I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.

I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.

That's why I never became a director. I never had patience with people.

I was very limited in what I could do with flying saucers, because they're just a metal disc. I had to try and put character in as if they were intelligently guided.

Many times I felt like I'd do better than what the director did, but some of them got a little discouraged because they didn't have full charge of making the film, and sometimes there'd be battles of egos.

I brought in the stories many times. I don't just do animation.

I was never restricted. I was never told what to do.

I had to learn to do everything because I couldn't find another kindred soul. Now you see eighty people listed doing the same things I was doing by myself.

I prefer to work alone and do everything alone, even today.

So our films had a lot more to them than entertainment value, and I'm glad that a lot of people recognize that now. People realize now the value of them as educational.

I took courses at USC in film editing and art direction and photography when I was still in high school.

Animation requires a great deal of concentration, and I preferred to work alone because then I'm not deterred by somebody asking me if I want coffee, or the phone ringing or something.

Disney had such a hold on the mind of America-they were Adolf Hitler. The whole country thought Disney was some sort of god and that animation was some sort of pure thing for children.

One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.

Animation is tremendously resilient. Animation will recover, as art always recovers. There's always cycles of good art.

When The Simpsons came around, there really was nothing else like it on TV. It's hard to imagine, but when Fox first took the plunge with it, it was considered controversial to put animation on prime time.

But probably for the last ten years or so, I've been fitting in animation work into my other projects.

So many plays with magic in them that would be a terrific invitation to an imaginative animation team.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.

The success of The Simpsons really opened doors. It showed that if you were working in animation you didn't necessarily have to be working in kids' television.

I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!

I miss animation very passionately. Not continuously, but every once in a while I would die to do another film.

The animation of the canvas is one of the hardest problems of painting.

Animation is about creating the illusion of life. And you can't create it if you don't have one.

In animation, there's this exhilarating moment of discovery when you see the film and you say, Oh THAT'S what I was doing.

Yes, actually. Animation's a very easy thing to watch on tour.

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.

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.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.

You don't have a face to work with, so your voice has to do all the work until you see the animation. So, a lot of it I had to pull back because it was too big.

We always thought the Tom Tom Club could change to anything, but it acquired this image, which was cartoon animation and this real light-hearted dance music.

Animation had been done before, but stories were never told.

Because good writing in a TV cartoon is so rare, I think the animation on The Simpsons is often overlooked.

I did what we call dry for wet effects, some of the miniatures work and two animation sequences.

Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.

Well, directing is doing the key drawings, not the key animation, mind you.

Animation did not become the dominant form of children's television until the '60s.

My mental faculties remained in suspended animation while I obeyed the orders of the higher-ups. This is typical with everyone in the military.

I brought in the stories many times. I don't just do animation.

Where as in animation you have to kind of do a series of drawings in between to complete the movement.

No movement can afford to be caught in a time warp and exist in a state of suspended animation.

I am an animator. I feel like I'm the manager of a animation cinema factory. I am not an executive. I'm rather like a foreman, like the boss of a team of craftsmen. That is the spirit of how I work.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

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.

You've got to be able to make animation for much less... Less is not the studio's way.

What we were in on, really, was the invention of animation.