Quotes of All Topics . Occasions . Authors
I know I have exacting standards.
You only have so much time on this planet.
I love 'Spirited Away,' that's a huge one.
The water in 'Life of Pi' is very realistic.
I made friends slowly when I made them at all.
I love 'Princess Mononoke,' 'My Neighbour Totoro.'
It took me five years to make 'Kubo and the Two Strings.'
My father has this insane, all-consuming passion for sports.
No TV show has meant more to me than 'Buffy the Vampire Slayer.'
Historically, there's been a degree of sameness to animated films.
You have to find the thing you feel you can contribute to the world.
I love Oregon and want to see the state continue to thrive and evolve.
I think the Knight boys have a long history of disappointing their fathers.
It's a very difficult thing to adapt a piece of existing material into film.
If you can connect with the audience emotionally, that's potent storytelling.
We're constantly trying to find the best way to tell the stories that we want.
Ultimately, the goal is to be on an annual cycle - releasing a film every year.
Nike is like a member of the family. Undoubtedly some of that stuff is in my DNA.
You throw a rock in Hollywood and you're going to hit someone in the film industry.
Phil is my father. He's a part of who I am. But I don't want to be defined by that.
A fundamental and unfortunate part of being alive is to suffer loss and to suffer grief.
Stop-motion is filmmaking at the pace of a glacier. In live action, you're moving so quickly.
When you think of the warm grandmotherly type of character, you don't think of Elaine Stritch.
Creativity is messy and inefficient. But corporate governance needs to be tight and organized.
There is an inherent creative restlessness at Laika where we always want to challenge ourselves.
Stop-motion has limitations, any form of filmmaking does, but stop-motion has a lot of limitations.
My brother and I had unresolved things. I just wish I could have had one final conversation with him.
We want to tell unique, individual, discrete stories with a unique and discrete individual point of view.
We made a commitment to making diverse stories with diverse characters brought to life by diverse artists.
I think any artist wants their artist to be seen and appreciated and enjoyed by as many people as possible.
Animation has been ghettoized through the years by giving the impression we only do the same kind of stories.
The only kind of people who pursue stop-motion as a career are people who are absolutely in love with the medium.
I'm a huge fan of what Marvel did, it's no surprise for anyone to know that as a child I was a huge fan of comics.
One of the great many things I love about being a father is sharing my beloved childhood experiences with my kids.
We respect that children are smart, sophisticated and can handle things that adults typically don't think they can.
Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.
I think there's an unfortunate thing where a lot of content geared towards kids and families is watered down, dumbed down.
Portland doesn't have the same kind of infrastructure that the national film hubs have. We struggle with that a little bit.
I think anytime you see something that's been brought to life by an artist's hands, it just has a different kind of quality.
We live in world that wants to burnish the rough edges and straighten the crooked line, but conformity doesn't beget greatness.
I take a firm stand against sequels. My industry brethren are a little shocked at how firmly I'm committed to not doing sequels.
When I became a father, I saw what passed for family entertainment. So much of it was vapid. I wanted to make things that mattered.
I spent a lot of time alone when I was a kid, I climbed trees, hopped creek beds, read, watched movies, I'd make stories, make films.
I just love what art can do and what it means for us; that it can cross barriers. It can speak to us across space and time and culture.
In some ways we describe 'Boxtrolls' as 'Oliver Twist' if Terry Gilliam had made it. I think he's an extraordinary artist, and animator.
The executive side of you always wants to find the best, most efficient way to do things. Of course, art is extraordinarily inefficient.
A principal struggle of many young companies is to establish an identity, a philosophical and emotional core, and LAIKA is no exception.
We used to go to movies to see stories about ourselves. It would transport us to new worlds and we'd see aspects of ourselves reflected back.
Historically, for a stop-motion film, you gathered the crew together, you made the movie, and then everyone ran screaming to the next project.
I was athletic growing up and that was, of course, a big part of my household, but it wasn't something that I was necessarily passionate about.