“Boxtrolls is the culmination of a lot of ideas from Coraline that have come to fruition. The style of animation, the puppets, the way we liberated the camera and cinematography — it was really important to feel an evolution there, not just feel like this was shot on a table top.” — Travis Knight, LAIKA CEO and animation lead
“We said: ‘Look, no one’s going to want to hire us. Let’s just do it ourselves. Let’s create exactly the kind of story we want to create, tell the kind of story we want to read that we’d enjoy personally.’ We wrote it for ourselves because we didn’t think anybody else was going to buy a copy of it.” — Kevin Eastman, co-creator of the Teenage Mutant Ninja Turtles
“There was a real sophistication and elegance to (Batman: The Animated Series). It certainly appealed to kids but had a depth that really made it fascinating and interesting to watch for adult fans. I think visually, it was stylistically stunning.” — Jim Lee, co-publisher DC Comics, on the impact animation has had on Batman as he celebrates his 75th anniversary
“Most animated movies are light. We wanted to make something serious but not preachy. And not necessarily religious either — this will be for religious people and atheists, because they’re subjects that affect everybody.” — Salma Hayek, about the animated film she is producing, Kahlil Gibran’s The Prophet
“I think once people got to Disney, it was kind of like a cold wake-up call, that maybe it wasn’t everything it was cracked up to be. It was like being groomed to be eaten by cannibals. The company wanted to stretch out and try different things and hire new people, but they were still kind of stuck in the past.” — Tim Burton, on first going to work at Disney after CalArts
“I still can’t believe it — especially just being nominated along with The Wind Rises. Miyazaki is one of the directors who made me want to do animation. I don’t know if I will be able to meet him at the Oscars, but I think that would be the greatest thing.” — Ernest & Celestine director Benjamin Renner
“Animation is not a genre but just a medium. Seth Rogen is going to make a lower-budget animated movie, you know? All my teenagers are going to see that, and it’s going to change and expand their perception of what the medium is.” — Kristine Belson, producer of DreamWorks’ The Croods in a recent Hollywood Reporter roundtable.
“Once you hit this certain percentage of women in the story room, then everyone feels comfortable talking…You don’t want a story room to be a frat house. The one downside of having as many women as we have here is that there’s way too many cupcakes.” — Lauren MacMullan, director of Disney’s acclaimed new short Mickey Mouse in Get a Horse! in a recent Los Angeles Times profile.
“Growing up, Peanuts was my Star Wars… Schulz’s characters influenced everything in my career, especially Freaks and Geeks. I’m thrilled I finally get to be pals with Charlie Brown and Snoopy.” — Bridesmaids producer Paul Feig, who is now on board Fox’s 2015 CG-animated Peanuts movie, which will be directed by Steve Martino.
“In my heart I feel like it really is the end. Part of it is that the final episode is so satisfying to me. It almost feels like we’d be wasting it if we came back again … But on the other hand, I’m reminded that I did say that with full conviction at least twice before, so people don’t seem to believe me. My opinion has been shown to be not of much value in predicting the future on this one subject.” — David X. Cohen, co-creator of Futurama, which aired its final episode on Comedy Central last month.
“The pool is big. The water’s warm … The more the merrier. Some come in and make a bad movie. I like healthy competition. I’d much rather be in a healthy industry than be the only player in a dead industry.” — Disney/Pixar’s CCO John Lasseter commenting on the fact that the summer of 2013 had a record number of animated features playing in theaters.
“[Gru] can’t disguise the malicious intent… That personality wasn’t going to transform just because his profession transformed. He was still a guy who was prone to be a curmudgeon and was unsocialized. Had we lost our way on that, I don’t think the sequel would have worked.” — Illumination president Chris Meledandri on the global success of Despicable Me 2, which made over $316.8 million during its first week in release in July.
“The fact remains that few shows have been as steadily funny or as relentlessly inventive, imagining a future in which a buff, one-eyed alien heartthrob can find love with a doltish reanimated pizza delivery boy, and where the planet can be ruled by the cryonically preserved head of Richard M. Nixon.” — The New York Times’ Mike Hale on Futurama, which began its final season on Comedy Central last month
“I think it’s atrocious what they have done to Merida. When little girls say they like it because it’s more sparkly, that’s all fine and good, but, subconsciously, they are soaking in the sexy ‘come hither’ look and the skinny aspect of the new version. It’s horrible! Merida was created to break that mold—to give young girls a better, stronger role model, a more attainable role model, something of substance, not just a pretty face that waits around for romance … I forget that Disney’s goal is to make money without concern for integrity. Silly me.” — Oscar-winning director Brenda Chapman commenting on Disney’s much-criticized redesign of Brave‘s heroine Merida for its Princess line
“By bringing Mickey’s comedic adventures to life with vitality, humor, inventiveness and charm, the entire Disney Television Animation team of artists, animators and directors have worked to capture the essence of what Walt Disney himself created 85 years ago.” — Disney Channels Worldwide president Gary Marsh on the new Mickey Mouse series, which debuts in June
“I had kind of given up, you know? The movie came out in March, after all. I’m just delighted. We were very low key and [the movie] wasn’t shoved down people’s throats. I’m happy people remembered it fondly from when it was out.” — Peter Lord, director of Sony/Aardman’s The Pirates! Band of Misfits, on hearing about his film’s Oscar nomination
“The best touch in this nicely illustrated tale is Lily Bobtail, a rabbit who is new to the neighborhood and has all the brains that Peter seems to lack. Nothing like a little girl power to freshen up a century-old group of characters.” — The New York Times review of Nickelodeon’s new CG-animated Peter Rabbit’s Christmas Tale
“The two best animation studios in the world, DreamWorks and Pixar, are in a transition period where they are obliged to invent new things so that they don’t repeat the same film all the time. More than ever, even in its business aspects, animation needs inventiveness and artists. I’m very curious to find out what will happen in the coming years.” — Joann Sfar, co-director, producer and writer of The Rabbi’s Cat