"Basically the children who watch it just see the little characters they love, and so they're not discerning about whether it looks great or it's a great story or anything"
About this Quote
There is a quiet insult baked into Bluth's plainspoken complaint: children, the core audience for most animation, will happily accept mediocrity as long as the mascots are cute. It lands because it’s less an attack on kids than on the system that exploits them. He’s pointing at a market logic where recognition outranks craft, where the “little characters they love” function like branded pacifiers. The line “basically” does a lot of work, signaling a weary veteran’s frustration, as if he’s watched this bargain get struck a thousand times in pitch meetings.
The subtext is an artist’s anxiety about standards. Bluth came up in (and helped define) an era that treated animation as cinematic performance: movement, mood, visual ambition, story beats that aimed to hold up beyond a lunchbox. When he says kids aren’t “discerning,” he’s not celebrating innocence; he’s warning that studios will treat that innocence as permission to cut corners. Quality becomes optional when affection is already locked in.
Context matters: Bluth’s career is often framed as a counter-programming to corporate animation, fighting for richer storytelling and more expressive drawing at a time when merchandising and serialization were becoming gravitational forces. His quote reads like a dispatch from the front lines of IP culture: once character-love is banked, narrative and artistry start looking like expenses, not values. The sting is that he’s right and he hates being right.
The subtext is an artist’s anxiety about standards. Bluth came up in (and helped define) an era that treated animation as cinematic performance: movement, mood, visual ambition, story beats that aimed to hold up beyond a lunchbox. When he says kids aren’t “discerning,” he’s not celebrating innocence; he’s warning that studios will treat that innocence as permission to cut corners. Quality becomes optional when affection is already locked in.
Context matters: Bluth’s career is often framed as a counter-programming to corporate animation, fighting for richer storytelling and more expressive drawing at a time when merchandising and serialization were becoming gravitational forces. His quote reads like a dispatch from the front lines of IP culture: once character-love is banked, narrative and artistry start looking like expenses, not values. The sting is that he’s right and he hates being right.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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