“When you take something that’s inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that’s animation. But when you take something that’s live-action, and move a part of it, that’s a special effect.”

— John Lasseter, talking to Variety

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“I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it’s more real and the set is lit like a set. But I think it’s also a kind of lonely and dark thing to want to do.”

— Tim Burton

Annecy 2015

IMAG1049 June was a busy animation month for me, which (ironically) means the blog has been rather silent. The biggest event for the month was my first trip to the Annecy International Animated Film Festival and Market. Annecy is apparently one of the animation events each year — seasoned professionals, animation students, representatives of most major animation studios, and film fans all descend on the picturesque French town every year to see the latest and greatest in the world of animation, and to meet some of the people that make that work possible.

There was so much going on at Annecy this year that it would be a feat just to cover a fraction of the films, meetings, and networking events that happened over the course of the five day festival. Among my personal favorites was the debut of Sanjay’s Super Team (the new Pixar short scheduled for release with The Good Dinosaur in November), Cartoon Network’s look into their Global Animated Shorts program (and a preview of upcoming show We Bare Bears), the information session on Renderman (which you can get and use for free here), and getting to see a ton of incredible short films, including Adam Elliot’s new work Ernie Biscuit. The real triumph of the festival, though, was the amazing way the Annecy highlighted the work of women in the animation industry throughout the festival.

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“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.”

– John Lasseter, talking to The Guardian

“Luckily with animation, fantasy is your friend.  And the more fanciful and the more out of control the story seems to be reaching… I think all of these things go down more easily when the medium is an animated one and not a live action one.”

— Steven Spielberg,

from an interview with Movie Talk about The Adventures of Tintin

“At Pixar we’re almost more excited about the things that didn’t work because it’s like: well, we tried this but we didn’t expect this. It’s like a trapeze artist, who’s going to do a quintuple somersault – it’s never been done before in the world. Hollywood is a place where, typically, if something doesn’t work you lose your job. In Hollywood terms, not only is there no net but there’s poison spikes down there. Of course you’re only going to do something you know you can land. Whereas at Pixar we don’t just have a net, we have down comforters and air bags, and you have everybody trying stuff constantly. That’s one of the things we’ve changed here.”

— John Lasseter, talking to The Guardian

“I have come to know Bugs so well that I no longer have to think about what he is doing in any situation. I let the part of me that is Bugs come to the surface, knowing, with regret, that I can never match his marvelous confidence.”

— Chuck Jones