Animation Challenges Quotes

Walking in stop-motion animation is probably the most difficult thing you can do... The way that they have these puppets connect to the set is they actually drill a hole in the set, and they put a threaded rod up through that hole and screw it into the bottom of their foot, and that keeps them in place.

I'm having the same problems today that I had when I first started, saying that outrageous adult animation works.

Working on 'Nightmare Before Christmas,' I had endless arguments, like the studio saying, 'You can't have a main character that's got no eyeballs!' 'How is anybody going to feel for somebody with just eyesockets?' You know? So, it's those kind of things that really wear you down.

To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.

Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.

When we made 'Toy Story,' we knew, even back then, that this was going to be the ugliest film we would ever produce.

It's very hard to take a character out of nothing, and put a hook on it, especially because it's only sonic. Futurama is a sonic world, and everyone's attention is focused on that sound and that little cartoon image. You can change it.

The whole thing with animated movies is that it's very hard to get out of your head because it's very moving through each line systematically.

Sometimes you can do certain things on stage, or even in a TV series, and people see the look on your face and they know what you mean, so you can get away with certain things. But if you can't create that look on an animated character, which is essentially a puppet, the line will hit the audience in a very bad way.

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.

Mice are very difficult to do front on, but they have nicely human little hands and feet, and whiskers and tails are great for expressing emotion.

In video games and animation, you find that the toughest things to make different are the things that aren't words: grunts, groans, gasps.

Gravity Falls' is a very hard show to produce.

If you're drawing humans, it can be detrimental to be too naturalistic, which is like animating little corpses.

It's a strange business, and unfortunately, what we do in animation is a mystery, especially the directors.

Felt is not the easiest thing to animate. It's very flimsy.

A lot of the time in animation is spent getting the story right - that's something you can't rush.

Joe Barbera's s always complaining that he can't get humor into cartoons anymore. Just do it. You've got your money. Why do they let the networks run their lives?

I try to make a really good spy movie, so the animation has to be good. 'Bot Seeks Bot' was one of my lighter and more playful ones, so it can survive not being visually told as well. I did have some issues with the quality of the inking on some of the animation, but a lot of that will only ever bother me.

For me, the work we did to turn around 'Toy Story 2' was the defining moment in Pixar's history.

There's always one sequence in every animated film that's the bane of every animator's existence.

There's a lot of muscles in your eyes even that you dont ever work, but little human traits like showing signs of exertion while running, you couldn't do that. Blinking when you're shooting a gun, you know. Things that you take for granted every day that had to be eliminated, so it was always interesting.