Zitat des Tages über Live-Aktion / Live Action:
Animation is a great way to work. No early morning call times, no make-up chair. In live action, you're always fighting the clock; the sun is always going down too soon.
The Brady Bunch is a live action modern fairytale of family. In this context it's less odd that it's lasted for over thirty years; and why it may last in some respects as long as Mother Goose!
In live action movies, you just hope that everything works. Because the actor may had a bad morning and doesn't play good, or accidents happen continuously. Many things contradict what you are trying to say. But in cartoons, nothing contradict what you want to say.
The marketing department is really an important part of getting an animated film to work. If the people running it are used to selling live action films and the hard rock music and the sex and all those things... Anything outside that, they just don't know what to do with it.
I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.
The question I get more than any other is, 'What does it mean to direct an animated film?' And the reality is that it's not a whole lot different from what you do in live action.
Most Pixar films are better than most live action films.
I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.
There's a process in the movie industry in both live action and animation called development hell!
I will be doing a film called Whispers, for Disney. It's about elephants, and doesn't have any people in it. It will be a live action film - I don't know how much I can say about it, since I still don't know too much about it.
One of the things that I'm realizing is that in voice-over work, you have to actually do more work with your facial muscles and your mouth. You have to kind of exaggerate your pronunciation a little bit more, whereas with live action, you can get away with mumbling sometimes.
The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.
I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is.
If we had to go live action, I'd hold out for Tim Burton to direct.
Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.
If you see a bad live action film, what are the conclusions you draw? Typically, it is that they made a bunch of mistakes, a bad script, wrong casting. You get into 2D, and you get a few films that are not strong films. And what is the conclusion? That it's 2D? I beg to differ. It's a convenient excuse, but it's just wrong.
'Coraline' is Neil Gaiman's book, it sold a lot, it has a big fan base. It was originally conceived to be live action, but I never really wanted it to be. I always thought that it would work better as an animated film.
The fact of the matter is that an actor, if I'm playing a performance capture role and you're playing a live action role and we're having a scene together, there's no difference in our acting processes.