Animators

"It's a universal tendency in films to be more about sex and violence than the real world is, but I would pose the opposite question: Why are so many characters that you see on TV so desexualized? A lot of them seem to be completely asexual — especially animated characters — and it implies that those characters are normal. The characters in Aeon Flux are normal people who have normal sex lives and appetites."

"For a viewer to think the custodian was trying to break free is the exact opposite of what the scene was supposed to convey. There is nothing gained from that kind of ambiguity. Ambiguity is not desirable or meaningful if it confuses an issue that is meant to be clear. This is the challenge of making a film that communicates but doesn't talk down: a lot of viewers and studio execs (and directors) hold that ANY ambiguity is the result of the filmmaker's failure. I disagree, but I also hold that, in order for ambiguity to be effective, certain things NEED to be unambiguous. For example, if it wasn't clear that Judy on the stage is the same character as Judy who'd invited Aeon to the Hostess' lair, then that's just bad execution. If the episode had been finished and seen in a version say, where we don't see her face drawn correctly, and viewers weren't sure it was the same character, they may wonder about things irrelevant to the story's themes, such as "do the custodians alter the appearance of their hosts", or "Trevor is masquerading a different person who is playing the role of Judy on the stage", etc, all of which does not help the story. Thinking that the custodian had a will of its own and wanted to break free is the same type of undesired speculation."

"Regarding the doll in the Purge, since it's one of my favorite moments in the series: The Custodians are the physical embodiment of a very vaporous notion -- human conscience. Does conscience really exist, or is it just a way of convincing ourselves that a center for moral judgment resides within us, thus lending our judgments a natural authority? As always, Trevor prefers to provide a tangible solution. He can't tolerate uncertainty. Whether it is real or not, Trevor understands the usefulness of the belief in conscience as a tool for practical ends, the improvement of society. In the end, the doll which emerges from the Custodian reveals to us that Trevor's artificial conscience, like the classical notion, is no more than a flimsy gimmick, a parlor trick, a plaything of the mind powered by a circular process. (Advocating the existence of conscience usually involves an appeal to our conscience). Notice that Trevor himself winds up the toy while in the train earlier in the episode."

"A good film is one that requires the viewer to create, through an orchestration of impressions, the meaning of its events. It is, in the end, our ability to create meaning out of the raw experience of life that makes us human. It is the exercise of our faculty to discover meaning which is the purpose of art. The didactic imparting of moral or political messages is emphatically not the purpose of art -- that is what we call propaganda."

"Four guys could get together and make their own movie, in a year, but nobody does it 'cause they got bills to pay. What I'm saying is, that's what I would do, if I was young. I wouldn't even get a job. I'd get a couple of computers and a bunch of guys, we'd eat crap for a year, millionaires the next year if we did a good film. It's so extraordinary. Instead of crying about getting a job at Disney or "things are falling apart", things the old animators were doing when I was a kid, "it's all crumbling!" It's not crumbling, you're crumbling! You got these computers that could do this stuff for nothing! What do you do with it? You try to get a job for some asshole studio. It's so dumb."

"When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned...but that's the point."

"Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say."

"Sick of Hollywood, tired of fighting and selling out as an artist. I don't believe anyone should do the same thing for the rest of his life. We get a very short time on this planet. Challenging oneself is very important. It's not that I couldn't make other great animated films, but I'd done what I wanted to do, which was make animation an adult medium, if one wanted it to be. And I'd proven to myself that it could work, and it was time to move on to something else. When I sell a painting, I get very excited. I need one person to like what I do, not a million. It's a different structure here. Plus the Hollywood thing. I mean, Hollywood is no place to grow up, no place to live. It's no place to have any friends, no place to enjoy life. It's a disgusting, horrible, craze-driven town. It's only how much do you make, or how fancy a car you have, that determines your status there. And everyone's lying so much that they don't even know they're lying anymore. There's no reality to Hollywood. The fees they pay directors are obnoxious, the money they spend on movies could feed entire starving African... I mean, fuck 'em. I made a few bucks and got out. I don't want to spend the rest of my life with those people. They're disgusting people, and you can quote me on that. There's a lot of great talent there, but it's no place I wanted to spend much time. I'd rather spend time with Rembrandt and Goya at home. They're better company than those schmucks who never read Lord Of The Rings."

"Wizards was about the creation of the state of Israel and the Holocaust, about the Jews looking for a homeland, and about the fact that fascism was on the rise again, I thought. That was way before the Right Wing made their appearance again, and I felt that things were shifting back. So on that level, Wizards was a very personal film."

"Did I have a responsibility to discuss issues? Absolutely. Bobby Dylan was discussing issues – Disney wasn’t."

"A zebra can't drive a moon-buggy. Or any other sort of car for that matter."

"Who are you inspired by? Creative people who have made their seemingly most self-indulgent artistic whims into a career."

"Foo, a beautiful gal wastes her time gracin' up this swamp."

"Ever since I heard you is got a million dollars I notice you is fraught with perspicacity."

"Is we runnin' TO it or FROM it?"

"[After Pogo says, Eventual Porky, I figger ev'ry critter's heart's in the right place., Porky responds:] If you gotta be wrong 'bout somthin', that's 'bout the best thing they is to be wrong 'bout."

"I been readin' 'bout how maybe they is planets peopled by folks with ad-vanced brains. On the other hand, maybe we got the most brains...maybe our intellects is the universe's most ad-vanced. Either way, it's a mighty soberin' thought."

"The best break anybody ever gets is in bein' alive in the first place. An' you don't unnerstan' what a perfect deal it is until you realizes that you ain't gone be stuck with it forever, either."

"Eventually every man gotta face the problem of tryin' to figger if it’s worthwhile to prove that he is himself."

"Don't take life so serious, son, it ain't nohow permanent."

"We have met the enemy and he is us."

"Looking back on things, the view always improves."

"As we thrash on to a finish through the current thicket of flags and banners, we realize it is no finish at all, but a new inning. Secure in the rules, we know that, given three strikes, the truth will out."

"God is not dead — He is merely unemployed..."

"Suspicion is the mother of invention And a fishin' expedition Needs no repetition For the end is never new: you need a friend and you."

"The eleventh day of the eleventh month has always seemed to me to be special. Even if the reason for it fell apart as the years went on, it was a symbol of something close to the high part of the heart. Perhaps a life that stretches through two or three wars takes its first war rather seriously, but I still think we should have kept the name "Armistice Day." Its implications were a little more profound, a little more hopeful."

"Not all segregationists are lunatics, or even dishonest men."

"Deck us all with Boston Charlie Walla Walla, Wash, and Kalamazoo! Nora's freezin' on the trolley, Swaller dollar cauliflower Alleygaroo! Don't we know archaic barrel, Lullaby Lilla Boy, Louisville Lou. Trolley Molly don't love Harold, Boola Boola Pensacoola Hullabaloo! Bark us all bow-wows of folly, Polly wolly cracker n' too-da-loo! Hunky Dory's pop is lolly gaggin' on the wagon, Willy, folly go through! Donkey Bonny brays a carol, Antelope Cantaloup, 'lope with you! Chollie's collie barks at Barrow, Harum scarum five alarum bung-a-loo Duck us all in bowls of barley, Hinky dinky dink an' Polly Voo! Chilly Filly's name is Chollie, Chollie Filly's jolly chilly view halloo! Bark us all bow-wows of folly, Double-bubble, toyland trouble! Woof, Woof, Woof! Tizzy seas on melon collie! Dibble-dabble, scribble-scrabble! Goof, Goof, Goof!"

"Y'see, when you start to lick a national problem you have to go after the fundamentables. You want to cut down air pollution? Cut down the original source... Breathin!"

"Halp! My powerful brain is blowed itself up!"

"The natural born reason we didn't git no yew-ranium when we crosses the li'l yew tree and the gee-ranium is on account of cause we didn't have no geiger counter."

"Some is more equal than others, as is well known. It ain't that your majority is outnumbered, you're just out-surrounded."

"So we got fifty percent. Babe Ruth didn't do no better. — Did you mean hittin' it... or throwin' it?"

"I'll tell you, son, the minority got us out-numbered!"

"Girls bored me — they still do. I love Mickey Mouse more than any woman I've ever known."

"Walt considered himself religious yet he never went to church. The heavy dose of religiosity in his childhood discouraged him; he especially disliked sanctimonious preachers. But he admired an respected every religion, and his belief in God never wavered."

"He probably did more to heal, or at least soothe troubled human spirits than all the psychiatrists in the world."

"Marx was fortunate to have been born eighty years before Walt Disney. Disney also promised a child's paradise and unlike Marx, delivered on his promise."

"Walt was a strange kind of guy, but he’s still by all odds the most important person that animation has ever known. Anybody who knows anything about animation knows that the things that happened at the Disney Studio were the backbone that upheld everything else. Disney created a climate that enabled all of us to exist"

"Take the serious side of Disney, the Confucian side of Disney. It's in having taken an ethos … where you have the values of courage and tenderness asserted in a way that everybody can understand. You have got an absolute genius there. You have got a greater correlation of nature than you have had since the time of Alexander the Great."

"Despite the absence of a unifying "story" in Fantasia, there are along the way images and sequences with implications and messages — inspirational and disturbing, subtle and strong, scientific and pagan and Christian — all worth noting."

"Most family historians agree that Elias's authoritarian and sometimes cruel nature — and propensity for whipping and even beating his young sons — played a role in turning Walt and Roy against the church. The brothers' ambivalent relationship with organized religion is well documented, as is their strong, personal faith in God."

"That's really an interesting thought because one of things Walt was always complaining about – and I think that's one of the reasons Walt continually pushed for innovation at his studio – was that he always wanted to make things better, he wanted to make new things possible. I think Walt would have been quite impressed with the new digital technology because he would have a brand new tool that he could use in amazing ways. So while on one hand we've lost something as we move forward, I do recognise that things will always be changing. Animation changed from the 1930s to the 40s, on up through the 50s and 60s; there has always been new technologies being created, enabling us to make a better product."

"He definitely believed in God — very definitely. But I think he'd had it [with organized religion] as a child. He never went to church."

"He was a very religious man, but he didn't believe you had to go to church to be religious. … He respected every religion. There wasn't any that he ever criticized. He wouldn't even tell religious jokes."

"There is a relationship between cartooning and people Miró and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney."

"Disney World has acquired by now something of the air of a national shrine. American parents who don't take their children there sense obscurely that they have failed in some fundamental way, like Muslims who never made it to Mecca."

"Disney, for all his pining for a perfect world (embodied in his depiction of a turn-of-the-century Main Street), did not entirely ignore the authentic. He did kill Bambi's mom, remember. He did permit, perhaps encourage, the occasional sense of danger."

"(Ha!) You belong to Disney, which means you stay busy Cranking out magic and assembly line whimsy! Artists begging me to stop; I won't let 'em! Labor conditions in my shop? I don't sweat 'em! I'm powerful enough to make a mouse gigantic! With only 3 circles, I dominate the planet! (Ha!) Clearly, there's nobody near me! I'm owning this battle! In fact, I own this whole series! So hop on my Steamboat, boys, but don't rock it! I'll put on a smile on your face and green in your pocket! You'll be safe and insured when you're under my employ! Now, look at it! Gaze upon my empire of joy!"

"Walt wanted to communicate with a global audience. … He wanted to communicate with a multicultural audiance."