Stephen Hillenburg Quotes

I always pushed back on doing long-form. I imagined SpongeBob as being simple, and I wanted to concentrate on character humor.

The technology is really where all of the changes have taken place, but the fundamentals of a good story being the basis of every good picture, and really the only basis still remains the rule, more so today, I think, because we've unfortunately weaned an audience from birth to kind of mindless movies.

You set out to tell a good story. You don't do it because there is a deep message involved because the movie is almost always bad when you do that.

You can be far more challenging, articulate and intelligent writing for television than you can writing for the cinema.

Each cartoon needs the right amount of wrong.

In television writing, you want to hear what the characters say as opposed to giving them something to say. It's the same with the cartoons.

My intended audience was everybody. I just want to make cartoons for human beings.

I joke that I learned the essentials of storytelling from Hanna-Barbera, but I pretty much did. That kind of television is what enamored me as a kid, and that's what really got me hooked. You could say that's where it all began.

Everyone at Junction Point has been inspired by the creative folks at Pixar and Disney Feature Animation to make 'entertainment for everyone.'

I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.

'Luther' is raw and brutal like 'Game Of Thrones,' but it's coincidence. If I'm drawn to anything, it would be the writing. Choosing a project is an organic process where I'm taken in by the character and storyline, not the genre, whether fantasy or gritty and raw.

I think my favorite film of all time has to be 'The Illusionist' by Sylvain Chomet. Beautiful plot, beautiful story. You know, not much happens, but it's beautiful. And when I was young, 'The Triplets of Belleville' was one of my favorite movies. I liked his style a lot.

I realized, because I've been doing these very small, character-driven movies, that this is entertainment. This is so much fun.

In 'Tom and Jerry,' there was hardly any dialogue at all. It was all action. It required a great many drawings to make.

I think it's intelligent, emotional, character-rich storytelling - at the core, I think those are the most important elements, and I think they can be found across all of our dayparts. That's what, for me, ABC really stands for.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

There are loads of novels that I really love, like Haruki Murakami's books, and when I read them, I do think about how they would work as an anime. But I do believe that those are great books because they work best as novels, or great manga work best in that form.

Ever since I was introduced to Ekta Kapoor, I have learnt a great deal from her storytelling, and the learning continues.

I study entertainment and apply it to myself to one day become the greatest WWE superstar we have, and it's a lot of work. So I write jokes and material every day... you have to keep people's attention, one way or another.

Going as far back as 'Dexter's Lab,' we've always had these sequences with no dialogue. The interesting thing is those sequences got the biggest reactions.

In an age where television is viewed as the best medium to 'tell stories,' narrative often stands in for substance on would-be prestige shows.

I don't make movies to make a point; I make movies to tell stories about people.

For characters where, in a comic, I'd avoid using screen tone because it's such a bother, I'd deliberately use it in animation in order to highlight their individual characteristics.

You have the hilarity and the great production. These films are distinctive because they are not just topical, they tell good stories and they let scenes play out physically. Apart from the dialogue, the characters also have a non-verbal existence, for example with Scrat.

Method acting has had a major influence both in writing through the eyes of other people, and seeing through the eyes of other people, trying to address different ideas in a way that would go beyond preaching to the choir.