Try looking at an animated frame as if it were a plan, a section and an interior at once.
Composition is structure
Where is the centre? Where does the eye enter? Which edge exerts pressure? What is held in shadow? These are spatial questions. A good frame has proportion, hierarchy and circulation — even if the only thing circulating is attention.
Light as material
In animation, light is not merely illumination. It establishes depth, directs movement and turns an interior into a psychological condition. Architecture works with the same forces, though its materials resist gravity in a literal way.
Pause as space
A shot can open or compress time just as a corridor, threshold or stair can change the pace of movement. The relation between sequence and perception is one of the most productive points of contact between film and architecture.