Darn, I really was on his side at first when he was talking about filmmakers have to/should know what they want, and I thought he was going to talk about how he was impressed with animators understanding and planning performance beforehand, not just the technical side of rotating a chipmunk.
I'd like to think that's what he meant, but I think he was more impressed with the notion that animation is a lot more work than a guy pointing and shooting on set.
I think Steven was talking about the animator's understanding of planning. A number of live-action film makers are impressed by what we do, and have told me so. Many have the highest regard for animators.
The live-action dudes, however, still make the bigger bucks.
He may have been articulating how curious it is that in animation, one is in control (theoretically) of every frame. He once said he remained astounded how Chuck Jones could time a cartoon to the frame before animating it, unlike the live action approach of editing down from numerous takes.
What year was that interview conducted in? Speilberg looks pretty young there. Was this before Tiny Toons and animaniacs?
ReplyDeleteDarn, I really was on his side at first when he was talking about filmmakers have to/should know what they want, and I thought he was going to talk about how he was impressed with animators understanding and planning performance beforehand, not just the technical side of rotating a chipmunk.
ReplyDeleteI'd like to think that's what he meant, but I think he was more impressed with the notion that animation is a lot more work than a guy pointing and shooting on set.
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ReplyDeleteI think Steven was talking about the animator's understanding of planning. A number of live-action film makers are impressed by what we do, and have told me so. Many have the highest regard for animators.
ReplyDeleteThe live-action dudes, however, still make the bigger bucks.
J.J, the clip is from 1978.
ReplyDeleteThanks.
ReplyDeleteHe may have been articulating how curious it is that in animation, one is in control (theoretically) of every frame. He once said he remained astounded how Chuck Jones could time a cartoon to the frame before animating it, unlike the live action approach of editing down from numerous takes.
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