Quotes of All Topics . Occasions . Authors
Sometimes a serendipitous reaction occurs when a network asks you if you have any ideas for a series, at a time when your creative flow is working in that direction.
I really admire visual storytelling that shows you what's happening, instead of tells you what's happening. I think it really forces the filmmaking to be very clear.
I am in no sense of the word a great artist, not even a great animator; I have always had men working for me whose skills were greater than my own. I am an idea man.
You don't have to sugar coat things for kids. If you make something for them with intelligence they will show that intelligence in ways that will sometimes shock you.
The close-up, according to D.W. Griffith, allows subtle changes of facial expression-the raising of an eyebrow or the flicker of a smile-to become part of the action.
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.
I think, sometimes with fans, what a lot of studios miss is it's just the gesture: it's the idea of knowing that they do matter, that we do care about what they think.
But I've been surprised over the years. I mean, someone told me the other day that maybe 360 million people have played this game in the world. That's a lot of people.
The world turns on a dime, the same now as it always has — which is to say, money makes the world go 'round. It's also what makes the world go spinning out of control.
I don't pose as an authority on anything at all, I follow the opinions of the ordinary people I meet, and I take pride in the close-knit teamwork with my organization.
I don't believe in playing down to children, either in life or in motion pictures. I didn't treat my own youngsters like fragile flowers, and I think no parent should.
I do not want to make teaching films. If I did, I would create a separate organization. It is not higher education that interests me so much as general mass education.
Y'see, when you start to lick a national problem you have to go after the fundamentables. You want to cut down air pollution? Cut down the original source... Breathin!
I still don't know what it really means to grow up. However, if I happen to meet you, one day in the future, by then, I want to become someone you can be proud to know.
Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody. I guess that’s the job I do.
Disneyland would be a world of Americans, past and present, seen through the eyes of my imagination--a place of warmth and nostalgia, of illusion and color and delight.
She believed in dreams, all right, but she also believed in doing something about them. When Prince Charming didn't come along, she went over to the palace and got him.
Recession doesn't deserve the right to exist. There are just too many things to be done in science and engineering to be bogged down by temporary economic dislocations.
Well I come from a land, from a far away place, where the caravan camels roam. They will cut of your ear if they don't like your face, it's babaric, but hey, it's home.
Its all big money, high rent, high prices in New York City now. The poor people completely got rolled over. I've never seen anything like it in my life. It's disgusting.
The important thing is the family. If you can keep the family together - and that's the backbone of our whole business, catering to families - that's what we hope to do.
I have watched constantly that in our work the highest moral and spiritual standards are upheld, whether my productions deal with fable or with stories of living action.
Or heritage and ideals, our code and standards - the things we live by and teach our children - are preserved or diminished by how freely we exchange ideas and feelings.
Since this was the first and only series I had ever produced, I was unaware of what the "Normal" environment was for a studio. I tried to run it as I did in my SF studio.
Since this was the first and only series I had ever produced, I was unaware of what the 'Normal' environment was for a studio. I tried to run it as I did in my SF studio.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
Our heritage and ideals, our code and standards - the things we live by and teach our children - are preserved or diminished by how freely we exchange ideas and feelings.
As long as I could hold a pencil, I was drawing and telling stories and making jokes. I've just been lucky that no one ever stopped me, and now I can do that for a living.
I remember when I was a kid, whenever you'd see cartoons cross over with each other, it always ranged from a delightful, magical surprise to a cynical, annoying cash grab.
It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.
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.
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.
So the stock market could have a negative wealth effect and weigh on capital spending, but a sharp decline in long-term interest rates would be an important counterweight.
You can make a little thing feel like a big thing. To me, it's all tone. Tone is the most important thing in the world. Then character, then story, or something like that.
Wizards was my homage to Tolkien in the American idiom. I had read Tolkien, understood Tolkien, and wanted to do a sort of fantasy for American kids, and that was Wizards.
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.
The same sort of thing was supposed to happen when performance animation was invented: Everybody thought it would save so much time. But it became its own niche altogether.
For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.
With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.
I would like to have the original ending to my Lord of the Rings instead of the one they released. In my original cut I had the victory at Helm's Deep as the final sequence.
When I started on Disneyland, my wife used to say, "But why do you want to build an amusement park? They're so dirty." I told her that was just the point - mine wouldn't be.
If I can't find a theme, I can't make a film anyone else will feel. I can't laugh at intellectual humor. I'm just corny enough to like to have a story hit me over the heart.
There is nothing wrong with good schmaltz, nothing wrong with good heart... The critics think I'm kind of corny. Well, I am corny. As long as people respond to it, I'm okay.
Sometimes things just click. The one contribution I tried to do, was shield the staff from the corporate politics that occur on any show. But yes, we all got along very well.
Modern animated movies are the products not of anyone’s individual vision, but rather a scattered accumulation of compromises made out of fear by members of large committees.
I think of a child's mind as a blank book. During the first years of his life, much will be written on the pages. The quality of that writing will affect his life profoundly.
I think the key as a creator is to just trust your own intuition, and follow your passion and trust that if you make something you love, an audience who loves it will find it.
It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.
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.
There is no law that says a man who earned a hundred million dollars in his first half-dozen years on the job has to be a decent human being, but Mike Eisner is that and more.