Let's stick to the practical and the concrete: Would you like it if people lived in a virtual world? If machines were smarter than people? If, in the future, people, animals and plants were products of technology? If you don't like these ideas, then for you the computer and biological sciences clearly are dangerous.— Theodore Kaczynski
Grateful Computer Animation quotations
If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.
We are not just highly evolved animals with biological computers embedded inside our skulls; we are also fields of consciousness without limits, transcending time, space, matter, and linear causality.
Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.
Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.
I remember when I first came around, the computer-generated stuff was pretty wicked. I was like, 'Wow!' but I feel like then for the longest time, we saw so much of it, after a while, you might as well just be watching an animated movie.
The computer is designed to mimic reality.
And in an animated world, in my perspective, that's the worst thing to do. I want people to walk into a movie theater and be transported to a different world.
I don't know how to animate on the computer, and I'm really grateful that I worked with a couple of other guys. We called it our triumvirate, John Kahrs and Clay Kaytis, who really understood computer animation but loved and embraced hand drawn, which is Disney's heritage.
In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.
Men, forever tempted to lift the veil of the future-with the aid of computers or horoscopes or the intestines of sacrificial animals-have a worse record to show in these sciences than in almost any scientific endeavor.
The moral of the story is we're here on Earth to fart around.
And, of course, the computers will do us out of that. And, what the computer people don't realize, or they don't care, is we're dancing animals. You know, we love to move around.
No computer, no gadget, no trickery. I am an animal, it is a plant. I will beat the weed!
The destiny of man is not measured by material computations.
When great forces are on the move in the world, we learn we’re spirits—not animals…. There’s something going on in time and space, and beyond time and space, which, whether we like it or not, spells duty.
For a young cartoonist, they have to get going on the web, because that's where everybody goes for their information. And it really works. If you look at a cartoon on a computer screen, it really jumps and can be quite effective. I draw cartoons now, not how it will appear in the newspaper, but how it will appear on the screen. I think most of us do. Now the challenge is to make it move and animate it in a very fast, quick way.
If the animators could hide something so secretly that I could watch it numerous times, both on the computer and on the screen, and not pick up on it, then it deserves to be in the movie. But if they had more overt things, I'd often tell them to cut it out. In general, as long as they captured the spirit of the character, then they're fine. But sometimes it took a while, and we had to replace a lot of animators.
I get a lot of credit for Tron. They called us scene choreographers back then because the animation unit wouldn't let us be called animators because we were working on computers. And we were some of the first people ever to make 3-D computer animation.
You look at Japan and Hayao Miyazaki's films are the biggest films ever made in Japan; domestically there and they play to critical acclaim around the world. He won't put more then 5 or 10 percent computer imagery in his movies. It's disappointing to me. It's a silly choice that some studios made to move out of animation. It's part of the unfortuneate preconception that I think the public has going into see animation.
I get nervous about the effect that the high speed of everything will have on creativity. It's already sad for me to see that a lot of young aspiring cartoonists are putting stuff on the web, doing animation on the computer rather than making zines or mini-comics, which seem to be going the way of the dinosaur.
I don't even know how computer animation works, honestly, and I don't need to.
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.
Even if you have money, access to MoCap technology, and strong choreographic and computer-animation abilities, don't try to make a film like this if you don't have a lot of patience, perseverance and a deep affinity for risk-taking.
First of all, computer animation is certainly a tremendous and viable medium today. But the warmth and personality derived from 2-D animation, in my opinion, cannot be surpassed. Certain stories lend themselves well to 3-D animation and I won't labor this with naming them, but in my bones, I still respond more emotionally to the artists feel in 2-D. You feel the 'actor' in the animator more personally...it's hard to explain.
Animation, for me, is a wonderful art form.
I never understood why the studios wanted to stop making animation. Maybe they felt that the audiences around the world only wanted to watch computer animation. I didn't understand that, because I don't think ever in the history of cinema did the medium of a film make that film entertaining or not. What I've always felt is, what audiences like to watch are really good movies.
I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.
I've never felt really creative or intuitive using software.
I like paper and pens and paint. I need to angle real lights on my artwork and work with my hands and build props. Computers just take all that fun out of it [animation drawing].
Films are made the same today, as they've ever been made, in certain respects.
The scriptwriting, the pre-production, the storyboarding, and the designing are all the same. The technique of animation has changed, in the sense that rather than drawing it by hand, we use a computer as a tool. The computer has become a pencil to draw or paint the images that we see in a film.
Sometimes you just have to trust the kids.
The first glimpse of Wheelock Family Theatre's Shrek is a surprise. Instead of the round, green, smoothly computer-animated ogre of the movie, this Shrek is tall and hairy, with a lumpy green headpiece and mossy dreads. But as played by Christopher Chew in Wheelock's “Shrek the Musical,” this ogre was a hit with the children. they laughed and cheered and clapped in all the right places.
I graduated from college with a 3.92 GPA with a degree in computer programming and a BFA in fine arts and animation. My first job was painting a mural in the Grimaldis in Queens.
It's a lot easier to teach someone how to use a computer than it is to teach someone how to be an artist, so we figured if they can animate with a pencil, we can teach them how to animate with a computer.
There are so many ships in the animation sea that are computer driven, that I think we can have at least one that's just a log raft that we can row by hand.
The computer is a tool akin to a telescope or a microscope;
a tool that opens vast frontiers of possibilities and brings them to light; a tool that captures the elemental and animates or holds it still at will; a tool that captures the organic flow of the earth's crust or the wash of a wave, and creates an impossible symmetry, an elemental Rorshach pattern ripe for continued exploration, divulging a thousand revelations.
To take full advantage of computer animation, you have to pay as much attention to the believable as you do the unbelievable.
Computer animation is one way to liberate people from their circumstantial gravity, and it is one way to give them mental freedom.
Man is a game playing animal and a computer is another way to play games.
But that's not what an actor does. An actor finds things in the moment with a director and other actors that you don't have time to hand-draw or animate with a computer.