Stephen Hillenburg Quotes

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

Animation is a technique, not a genre.

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.

I learned a lot about 3D animation from and with my dear friend Michael Hemschoot of Workerstudio. Taught me that I want to play more with animation and image manipulation. Fun stuff!

Animation in itself has so many different looks and styles and possibilities.

I did B com but realised that it was not my cup of tea. I was always fascinated by animation, and after I completed my course, I wanted to go abroad and pursue it. I used to sketch a lot and was rather serious about it. But all this was until I joined films.

I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.

Animation is not the art of drawings that move but the art of movements that are drawn.

If I hadn't gone into acting, then I would have perhaps become an animator.

Literally overnight, I became an animator... and one that was well-known.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

I was involved in a web cartoon of Kung Fu with WB a few years back.

Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.

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.

A lot of people feel that there is less artistry involved in cartoon making unless they have painstaking control of each frame.

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.

But probably for the last ten years or so, I've been fitting in animation work into my other projects.

Animators have to live life 24 times as long as we do - every 24 frames of a second.

I always wanted to do an animated movie. I find it to be incredibly liberating as a way of telling a story.

I've always wanted to be an animator. That's an ultimate art form, right there.

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.

What we were in on, really, was the invention of animation.

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

The surprising thing was, it's actually easier working on animation than working on a comic strip, because Garfield is animated in my head.