On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.
I've always been excited by rotoscoping, the technique used in films like 'Waking Life,' which fuses animation with real-life emotion. It seemed like it was a process ripe for innovation.
When I first started working at Disney animation, I can't tell you how many people said to me, 'Oh, man, take a powder.' Nobody takes animated musicals seriously. I swear.
'Snow White' was really hip for its time. Walt Disney was basically using Sigmund Romberg and operetta in the telling of the story, and through animation - that was revolutionary.
In animation, the directors are part of a huge team of animators who all have opinions, too. It's a much more democratic process. Also, the animation executives oversee things more.
Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.
Let's get real: the .GIF format is outdated and is not really that great for the modern web anymore. It was created in 1989, and it wasn't even created for the purpose of animation.
I loved cartoons as a kid, and so many funny moments in animation for me are nonverbal sounds, unarticulated mouth noise.
It's funny: in the middle of making 'The Muse,' I was offered, at the time, the first 'Ice Age,' the part that Ray Romano took: I was offered the elephant. And I couldn't even stop to breathe, so I didn't do it. They've made, like, six of them. And in the animation business, for a voice actor, that's what you want. You want six, you know?
Animation is very similar to sketch comedy: you have a short amount of time to do something big and ridiculous and funny.
