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There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, a
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, a
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, a
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, a
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, a
There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, a
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Henry Selick:
I think that one of the things that I can do is I seem to have the ability to zoom in super tight fHenry Selick:
Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anythiHenry Selick:
Stop-motion is sort of twitchy; you can feel the life in it. If we were to remove that completely,Henry Selick:
I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself -Henry Selick:
My mother is a huge fan of my work. I told her about 'Coraline' long before the film was made, andHenry Selick:
What stop-motion does best is present real objects magically brought to life in a very imperfect siHenry Selick:
Cyclops, that's like this primal fear. I had dreams for years that the Cyclops was a small creatureHenry Selick:
As a director, I'm not the one animating every frame, every shot. I'm moving around like a surgeonHenry Selick:
Very few people have made the transition from animation to live-action; I'm certainly not one.Henry Selick:
I feel I'm just meant to do stop-motion. Live-action is much more glamorous to some, but it's basic