Character Design Quotes

To make Michael Myers frightening, I had him walk like a man, not a monster.

People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.

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

I wish I could say I had any idea what I was doing when I designed characters. I just take things I like and make my version of it.

I remember when we were doing the first Dragon's Lair, I got really involved with coming up with all the little rooms and what was the danger in the room and going into it with bats and spiders and snakes.

A lot of people don't realize this, but probably the one person that gets made fun of in 'South Park' more than anybody is my dad. Stan's father, Randy - my dad's name is Randy - that's my drawing of my dad; that's me doing my dad's voice. That is just my dad. Even Stan's last name, Marsh, was my dad's stepfather's name.

I went through a phase where people would introduce me at parties as a cartoonist, and everybody felt sorry for me. 'Oh, Matt's a cartoonist.' Then people further feeling sorry for me would ask me to draw Garfield. Because I'm a cartoonist, draw Snoopy or Garfield or something.

Animation is different from other parts. Its language is the language of caricature. Our most difficult job was to develop the cartoon's unnatural but seemingly natural anatomy for humans and animals.

The mass of Venom. I mean, he's like a big, foreboding, physical presence. Actually, let me correct myself - the eyes, the tongue, the mouth, those are his most distinguishing traits, and so making those look as photoreal and true to the comics as we possibly could was super important to me.

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

I can't bear shopping. I can choose clothes for my characters, but not for myself. I've got no dress sense. Or I've lost it.

When I was a kid, I could draw, and my ambition was to be a cartoonist. I wanted to draw comics. But I also liked newspaper comics.

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've done the voice for the Hulk for the animated cartoon.

It's amazing what they can do with animation nowadays. It's really beautiful. The 3D stuff is out of hand.

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.

A character on a page has to feel real, and for me the greatest fun is if you could gender-swap the role.

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

There is such amazing talent at Disney. My job is 100% creative, and I am very excited to creatively lead them.

Once the writers got to know the actors, they would include certain things - personality-wise - for the characters because they knew you liked that sort of thing.

Game development combines all this disparate art stuff I'd been doing into one single thing that I could use to say very specific stuff.

When Tim and I first discussed the part in 2003, he told me, 'I'd love for you to play five Oompas.' But five Oompas quickly turned into 165 - and they're not computerized; I did each one individually myself.

Working on the 'Ice Age' movies, I'm really proud to be in them.

I would love to do some motion capture work just to be able to challenge myself.

The basic idea for what became 'Epic Mickey' began at the Disney Think Tank.