Quotes of All Topics . Occasions . Authors
I only think in live action.
I always want to do a big finale.
When people feel safe, they can come up with ideas.
I like action. It's not typical, but it's a passion.
I like to draw, and my drawings are what yell and scream for me.
I'm not necessarily a huge fan of YA movies. I haven't watched a lot of them.
I've been watching things like 'Master of the Flying Guillotine' since I was 5.
I'm a very soft-spoken person. I don't throw furniture. I don't throw tantrums.
It's like being the general of an army [directing a film]. You send people out to die.
I couldn't imagine screaming 'Action!' on an outdoor set over a wind machine or whatever.
I'm not aggressive by nature and it was tough for me to make the transition to directing.
Sometimes, you just have to go in there and bowl people over with your sheer force of will.
Qing Cheng Mountain was a direct influence on the mysterious final shot of 'Kung Fu Panda 2.'
A lot of the time in animation is spent getting the story right - that's something you can't rush.
I like action movies, and I prefer to watch a bad Hong Kong action movie to just about anything else.
I think in the experience of growing up and realizing who you are, what your place in the world is can be quite scary.
When you make a movie, it's just so personal and then you put it out in front of people and it becomes something else.
It's really helpful to have somebody to bounce off of and that will say, 'Yeah, that's a horrible idea. You shouldn't do it.'
I think it's really nice to have an authenticity, it's a huge source for us to be able to lean on people who have that knowledge.
When we were first creating the look of 'Kung Fu Panda,' we wanted to pay tribute to the beautiful tradition and culture of China.
When people feel safe, they can come up with ideas. It's important to listen to the actor who is there on the stage and living it.
If the actor doesn't feel it's right, that's when you say, 'OK, let's find something else.' It's then that you get the natural moment.
Po's [Kung Fu Panda] unending enthusiasm is something we wish we could have. We can't help but root for him because of his geek energy.
Tigress is my alternate personality, especially with children. I love animation because you get to do things you don't normally get to.
The great thing about computer animation is that all of those environments exist as three-dimensional worlds, so these VR worlds already exist.
Lots of people support me and I forget. But sometimes things happen and I remember, and they say I encourage them, it makes me feel very happy.
We want to be proud of our work and make sure it's worth the talent of the animators, who spent four years of their love, sweat and tears on it.
If you only do what you can do, you'll never be more than you are now.I never thought i'd be where I am now, but the fact that I am is pretty cool.
I want a space for people to feel safe and be creative. Actors want it, too. They want to feel like they're listened to, and they're safe to experiment.
Talking to actors is the same as talking to any other artists; it's getting into the moment for them, and making sure they can lose themselves in the performance!
I think the idea of a distant, far off dystopia, where the world is completely different from what we have now, is good, but it's been done. Especially in YA movies.
My producer for the first 'Kung Fu Panda' movie, Melissa Cobb, is an amazing woman. She's supersmart and helps push everyone - male, female, anyone - to do their best.
We go for our own reality. I remember some of our guys saying it is way harder to make stylized art directed explosions of jade rather than a regular explosion of shrapnel.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.
We always try to make the very best movie when we're working on and we can only think one at a time. We want to make this a perfect jewel, and then we'll see what happens after that.
One of the things we love about Po [Kung Fu Panda] is that he's vulnerable. He's someone that we can all identify with because he has those insecurities. He's an outsider feeling guy.
I think the best thing I have is the introvert's ability to listen when you're working on something as complicated as this and you have to really be aware of everyone's specialized skills.
As I said, i'm very quiet, i don't go around saying "I'm awesome!" but when I brought in my portfolio into DreamWorks and showed them what I could do, my art style is a lot wilder than I am.
You have to make sure that people are still motivated and happy and creatively challenged so that it can all be stitched together. The voice acting starts after a lot of the storyboards are done.
Going into live action, the perception I had was that to be a director, you had to be loud, you had be physically fit, wear cool hats, have a beard, and yell, 'Action!' really loud. And I'm none of those things.
You're right, we both have been working on these films [Kung Fu Panda] forever and we know these characters so well that literally we will react to the same note in the same way. We will have the same answer most of the time.
You have to figure out how you can step forward and affect your own life. I think that sense of empowerment is actually really positive, specifically for the young generation because they've been bystanders in their own lives for a while.
Usually they have to deal with a dubbing situation or subtitles, and it takes you out of the experience. That's why we wanted to make something that felt really immersive for Chiniese audience, but it takes a lot of work to make 2 versions of a movie!
I've been asked about the glass ceiling a lot, and I don't think of myself as some kind of crusader going around smashing glass. I don't feel like I had to - and that is a very, very strong flag showing the people around me made it, so I didn't have to.
I think the one thing specifically that is most consistent, is that we want to harken back to martial arts movies because that's kind of the genre we're paying tribute to, so there are some similarities to a lot of films, because they all feed off each other!
Oriental DreamWorks did a lot of the surfacing of the village [in Kung Fu Panda 3] and you know all the little paintings on all the gables and everything? They have meaning, and they could do that because they know what that means, we don't necessarily know about that over here.
We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.
We went to a remote Panda Base which was insane because inside there were several cribs which held about twenty baby pandas. They were all different sizes and they were all lying there in a long row. It was so cute, I could hardly stand it. I wanted to take them all home with me.
We had Chinese artists that would put in elements for the Chinese audience like the calligraphy actually means something so the audience when they read it they'll understand. So there were definitely little things we were able to do that specifically leveraged the artists' talents.