I want to take themes that are shared throughout the world, express them through animation, and make movies from them.
I think the idea of a traditional story being told using traditional animation is likely a thing of the past.
Nothing can inspire religious duty or animation but religion.
Animation is about timing; movement or lack of movement, often in time with music. These are the tools which make it's visual gags work, or not. Again, comics don't have those tools, so you have to find some sort of parallel to create something that suggests a close approximation of the source material, but without the ability to truly replicate it.
The animation of the canvas is one of the hardest problems of painting.
Walt Disney’s Mickey Mouse. . . by Floyd Gottfredson will be warmly received by comics aficionados but should also intrigue Disney animation buffs who aren’t necessarily plugged into comic strip history. . . I have a feeling that this book, crafted with such obvious care, will earn Gottfredson a new legion of admirers.
One of my favorite things about animation is that the boundaries are as limitless as our imaginations. If we can dream it, we can make it. And if we do it well, audiences will believe it wholeheartedly.
There was a time when cell animation was poison, but after Family Guy now everyone wants it.
Now that had worked very successfully at Pixar, and he ended up adding one at Walt Disney Animation and one at DTS. So, I'm part of that Brain Trust where I sit in on all things creative for the whole studio, but especially in the Planes area.
In learning the art of storytelling by animation, I have discovered that language has an anatomy.
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.
Books are almost always better than the movies made from them, because there are things books do well and things movies do well, but usually those things don't overlap: the same with comics and animation.
I'd had a belly-full of being subservient. I had to find something else to do, and I did. I went to the animation houses. I went to new fields.
You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.
The album [Blaxistential crisis] artwork is by a friend of mine who is a brilliant artist named Sara Pocock. We've been friends for a couple of years and she worked with me on the animation. I believe she's still working over at BuzzFeed.
When you're animating a music video, you have to animate to some set music. You're somewhat restricted by that, but you're also inspired by that. The animation becomes secondary if you're animating to a music video. Either way, it's important. Music has really helped my animation, that's for sure.
I don't know if I really watched any Disney animation as a kid.
I have more faith in doing something creative for a cable station or something like Yahoo or Google or Amazon. What Netflix did with 'House of Cards' and David Fincher was brilliant. That is inspiring to me. I think there is more chance for creativity in animation, it just hasn't happened there yet.
When I was in my early 20s, I was quite into Japanese animation. It's like the same thing that I end up always saying which is, imagery based stuff is the thing that really gets me.
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.