Quotes of All Topics . Occasions . Authors
When Walt Disney was making his films, he trusted his instincts and made films for himself, but they appealed to everybody, not just kids.
This is what I always tell my filmmakers-you have to do tons of research, because you don't know where the inspiration is going come from.
Winnie the Pooh and his friends from the Hundred Acre Wood are among the most entertaining and beloved characters ever animated by Disney.
I love the work of Hayao Miyazaki. 'My Neighbor Totoro' and 'Castle in the Sky' are two of the great films that he's made that I just love.
I worry about kids today not having time to build a tree house or ride a bike or go fishing. I worry that life is getting faster and faster.
We work very hard in all of the Pixar films to not make anything in the imagery that causes people to think of something other than the story.
When you make these films, they become like your children. But at a certain point, they don’t belong to you anymore; they belong to the world.
The hardest thing to get is true emotion. I always believe you need to earn that with the audience. You can't just tell them, 'Ok, be sad now.'
'Bambi' is an amazing film, and when you watch it today, it's just as beautiful. It's timeless. It's just as beautiful today as it was back then.
Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.
Today, among little girls especially, princesses and the romanticised ideal they represent - finding the man of your dreams - have a limited shelf life.
The magic of Disneyland, walking through the tunnel underneath the train station to Main Street, it just transports you to other places and other times.
I believe in the nobility of entertaining people and I take great, great pride that people are willing to give me two or three hours of their busy lives.
One of the things about animation is it's so expensive to do the animation, that you can't produce coverage. You only have one chance to make every shot.
In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.
There’s never a wrong idea. You just keep throwing stuff out and inevitably there are elements of different things that inspire a character or environment.
Nobody pays attention to the way a person's shirt folds around his shoulder when they sit down, but if that shirt folded in an unusual way, you'd notice it.
I always loved the idea of a spy movie and part of it came from my personal love of spy movies. It started when I was growing up as a little kid in the 60s.
Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.
The only thing Steve Jobs has ever asked me in all the years we've been together and have been partners, the only thing he has ever asked me is: 'Make it great.'
I always laugh at these companies that have these rules saying, 'You're only allowed to have this or that on your desk.' It's no fun to work at a place like that.
I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter.
Directing is one of my favourite things to do because I love telling stories and I love working with the individual artists and it's something that I really missed.
When you can have a character that the audience likes from the beginning, but then you put them in a situation where they grow - I think that gives it a lot of heart.
The closer you get to reality, the harder it is to make it look convincing to the audience. That's why I tend to make things [films] that are a little bit more caricature.
The spirit of Route 66 is in the details: every scratch on a fender, every curl of paint on a weathered billboard, every blade of grass growing up through a cracked street.
I love the villains who are really hyper-smart. When at the end of the movie you find out what they were about, and it makes absolutely perfect sense from their point of view.
Rotten Tomatoes is such a great website, in that it has one foot in the Internet world and one foot in the cinema world, and it keeps its grounding between them just perfectly.
My father pulled into Pearl Harbor four days after the bombing, and he said, everything was still burning. He said they never told the public how bad it was. It was really bad.
I can't tell you, as a parent, how it feels when the doctor tells you your child has diabetes. First off, you don't really know much about it. Then you discover there is no cure.
We make the kind of movies we like to watch. I love to laugh. I love to be amazed by how beautiful it is. But I also love to be moved to tears. There's lots of heart in our films.
Of all bugs, growing up I just loved the pill bugs. They roll up, you play with them, you wait for them to open up, and then when you touch them they roll up again. I just love that.
I have met a lot of top chefs around the world during my travels. Each one of them has said 'Ratatouille' is their favorite movie and the only movie that truly captures what they do.
One of the big moments of my life was watching 'Star Wars' on its opening weekend in Hollywood. I was watching all these people enjoy this film, and I thought: animation can do this.
Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'
Pixar has been compared to fine furniture makers who polish the backs of drawers - even if you don't see everything in a particular scene, you still feel that every little detail has been met.
You need others. Too often people think that being unique means being isolated, and being a great artist means coming up with genius ideas out of nowhere. Nothing could be farther from the truth.
Take any movie with an actor you like. Turn your head and just listen to the performance. In some cases, the physical presence remains as strong when you can't see the actor, when it's just the voice.
At Pixar, we've been huge fans of any new technology that makes the viewer experience of our movies better. Blu-ray is the best yet because the picture quality, especially for our movies, is unbelievable.
Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
Car love is the sound of a throaty V-8 rumbling and revving, the acceleration throwing you back in the seat - especially when you get on a beautiful, winding road and the light's dappling through the trees.
When you really study espionage movies, or spy movies, the beginnings are really set up to have, like, an amazing bit of action, but at the moment you're watching it, you have no idea why or what it's about.
At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.
'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.
The specific influences on villains to me is, I love the villains who are really hyper-smart. When at the end of the movie you find out what they were about, and it makes absolutely perfect sense from their point of view.
The interstate highway system was built to get people from point A to point B as fast as possible. And they knocked down mountains and filled valleys and made everything nice and big and flat, and they bypassed every town.
When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.
I think that as I had children, I have five sons, and they got into video games and were the prime ages through the development of video games. It was so much fun seeing them play the games and seeing it through their eyes.
We use shorts at the studio extensively to develop talent. I always love to give opportunities for young story people, animators, layout people something like that to take the next step up in their career and try things out.
As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.