I run advertisements and sell T-shirts to cover overhead costs and pay the few people who help me out behind the scenes. Anything left over is spent on production costs, animation costs, etc.
I've done every imaginable job possible out there - movies, TV, animation, TV movies... and, at this point, almost reality, it seems. It's been a real blessing. It's been a great ride.
I ran development and programming at Disney TV animation. We did a lot of cartoons.
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 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.
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.
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.
The days when you needed amazing Silicon Graphics machines to run animation software are gone now.
But probably for the last ten years or so, I've been fitting in animation work into my other projects.
Yes, actually. Animation's a very easy thing to watch on tour.
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.
A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.
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.'
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.
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 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 don't know if I really watched any Disney animation as a kid.
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.
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.
In video games and animation, you find that the toughest things to make different are the things that aren't words: grunts, groans, gasps.
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.