One good thing about animation is that, if you do screw up a line, they won't use it. You can keep going until it's right.
In the past, there's reasons why 'The Goon' wasn't made; it's because people were afraid of edgy animation. Now, I think that 'Deadpool' has proved that that audience is out there in a bigger way than some people thought.
In video games and animation, you find that the toughest things to make different are the things that aren't words: grunts, groans, gasps.
The same sort of thing was supposed to happen when performance animation was invented: Everybody thought it would save so much time. But it became its own niche altogether.
If you were to look at an old 'Betty Boop' cartoon or an 'Out of the Ink Well' animation, there are many things about 'Adventure Time' that really remind you of that, even though it doesn't look like any of those cartoons.
I don't know if I really watched any Disney animation as a kid.
I love to get involved with projects that take me out of my comfort zone. I try to do things that are not necessarily what I'm used to. I always wanted to do a big animation movie and stick to the codes that this genre sometimes implies.
I've always loved movies and animation. When I was little, I was always pretending to be some alter ego superhero. For years it was Ultraman, ninjas, Spiderman and other cool super heroes.
I think with animation there's a certain freedom that you're given. You don't have a thought at the back of your mind, that worry that you'll have to cut and go back to the top of the scene. You're not working with anyone else from the cast. It's just you.
Animation is very singular. Like, even the 'Toy Story' movies. People will go, 'Oh, gosh, you're so lucky, getting to play opposite Tom Hanks!' And it's, like, 'It may have appeared to be that, but we were never in the room together.'
A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.
For me, part of the fascination with making animation is you go to a place; it's a complete immersion in someone else's fantasy.
Yes, actually. Animation's a very easy thing to watch on tour.
But probably for the last ten years or so, I've been fitting in animation work into my other projects.
The days when you needed amazing Silicon Graphics machines to run animation software are gone now.
With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.
Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.
I do a lot of teen shows and voice over work for animation, so when I got the part in 'The Number 23,' it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.
I thought that if I could speed up the production of animation, I could make a big business out of recreating the amazing images of the news because what we get on TV is always the last bit of image.
I ran development and programming at Disney TV animation. We did a lot of cartoons.