An Animator Is An Actor With A

[w]hen The Coyote Falls, He Gets Up And Brushes Himself Off; It's Preservation Of Dignity. He's Humiliated, And It Worries Him When He Ends Up Looking Like An Accordion. A Coyote Isn't Much, But It's Better Than Being An Accordion.

We Must Not Confuse Distortion With Innovation; Distortion Is Useless Change, Art Is Beneficial Change.

The Author O. Henry Taught Me About The Value Of The Unexpected. He Once Wrote About The Noise Of Flowers And The Smell Of Birds—the Birds Were Chickens And The Flowers Dried Sunflowers Rattling Against A Wall.

In Timing A Film, We Used To Assume That Sneaks Move Slowly. This Was Great For Animators-thirty-six To Forty-eight Drawings For A Single Step-but It Was Sheer Hell For The Pace Of The Picture. So The Rapid Tiptoe Was Invented.

Every Great Artist Must Begin By Learning To Draw With The Single Line, And My Advice To Young Animators Is To Learn How To Live With That Razor-sharp Instrument Or Art. An Artist Who Comes To Me With Eight Or Ten Good Drawings Of The Human Figure In Simple Lines Has A Good Chance Of Being Hired. But I Will Tell The Artist Who Comes With A Bunch Of Drawings Of Bugs Bunny To Go Back And Learn How To Draw The Human Body. An Artist Who Knows That Can Learn How To Draw Anything, Including Bugs Bunny.