Wells P & Moore S, (2016) THE FUNDAMNETALS OF ANIMATION, 2nd Edition, London, Fairchild Books, Bloomsbury Publishing PLC.
(Wells & Moore, 2016, P. )
'Animation is the most dynamic form of expression available to creative people' PG:7
'[Animation] can service works from the most outlandish of cartoons to the most abstract of avant-garde films, and all else in-between' pg: 7
'Animation has remained the most consistently experimental art form even as it has entered the mass popularity of mainstream visual culture.' 7
'Animation continually offers new possibilities narratively, aesthetically and technically, encouraging new animators, artists and practitioners to explore new kinds of storytelling, to create new graphic and illustrative styles, and to use both traditional and new tools in the execution of their work.' 7
'The concept and the appearance of reality can bind even the most non-linear set of drawings and unconventional narrative together.' 38
'While sound design, music and animation can be thought as separate practices with independent techniques and discourses, it is with in the establishment of relationships between these art forms that we begin to recognise contemporary animated film' 63
'Metamorphosis: The ability to facilitate the change from one form to anther with out edit' 82
'Condensation; The maximum degree of suggestion in the minimum amount of imagery' 82
'Anthromorphism: The imposition of human traits on animals, objects and environments' 82
'Fabrication: The physical and material creation of imaginary figures and spaces' 82
'Penetration; The visualation of unimaginable psychological /physical/ technical 'interiors' 82
'Symbolic association; The use of abstract visual signs and their related meanings' 82
Alan Gibey of Peafur Productions as quoted
'The tough truth is that if you wish to make movies an audience will watch to the end you must win, hold and deserve their attention. Your holy creative duties are;
- To intrigue your audience;
- To take them on a journey that exceeds their expectations;
- To leave them somewhere that made their trip worthwhile' 82
'Any rule of writing can be broken with great success,.. but if you break the rules without understanding them first, you stand a very good chance of screwing up' 83
'Orthodox theories of film structure' 83
-'The need to create a specific 'world' defined and limited by its own terms and conditions;
-' The considerations of the relationship between narrative and aesthetic requirements, and the economy of the chosen technique;
- The relationship between character and story events and the specific elements that will be animated;
- The imperative of the soundtrack in the determination of imagery and timing of the animated elements;
- The realization of the performance of the character action implied in the script and meditated through voice actors and animators' 85
''An audience loves characters who intrigue or enchant them.. if the viewer feels a degree of empathy for them, they will stay the course because they like the things that happen when that character is around' 85
'Often the best new characters are a blend of something a little familiar' 85
'Three act structure;
- situation:
Welcome to my world, i'm going to make you wonder what happens next.
- Complication;
Ooh! I bet you didn't see that coming, my character is set on a journey and no one where it will lead them.
Resolution;
Blimey, I didn't expect them to end up here!' 86
'B-plots, miniature three act tales that weave around your major story and may concern a supporting character.' 86
'Gag structures;
-Misdirection and Juxtaposition
- Illogical logic
- Dramatic Irony
- Puns and Parody
-Exaggeration and understatement
- Repetition' 89
Ed Hooks;
'Thinking tends to lead to conclusions; emotions tends to lead to action'
-'Audiences only empathises with emotion, not thinking.'
- Sometimes gestures can speak the inner truth' 96
'It is very hard to recover a piece of work that is narratively, aesthetically, or conceptually flawed'.
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