Whether you like it or not, a child really connects you to that time when everything's new. It's so important - not just for artistic endeavors, but for humanity.
Tim BurtonRead
I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it's more real and the set is lit like a set. But I think it's also a kind of lonely and dark thing to want to do.
Interpretation
The quote reflects on the unique and personal nature of stop-motion animation, highlighting its artistic value and the solitude in creating it.
Tim Burton shares his childhood fascination with stop-motion animation, emphasizing its distinctive qualities compared to other forms of animation. He expresses a deep appreciation for the realism and meticulous lighting involved in the craft, while also recognizing the solitary and introspective aspects of pursuing such an art form, suggesting that it can evoke a sense of loneliness.
In practice
In a speech about the evolution of film techniques, one could use this quote to highlight the artist's journey in animation.
Whether you like it or not, a child really connects you to that time when everything's new. It's so important - not just for artistic endeavors, but for humanity.
Things that I grew up with stay with me. You start a certain way, and then you spend your whole life trying to find a certain simplicity that you had. It's less about staying in childhood than keeping a certain spirit of seeing things in a different way.
I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
Don't worry about how you 'should' draw it. Just draw it the way you see it.
I am the shadow on the moon at night/Filling your dreams to the brim with fright.
Anybody with artistic ambitions is always trying to reconnect with the way they saw things as a child.
To whom does design address itself: to the greatest number, to the specialist of an enlightened matter, to a privileged social class? Design addresses itself to the need.
My scripts are possibly too talkative. Sometimes I watch a scene I've written, and occasionally I think, 'Oh, for God's sake, shut up.'
I don't mind being classified as a jazz artist, but I do mind being restricted to being a jazz artist. My foundation has been in jazz, though I didn't really start out that way. I started in classical music, but my formative years were in jazz, and it makes a great foundation.
There's a kind of despair about whether art can really do anything, but you have to incorporate that despair into the way you work. I try to soak my work in my sense of futility and fury.
All good music resembles something. Good music stirs by its mysterious resemblance to the objects and feelings which motivated it.
Camera lies all the time. It’s all it does is lie, because when you choose this moment instead of this moment, when you… the moment you’ve made a choice, you’re lying about something larger. Lying is an ugly word. I don’t mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.
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