Rich Moore Quotes

I wanted to be an animator originally. I went to art school; I went to art college and everything. But that screen was just calling me.

There was a guy that I got to know pretty well - Joe Grant. He was one of the creators of Dumbo and worked side-by-side with Disney. Being a total Disney nerd, I was obsessed with asking him questions. He was 92 when I got to know him.

It was actually after I saw 'Pinocchio' that I thought I might try and work in that industry in some way.

I'm just making 'Threadworlds' out of the things I love and that I'm passionate about learning. When we created 'Avatar,' Michael DiMartino and I did the same thing.

Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.

I am one of the new characters in the brand new series of 'Postman Pat.' It has been a joy to do.

When Disney was creating Elsa, they based a lot of her movements on that of a ballerina, which was interesting for me to find out because I actually did ballet years ago. That definitely informed some of the ways I made her walk and move.

When you do animation - well, straightforward animation, although it's not straightforward - the voice for a character or something, they're always singular experiences, really.

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.

Acting is a plum gig, and then animation is an even more plum gig.

Working at Pixar has been like my graduate school for screenwriting.

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.

You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.

Animation had been done before, but stories were never told.

If you look at the Disney Villains, I think you'll find that they do have mass appeal in some way, and it usually has to do with a voice quality that also matches very well with the animation.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

When I was a kid, I could draw, and my ambition was to be a cartoonist. I wanted to draw comics. But I also liked newspaper comics.

We knew that for E.T. to feel real, you had to have some connection to his eyes.

One day, I was taken into a room with 25 animators, all working on Sadness. They asked me a lot of questions, and they got something of the way I move into the character.

I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.

'Avatar' means so many things to so many different people. When I think of the creation of it, I think of me and Mike at the computer in a little apartment in Burbank.

I always idealized the mainstream cartoonists and the packed schedule they worked under.

Reilly Brown is a master of balancing action, humor, and extreme violence, and his character designs for some of the alien races and technology that we encounter is just amazing.

Everything I've tried to do at Laika, searching for an artful blend of darkness and light, intensity and warmth, humour and heart, I wanted to bring to the Transformers franchise.

In an early version of the story, I thought Aang could shepherd a herd of twenty bison.