
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.
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.
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.
Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.
Mainstream animated movies are dumbed-down and sanitised: they make the world in their own image rather than exploring the limitless possibilities that are out there.
The good thing about animation is that you can affect it. If something is not working, then you just fix it.
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.
Art is animated by invisible forces that rule the universe.
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.
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.
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.
People say that the best part about doing animation is that you don't have to dress up to go to work, but I don't believe that. I dress up to go to work. I dress up for an airplane. I think it's just focusing your skillset, focusing on your voice and the comedy.
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.
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.
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.
It's interesting when you're trying to create a character in animation. It's really a communal effort.
I love animated movies in general. I like making them.
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.
The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles).
When you think about it, 'Avatar' is almost completely an animated movie.