You have to understand that I'm not just some guy who voices characters in animated movie and TV shows.
I have to say I regretted giving up animated movies.
I spent much of my later childhood and adolescence very, very involved and interested in art, and particularly in animated movies.
I'm kind of an animated person. I was given this really big blessing that my voice just kind of carries the emotion.
It's strange to recall that America animated none of my youthful daydreams. I did not see a Hollywood film until my late teens.
I never read any of the comics, but I grew up on the animated series when I was a little kid - I guess it came out in 1992. So I've always been an 'X-Men' fan.
I'm narrating the television series Biography. I'm still involved in my music - I have a new album out. I have an animated project in development. I'm writing a lot of things and you never know if one of them is going to become a six or seven year project.
All the time that I'm acting with an animated character, I'm looking at a tennis ball or sticky tape or an eyeline or a man in a green suit. There's no real environment, just this electric green that's blaring into your brain.
Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.
How many mothers have emerged from a family trip to a Disney movie and been obliged to explain the facts of death to their sobbing young? A conservative estimate: the tens of millions, since the studio's first animated feature, 'Snow White and the Seven Dwarfs' premiered in 1937.
In some ways, 'The Little Mermaid' was old-fashioned. Rendered in the hand-drawn style, it was the last Disney animated feature to use cels and Xeroxing. Pixar and its CGI imitators soon made that rigorous process obsolete.
Hollywood would make a holocaust an animated comedy if people would pay to see it; they don't care... they just want your money.
There's something known as the Uncanny Valley where things look a little too real and you're not quite sure what you're looking at. It becomes weird like it did in 'The Polar Express,' where the eyes seem so realistic, and yet you know it's animated.
I've been your yellow M&M for, oh, at least two decades or so, and I've done a lot of other animated stuff in between.
I go into meetings with some film-makers and they literally have nothing to say, they're almost bored by their own material. I'd rather work with people who are very passionate and very animated about what they want to do. People who just want to tell stories.
I'm not just saying this because I'm in the movie, but I really would recommend 'Secretariat.' It's fun, inspiring, and it's a great movie to take your little kids, brothers, sisters, or nieces and nephews to see that actually has real people in it and not animated characters.
They make three types of movies, and if you don't make one of those three, you have to find independent financing: It's either big-action superhero tent-pole thing, or it's an animated film, or it's an R-rated, raunchy sex comedy. They don't make movies about real people.
My dream is to star in an animated movie and to have a toy made after me.
There's a lot of 'Game of Thrones' stuff used in a lot of pastiches. I don't know if I've seen a Lego 'Game of Thrones' yet, but there must be one. And there's an animated thing that's been going on for quite some time, and Littlefinger is a newsreader in it, and it's great.
3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.