I think we kind of changed how people did humans in CG animation after. If you look at films before 'Incredibles,' they tended to be photorealistic in a clunky and ugly way, with pores in their skin and too many eyelashes. It's kind of disturbing. And since, the designs have gotten a lot more playful in a lot of people's films, not just ours.
There's established gaming IP that's coming from console to mobile, which is interesting. Everything is converging a little bit toward mobile devices in the living room. On the casual side, the graphics and animation and game design and all of those variables are improving.
In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.
In our animation we must show only the actions and reactions of a character, but we must picture also with the action. . . the feeling of those characters.
I try to build a full personality for each of our cartoon characters - to make them personalities.
Back when I watched 'Future Boy Conan,' I thought I might like to try my hand at animation, but now, not at all.
To me, I love being able to see some of John C. Reilly's face in Ralph, and some of Sarah Silverman in Vanellope. That there are hints of them there. In the broad strokes, they are there.
To take full advantage of computer animation, you have to pay as much attention to the believable as you do the unbelievable.
My job was to give 'The Secret Life of Pets' production team lots of options when it came to Duke. So that's what I always tried to do.
One of the great sources of employment for people with Ph.D.s in geometry is the animation industry.
We wanted the elemental 'bending' to be based on authentic Chinese traditional martial arts, believing this would lend a beauty and resonance to the animation and the fictitious disciplines. Once we had that idea, I started looking for a Kung Fu teacher/Martial Arts consultant. My search led me to Sifu Kisu and I began training with him right away.
It's interesting when you're trying to create a character in animation. It's really a communal effort.
My animation work is a major source of pride for me.
Sometimes the theme of the film is something that comes down to the way you designed the film - that you're saying something about the world. And it's one of the things that I think animation can do, in a way that other forms of filmmaking can't do. Because every single thing you see has got to be designed and created.
