Animation Production Quotes

Our experience on 'Avatar' heavily influenced how we approached 'The Dragon Prince' and how we built our team.

When an executive walked on our floor, it was at their own risk. As far as what others thought of working for me, I know I was very tough at times, and would storm down the hall after watching some bad animation from Korea. But overall, I feel we had a good time.

I wrote on a show called Johnny Bravo when I was at Hanna-Barbera.

In the Emperor's New Clothes, they got a different celebrity to do each voice. They drew up a picture of each character and then each actor wrote their own part.

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.

Book 4 is the end of the 'Korra' series. So we've got 52 episodes planned. When all is said and done it will have taken I think about five years to make.

My respect for animation has gone way up. It's a truckload of work. I have to sit with my animators the same way I'd sit with my actors and cast them.

When business executives are making the artistic decisions and don't understand animation, things can go awry.

The initial plan for Rooster Teeth is really different from the initial plan for the group, because we started as a group that was making one show: 'Red vs. Blue.'

I love Adult Swim. They give you so much artistic freedom.

People say that the best part about doing animation is that you don't have to dress up to go to work, but I don't believe that. I dress up to go to work. I dress up for an airplane. I think it's just focusing your skillset, focusing on your voice and the comedy.

I learned so much from my life as an actor, as a kid actor through being an adult actor, and then becoming a writer and producer and doing animation.

I must have written 15 lyrics for 'The Lion King,' and only five or six were used. Some were scenes that disappeared, some were earlier versions of songs that didn't work, or else the characters changed.

In 'Tom and Jerry,' there was hardly any dialogue at all. It was all action. It required a great many drawings to make.

I was mentored by great Disney animators at the end of their careers.

When you assemble animation teams the way you do a live-action film, you're often struggling a bit to get a cohesive team together, so if you have a team that works well together, you're hoping for another film so that you can refine the team.

If you're doing a large, complicated character with radio controls, it might take a number of people several months to make it and if you're talking about a quick little hand puppet, it could be made in 2 days, so there's enormous range there, and no real easy generalities.

I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.

As a director, I'm not the one animating every frame, every shot. I'm moving around like a surgeon on rounds, or a farmer checking in on all the plants being grown, pruning and adjusting. For me, it's a very exciting job.

I think it's the most extraordinary studio around. I would love to do my next project with Pixar.

I realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.

I'm a lifelong Simpsons fanatic and I wanted to create my own animated show, one day.

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

Making a cartoon occupied usually about three full days, two spent in labour and one in removing the appearance of labour.

After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'