American - Director | November 30, 1952 -
'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.
Henry Selick
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I have more faith in doing something creative for a cable station or something like Yahoo or Google or Amazon. What Netflix did with 'House of Cards' and David Fincher was brilliant. That is inspiring to me. I think there is more chance for creativity in animation, it just hasn't happened there yet.
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In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.
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CG can do anything, but it can't do everything well. What it naturally can do is special effects. But using stop-motion comes from our desire to do handmade stuff. There are always going to be kids who get out whatever it might be - clay, bits of wire, Barbie dolls, Legos. They want to tell little stories.
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I learned my lesson that in the live-action world, you have to earn the support of people over a very, very long time. And in animation, I already have the support.
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I was at Disney for about four years, so I made good friends there. It was a time of not a lot of creativity. It was the end of the first great era, with a few of the original animators. They called them the Nine Old Men. I learned a lot from them, but it wasn't going to be a future home for me.
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Just like those little Viewmaster slides, there's a inherent magic that's captured in 3D that you can't get in drawn animation or in CG.
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There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.
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Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.
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Stop-motion is sort of twitchy; you can feel the life in it. If we were to remove that completely, there'd be no point in it.
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I think stop-motion has always been semi-obsolete. And stop-motion animators - people like myself - love it so much that we're always going to be looking for new ways to make our films.
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My mother is a huge fan of my work. I told her about 'Coraline' long before the film was made, and she got the book and read it. She reminded me that when I was about five years old, I used to sit in the kitchen for hours and talk about my 'other' family in Africa, my other mother and father. I had totally forgotten that.
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