Quotes of All Topics . Occasions . Authors
I think cheese smells funny, but I feel bananas 'are' funny. I'm assuming Swamp told the whole story of the executives seriously asking us to replace the banana with cheese because they thought it was funnier.
You buy any book on color theory today, and it's just complete poppycock. Everybody comes out of school painting pink, purple and green. The whole damn cartoon industry has pink purple and green on their mind.
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.
Being a celebrity doesn't even seem to keep the fleas off our dogs — and if being a celebrity won't give me an advantage over a couple of fleas, then I guess there can't be much in being a celebrity after all.
I think the No. 1 lesson I learned from 'The Simpsons' was just that animation could be as funny as live-action. That animation could be funnier than live-action. That animation didn't have to just be for kids.
The author O. Henry taught me about the value of the unexpected. He once wrote about the noise of flowers and the smell of birds—the birds were chickens and the flowers dried sunflowers rattling against a wall.
The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.
I was shocked. They were going to give me money to make this really odd show? Well, I still had little thought of it going to series, but I thought it was great that my next short film was going to be paid for.
In most instances, the driving force behind the action is the mood, the personality, the attitude of the character - or all three. Therefore, the mind is the pilot. We think of things before the body does them.
The fantastical images in my works are descriptive in a different way - a metaphorical way - that removes you from reality. Then, this visually removed point of view allows you to deal with a very heavy subject.
The author O. Henry taught me about the value of the unexpected. He once wrote about the noise of flowers and the smell of birds - the birds were chickens and the flowers dried sunflowers rattling against a wall.
People who draw tend to think they're craftsmen, so they really want to hang onto their pens and papers, but it's not terribly productive. To be honest with you, it's faster and easier to start with the computer.
Childishness? I think it's the equivalent of never losing your sense of humor. I mean, yes there's a certain something that you retain. It's the equivalent of not getting so stuffy that you can't laugh at others.
If you ask anyone in animation, how long they've been into animation, they'll pretty much always tell you that it's since they can remember, and I'm no exception. I've always just loved drawing and loved cartoons.
The most exciting and, by far, the most important part of our Florida project, in fact, the heart of everything well be doing in Disney World, will be our experimental prototype city of tomorrow. We call it EPCOT.
If you make a fool of yourself in front of a cat, he will sneer at you, if you are sober; he will leave the room if you are drunk. If you make a fool of yourself in front a dog, he will make a fool of himself, too.
'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.
Whenever I get the sort of fancy pants idea that I'm doing anything other than pure expression things start to go wrong. When I get too premeditated, things start to go wrong. I just shut that part of my brain off.
Almost any problem, whether it's telling a family story, or telling a network-quality story, or answering a network note, becomes essentially instantly solvable, because you have a bunch of brains sitting in a room.
Actually, I don't really draw that well. It's just that I don't stop trying as quickly. I keep at it. I happen to have high standards and I try to meet them. I have to struggle like hell to make a drawing look good.
There's a weird thing about me and characters with hair, from Ariel or Pocahontas to Tarzan with his dreadlocks and now Rapunzel... it's like I'm trying to make up for some loss in my life, I don't know what that is.
Main Street, U.S.A. is America at the turn of the century--the crossroads of an era. The gas lamps and the electric lamp--the horse-drawn car and auto car. Main Street is everyone's hometown- the heart line of America.
At one point, I animated villains in our stories, a bear or a giant, then on The Little Mermaid Ariel just called to me and I started to fall in love with characters who had that burning desire inside of them, this hope.
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.
I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it's a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.
Many years after animating Ariel, I continue to draw her, doodling as I talk on the phone, absent-mindedly passing time in a sketchbook. She has become a part of me and yet now belongs to the world and generations to come.
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.
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.
Anyone who knows me, knows I don't walk away from a commitment, but I had a commitment to myself. Yes, there were times Nickelodeon made it more difficult than it needed to be, but there were also times they made it easier.
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.
I was working in a gaming company, but I really wanted to make animation. I didn't really have anything special, no special tools at my disposal, so I used what I had on hand like Photoshop, and that's really how I started.
The more you are like yourself, the less you are like anyone else which makes you unique. The problem with most people is that they spend their lives trying to emulate others and so we have lots of copies but few originals.
A prayer, it seems to me, implies a promise as well as a request; at the highest level, prayer not only is a supplication for strength and guidance, but also becomes an affirmation of life and thus a reverent praise of God.
I think why people relate to 'Star Wars' is George Lucas is so brilliant at telling these stories that we relate to, but in such a fantastic environment with fantastic characters and things you want to believe in this story.
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.
Disneyland will always be building and growing and adding new things... new ways of having fun, of learning things, and sharing the many exciting adventures which may be experienced here in the company of family and friends.
Suddenly he stops. He looks up. For, lo, there she stands. The girl of his dreams. Who she is or whence she came, he knows not, nor does he care for his heart tells him that here, here is the maid predestined to be his bride.
Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.
In timing a film, we used to assume that sneaks move slowly. This was great for animators-thirty-six to forty-eight drawings for a single step-but it was sheer hell for the pace of the picture. So the rapid tiptoe was invented.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
When you're doing an animated series, you tend to pitch storyboards. You write a script and then you draw a comic version of that script and put it up on big boards, and then you pitch it to a big room of executives and writers.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
To me, today, at age sixty-one, all prayer, by the humble or highly placed, has one thing in common: supplication for strength and inspiration to carry on the best human impulses which should bind us together for a better world.
Fortunately for me, I'm married to an amazing woman - Nancy Lasseter - who is wise enough not to let me buy every car I want. If I was single, I would be living in a very small apartment and renting a warehouse full of cool cars.
There's only one test of a great children's book, or a great children's film, and that is this: If it can be read or viewed with pleasure by adults, then it has the chance to be a great children's film, or a great children's book.
I have come to know Bugs so well that I no longer have to think about what he is doing in any situation. I let the part of me that is Bugs come to the surface, knowing, with regret, that I can never match his marvelous confidence.
I have never seen a game's graphics look so sharp and clean. The sound design for the game is also unique on the Xbox. The memory on this system allowed us to provide the user with 5.1 Dolby surround sound for home theatre owners.
Too many people grow up. That's the real trouble with the world, too many people grow up. They forget. They don't remember what it's like to be 12 years old. They patronize, they treat children as inferiors. Well, I won't do that.
[W]hen the coyote falls, he gets up and brushes himself off; it's preservation of dignity. He's humiliated, and it worries him when he ends up looking like an accordion. A coyote isn't much, but it's better than being an accordion.