Michael Foreman
Michael Foreman
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Full Name and Common Aliases
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Michael Foreman is the full name of our subject, though he is often referred to as Mike Foreman in informal settings.
Birth and Death Dates
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Michael Foreman was born on December 16, 1947. Unfortunately, there is no publicly available information regarding his date of passing.
Nationality and Profession(s)
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Foreman is a British-American illustrator, animator, and film director, best known for his work in the animation industry.
Early Life and Background
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Growing up in the United Kingdom, Foreman developed an interest in art at an early age. He attended Wimbledon School of Art before moving to the United States to pursue further studies. In 1967, he joined the famous animation studio Aardman Animations (then known as Smallfry) where he worked alongside legendary animators such as David DePatie and Friz Freleng.
Major Accomplishments
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Throughout his illustrious career, Foreman has made significant contributions to the world of animation. Some of his most notable achievements include:
Collaborating with renowned animator David Hand on the film "The Aristocats" (1970)
Working as a lead animator on the iconic Disney film "Robin Hood" (1973)
Directing several animated shorts, including "Robin Redbreast" (1992) and "The Bear's Birthday" (2005)Notable Works or Actions
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Some of Foreman's most notable works include:
His role as lead animator on the Disney film "Robin Hood" (1973)
* Directing several animated shorts, including "Robin Redbreast" (1992) and "The Bear's Birthday" (2005)
Impact and Legacy
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Michael Foreman's impact on the animation industry cannot be overstated. His work has inspired generations of animators and continues to captivate audiences worldwide.
Why They Are Widely Quoted or Remembered
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Foreman is widely quoted and remembered for his contributions to the world of animation, as well as his innovative approach to storytelling.
Quotes by Michael Foreman
I didn't read children's books when I was a child. The only books in our house were ration books.
Before I could walk, my world was a world of legs - soldiers' legs, sailors' legs, bus drivers' legs and, worst of all, little old ladies' legs. Growing up in the shop was fantastic - American GIs, Poles, Czechs, Australians, troops from all over the world came to our shop for cigarettes and cups of tea and inspired my desire to travel the world.
I never read any fairy tales or classics until I was an adult; all we ever had was comics... No television, either. If we wanted entertainment, we hung around the fish shop.
In big battle scenes, like 'King Arthur', you see the knights in all their fine armour, but they're not in the thick of it: follow the perspective, and you'll find some poor little sod, who didn't want to be there, anyway, with his head split.
Drawing teaches you to look at things properly and to understand form and structure.
Drawing was the only thing I was any good at in school, but I never dreamt I would, or even could, spend my life doing it.
The seed of an idea laying dormant in an old sketchbook is fed the missing ingredient from a new experience. Trying to share some of these experiences, some of the wonders, is one of the reasons why I do books.
Things have to be believable, not in a literal, photographic sense, but in an emotional sense - capturing the essence of the situation.
I've done a bit of teaching, but I gave it up - I felt uneasy teaching illustration to people who hadn't yet learned to draw.