Jim Davis Quotes

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

Animation is about creating the illusion of life. And you can't create it if you don't have one.

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.

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'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.

It's been an ambition of mine, before I even wanted to act, to be involved in animation.

Animation is incredibly difficult - much like doing a giant sweeping fantasy novel.

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

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

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

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 don't tend to cast roles in my head because I spend so much time with these characters and the drawings that they're complete in themselves, you know what I mean?

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!

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

On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.

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

There is an animated version of 'Lazer Team,' with all the action sequences, that exists. It's a pre-visual fidelity, and the voice acting is terrible because it's one of our animators doing it. But we could sit there and watch what the scene is supposed to look like while we're doing individual shots.

Ghibli is about craftsmanship. They draw characters and put life in it.

I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.

If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception. I've always just loved drawing and loved cartoons.

I used to animate. I started in animation, and you'd end every day with at least one substantive contribution.

For me, animation is the caricature of life. It's something that we create, from the ground up.

You know, the only way I've found to make these pictures is with animators. You can't seem to do it with accountants and bookkeepers.

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.