Animators

"It’s the situations that these distant relationships create that interest me more than the distance itself."

"I think whenever you write something you want people to like it. The best way to do that, usually, is to write what you think is good. That’s basically what everyone tries to do… just to write what they think is good. Part of that is staying true to the characters and the world (which makes it a kids show by it’s design)... and part of that is introducing deeper concepts that we, as writers, are curious about exploring (which makes it more interesting for adults)."

"Any new property is always risky. And my show really didn’t have a strong hook to it. I couldn’t come up with a tag line for it. I just liked that it was friendly and nice, just two friends that hang out in a weird world. I think that’s what was risky. It was boring and you couldn’t see where it would go. I mean, I could. But I don’t think anyone else could see where it could go, in the beginning."

"Dark comedies are my favorite, because I love that feeling – being happy and scared at the same time. It's my favorite way to feel – when I'm on the edge of my seat but I'm happy, that sense of conflicting emotions. And there's a lot of that in the show, I think."

"If you're an aspiring show maker, and you have the means to sit around for a few months, you should be making funny cartoons and uploading them to the internet. I feel like I've discovered this secret about the entertainment industry it's that they're desperate. They're super, super desperate for new talent and constantly developing and canceling things all the time. It's the nature of the business, so if you're one of those people who can make a cartoon so funny that it gets a ton of hits on the internet then the industry is going to be all over your business."

"Primarily we write the show to entertain ourselves. Sometimes I recognize a joke that reminds me of something that I would've busted up at as a kid. I'm happy when I see those kinds of jokes. Because the show is for kids more than anyone else, but most of the time we are just trying to crack ourselves up and trying not to worry about much other than that."

"I had a lot of growing pains adjusting to the comic book writing format. The whole writing process just didn’t make sense to me. I had to somehow construct each panel just by describing it? But how many panels to a page? How much dialogue should be in each panel? How much time should pass between each panel? All these sorts of things were mind-boggling to me. By the end of writing the script, I sort of figured out some of my mistakes."

"A lifetime career goal for me has always been wanting to lift up little girls. I feel like society has contempt for girls and little girl things. When athletes are performing badly their coaches call them ladies, or when somebody is being weak they say they're crying like a little girl, that's contempt. When somebody's trying to describe something as stupid or lame they say it's for little girls or only a little girl would like that, or when something is pink or full of rainbows and hearts people jump to the immediate conclusion that it's dumb, and if adult men are liking that sort of thing there's something wrong with them, because there's something contemptuous and unworthy about girl things and being a girl. .. We live in a society where saying that something is for girls is the equivalent to saying that something is stupid, or saying that something isn't worthwhile. I think that's awful and I think that kind of attitude needs to be changed."

"For reals one S1 character is trans."

"I helped Stephen with the story and then I auditioned for SpongeBob, I used my Plankton voice, which sounds like a mix of Tony the Tiger and Gregory Peck. It’s actually an imitation of a friend from high school that had a really deep voice."

"The Plankton character was only supposed to be in one or two episodes, but I was a writer on the show and I really liked this character. Stephen told me to come up with more ideas for Plankton. I’m not just his voice. I get to create how the character is written and how he evolves over time. You very rarely get that experience."

"It’s a quality show and I think it came along at the right time, America wanted something stupid after the insanity of 9/11. The SpongeBob character is a naïve idiot but he also has a heart. He’s a dumb, well-meaning person, like Forrest Gump or Jerry Lewis."

"I wanted to do a show about a character that was an innocent, and so I focused on a sea sponge because it's a funny animal, a strange one, I thought he was a funny, nerdy, squeaky-clean square."

"It finally dawned on me that if I was going to do my own show, all those things I lectured about and obsessed about would make for an interesting world."

"I think we all thought the show would be good, but I didn't ever assume it would catch on in a mass audience sort of way, that's unexpected, and we're flattered and relieved. Our characters act silly, even totally ridiculous at times, and most of our jokes don't come out of pop cultural references, he added. It seems like we're aiming at a child audience, but everyone can laugh at the basic human traits that are funny. It's playful, the humor is playful, the world is playful. You can kind of let go."

"People have to come together and realize how important our oceans are. One thing I’m hoping will come out of the documentary is the realization that the show came from something that’s precious, and that we need to appreciate it. … Hopefully, if you watch ‘SpongeBob,’ you see the plankton and the crabs and starfish, and you’ll want to take care of our oceans."

"Success comes on God’s terms, in His time, and in His way. God only allowed me to have success after I’d been broken after I’d stopped seeking success for myself, and after I’d come to terms with the idea that my labors for God might not ever bring me a penny. It was only after I’d lost everything that God was able to get my heart right to the point where He could trust me with success."

"I’d made a family-friendly game about a beaver before this, when I went to put it online it got torn apart by a few prominent reviewers. People said that the main character looked like a scary animatronic animal. I was heartbroken and was ready to give up on game-making. Then one night something just snapped in me, and I thought to myself- I bet I can make something a lot scarier than that."

"Make sure that you are next year's big success story. Don't fall into the pit of people who have given up on making something of themselves, and make sure you take everything out of yourself. I'm getting too old for this. And when I retire someday, I'm going to want to sit down at a computer and play your games, read your stories, and watch your videos. Don't fall in with the people who have already given up on themselves. You are tomorrow's next big thing."

"Although Gwangi had been an allosaurus in Obie's version, I decided to make him more of a tyrannosaurus, and so I used elements from both species to make what I suppose could be called a 'tyrannosaurus al'. This combination allowed me a flexibility between aggressiveness and agility. If you like, he was glamourized."

"The most popular exhibits in any natural history museum are, without doubt, the dinosaurs. These creatures' popularity grows each year, partly because of the recent resurgence of dinosaur movies, but also because a skeleton of a full-sized tyrannosaurus rex still has the ability, even 65 million years after its death, to chill us to the bone."

"It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life."

"Greek and Roman mythology had never been a favourite subject of mine at school, but as I grew older I began to appreciate the legends and realize that they contained a vivid world of adventure with wonderful heroes, villains and, most importantly, lots of fantastic creatures."

"The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos."

"The task of instilling pathos into a creature that was, after all, an innocent victim of circumstances was something I had set myself from the outset, although I was restrained by the script... The Beast is a poor lost soul brought back to life by man and then destroyed by man. If it sounds familiar, it is. King Kong was a huge influence, as he would be in all the other creatures I would be father to."

"For some reason the creation was called a rhedosaurus, and although I can't remember where this name came from, I suspect Hal Chester or one of the writers coined it. Over the years, people have suggested that the first two letters relate to the initials of a certain animator. I have no comment."

"I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson."

"I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know."

"The art of motion has always intrigued me. How a body - when it throws its weight from side to side and sits down - actually sits down. What muscles interact to bring that simple movement to its conclusion. Movement is a fascinating process and each creature I have made and animated has had its own character according to its physiognomy."

"We don't set out to deliberately scare with our creatures, we try to make them as awe-inspiring as possible."

"I enjoyed Young Frankenstein. I didn't think I would because I like my Frankensteins pure and clean like the original but I was very amused by Young Frankenstein - I thought it was very well-done. On the whole I dislike tongue-in-cheek sendups. But I'm sure I wouldn't enjoy Flesh for Frankenstein. From what I've heard about it the film approaches the subject from the gorier side and neglects the profundity of the original."

"I teethed on Frankenstein and Dracula but I feel that those films were made with greater taste than horror films are made today. They dwell too much on the gorier aspects of their subjects for some reason. I suppose it's because people are more jaded now."

"I suppose we would be monsters to a Venusian. [...] We depicted the outer space creature as something strange rather than as a monster. He was from a strange place and therefore out of place in our familiar surroundings."

"We don't deliberately desire to scare anybody - we design our creatures to fit in harmony with the story and, of course, our forte is the grotesque. That's why our films were classified so many times as horror films, which they weren't. I would call a war film a horror film because in those you see guts split and people being slaughtered, but our films deal with fantasy and are more theatrical than realistic."

"[The skeleton] in Seventh Voyage of Sinbad was more frightening than the seven in Jason and the Argonauts. [...] Because we had seven skeletons I thought we were going to get seven "X" certificates but we got a "U" instantly. But one skeleton on its own is possibly more frightening than seven, and also in Seventh Voyage the skeleton was in a dark, spooky chamber, while in Jason the seven were out in the open on a sunny hilltop."

"Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over."

"When it came to the tiger, I found that animating the movements of a large feline animal posed some difficulties, as it required precise and miniscule advancements in movement throughout its body. As well as tigers, I also studied domestic cats, and by so doing managed to achieve a combination of mannerisms represented by both. The overall impression is of latent ferocity and a lust for blood, but at the same time there are also slow, graceful movements that mask the creature's power."

"I came into DreamWorks looking to direct. I was hoping to go through story as a way toward directing, because that’s how it worked at Disney, story people became heads of story, and heads of story became directors. And they said, ‘Right now we don’t have a lot of story, but we have visual development,’ and I said, ‘Good, I paint!’"

"Here we are, sitting in tuxedos and evening gowns, wearing borrowed jewels, and everyone's watching Shrek take a poot in the water."

"For a long time, the movie [Shrek] didn’t know what it wanted to be. One problem was unavoidable: Chris Farley had died, and the story had been geared around him, so when he went, the story kind of went with him. It went through an upheaval while they tried to find the right tone for it. I think they were really close to shelving the project when a few of us came into story to try and find a tone that we could work with. When Kelly Asbury moved on to Spirit: Stallion of the Cimarron I became head of story, along with Randy Cartwright. Along with Andrew Adamson, who stayed on as director, we started pulling little pieces together out of what remained, and part of the way through, Jeffrey [Katzenberg] decided that I should be directing. A few months later, we started production."

"On ‘Shrek’ we didn't try to figure out how to make adolescents laugh. You have to use yourself as the best judge and use your own instincts. We figured if we laughed at it, chances are good someone else would too."

"Why do I make movies? I'm looking for terra incognita, a land on which no filmmaker has yet set foot, a planet where no director has planted his flag of conquest, a world that exists only in fairy tales."

"With the vast sweep of his imagination Jules Verne created a whole world of magical things imbued with a delightful naiveté, which just charm us..."

"Man has created a grandiose world of technology, of which dread and fear are often the result... Fortunately, events in the world and our way of life are not determined by technology alone."

"I wanted one thing – to show the fantastic world created by nature over millions of years. Film offered me that chance."

"I'm on a journey to discover the beauty of the fairy tale and I want to stay on that path, trying to find better ways to capture it on film. And I have only one wish — to delight the eyes and heart of every child."

"For an artist there is no more serious and, at the same time, more joyous task than to create, through art, a new aesthetic, and ultimately, a new way of being."

"My thought is always, ‘It’s only downhill from here’. That’s how I’ve always operated, ever since I began Family Guy. I had the crippling fear that I used up all the funny last week. That crippling insecurity really drives you to do your best. Your moments of pure joy are few and far between, but they do exist."

"The work of Carl Sagan has been a profound influence in my life, and the life of every individual who recognizes the importance of humanity's ongoing commitment to the exploration of our universe."

"They’re literally terrible human beings. I’ve read their newsletter, I’ve visited their website, and they’re just rotten to the core. For an organization that prides itself on Christian values — I mean, I’m an atheist, so what do I know? — they spend their entire day hating people."