Quotes of All Topics . Occasions . Authors
I took a job at the Walt Disney Company and after 18 months decided to go to business school at Harvard. I was awestruck by the campus. My first reaction was 'I don't belong here.' Then I said, 'I'm here; let's get on with it.'
As far as the timing, well, I'd write that off to luck as much as anything - I happened to be out looking for a development deal, and Disney happened to think my team and I might be the right people to make a Mickey Mouse game.
I definitely want to keep on doing Broadway. But maybe when I get tired of Broadway, I'll want to move onto some Disney shows or movies or being a pop star. In general, I think I'll stick with performing and acting and singing.
There's no reason to think Disney is going to stop wanting to make 'Star Wars' movies if there's quality and there's interest. It has unlimited potential. It has a huge number of characters, worlds... It's a massive playground.
I loved 'The Secret of NIMH.' When that came out, it felt like, 'Wow, this is something really, really new.' It looked like a Disney film, but it felt very cutting edge to me. To a twelve-year-old kid, it seemed very inspiring.
Our partnership with Disney included a two-hour Cinderella list takeover that features supermodel Coco Rocha's first-ever fashion collection, which incorporated behind-the-scenes footage and interviews to support her HSN debut.
I've been a Fellow in a number of companies: Xerox, Apple, Disney, HP. There are certain similarities because all the Fellows programs were derived from IBM's, which itself was derived from the MIT 'Institute Professor' program.
When I auditioned for 'Jessie,' I knew that Disney Channel basically will do 100 episodes of a show if it's a hit; they'll stick with something. It's a great network to work with because they make a nice big commitment to a show.
I was eight years old when Miley Cyrus made her debut on Disney Channel's 'Hannah Montana' and beginning my senior year of high school when she delivered the VMAs performance that single-handedly butchered the teddy-bear industry.
Whether we think of Disney's blonde beauty and her pumpkin carriage or Marissa Meyer's recent recasting of 'Cinderella' as a cyborg in the young adult novel 'Cinder,' we know that there are countless modern retellings of the tale.
Honestly, I'm interested in politics; I'm interested in giving back in some form, performing some sort of civic duty. But I'm not exploring a run for governor or senator or anything along those lines. I'm focused on running Disney.
I had done a bunch of stuff before I even went to Disney. I'm so grateful for what Disney gave me and the experiences that I got, but at the end of the day, I can do so much more than what I did on that channel and in those movies.
One of my biggest Disney influences in terms of world-building on this record was a background painter named Eyvind Earle, who was working in the '50s. He would make hyper-modern shapes that were sharp retellings of pastoral themes.
The only way to describe my involvement in 'Planes' is that it's an absolute dream come true for me. Getting to be a bad guy in any project is fun, let alone being a Disney villain. I can't imagine anything getting better than that!
One of my earliest memories is being inside the recording studio and I see the shadow of a figure that looks an awful lot like Walt Disney. Then the door opened and Mr. Disney walked in and said, 'Hi Clint.' I won't ever forget that.
Working with Disney is really and truly like working with a family. Everyone is so supportive and so wonderful. I've worked with Disney since I was twelve, and they've given me so many opportunities that I'll forever be grateful for.
Luckily, I went to school at CalArts, and then ended up here at Disney, starting in the Animation Building and working my way up. I started as an animator, and then did character designing and storyboarding, and eventually, directing.
We are Disney, in a sense. When you've been there for 20 years, there's a certain heart and soul to one of those films, and you inhabit that to a certain degree. So if it feels true to you, then your audience will hopefully go for it.
Walt Disney got away with portraying me in the light that they were portraying me in. I have always been a fighter, so... But I have no regrets, man. It's just like God brought me through the drugs, I know he'll bring me through this.
There was a guy that I got to know pretty well - Joe Grant. He was one of the creators of Dumbo and worked side-by-side with Disney. Being a total Disney nerd, I was obsessed with asking him questions. He was 92 when I got to know him.
People talk a lot about, 'You're a Disney princess! You're Cinderella!' and this and that. But for me, it's all about the fact that I worked with Cate Blanchett and was directed by Kenneth Branagh. That's the 'Cinderella' story for me.
I don't remember my first trip, but I do remember when my mom took me to Disney World in Orlando. It wasn't the rides but Epcot Center that most fascinated me. It made me want to see those countries that are represented there for real.
The picture is being promoted as Disney's 'Spirited Away,' although seeing just 10 minutes of this English version of a hugely popular Japanese film will quickly disabuse any discerning viewer of the notion that it is a Disney creation.
I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
Who doesn't love a Disney princess, and who wouldn't want to be one? Belle is my favorite. She's the smart, awkward, and adventurous. She doesn't have too many friends - goes off and hangs out with talking silverware. I think it's great.
The NFL has gone a long way to Disney-fy its image, but it's not Disney. It's the MMA. It's a violent, brutal human war, with rules. The same guy who says, 'I'm going to rob everybody,' is the same guy who would be successful in the NFL.
When Disney was creating Elsa, they based a lot of her movements on that of a ballerina, which was interesting for me to find out because I actually did ballet years ago. That definitely informed some of the ways I made her walk and move.
One reason for keeping Disney animation separate from Pixar was that by solving their own problems when they finished a film, Disney could say, 'Nobody bailed us out; we did it.' And it's a very important social thing for them to do that.
I was just a little girl watching TV and wanting to be in it. My parents had no idea how to get me there, but here I am as a part of this great cast on the Disney Channel. Truly, if you just want to do this, then you have to commit to it.
I think this is a trait that runs throughout the queer community, the obsession with the hyper-feminine female villains. And we see it in Disney movies and in movies like 'Death Becomes Her,' and in characters like Poison Ivy and Catwoman.
The Walt Disney Animation studio is the studio that Walt Disney started himself in 1923, and it's never stopped and never closed its doors and never stopped making animation, and it keeps going as kind of the heart and soul of the company.
My ideal beach house has bookshelves full of paperbacks that can tolerate a little sand, a DVD library that includes some Disney classics for the little ones, board games, and jigsaw puzzles. At least one big flatscreen television is a must.
Innocent parents might have thought that a musical cartoon version of a fairy tale would be a child's ideal introduction to movie magic. Yet Walt Disney taught moral lessons in the most useful way: by scaring the poop out of the little ones.
I think I'm going to put together a compilation under Disney's name of my songs that I've done for them - because I've done six or seven by now! The latest was for the Princess Diaries 2 soundtrack. So that's the next thing that's coming out.
When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.
Cogsworth, the character I did on 'Beauty and the Beast,' could be a bit flamboyant onscreen, because basically, he is a cartoon. But they didn't want Cogsworth to become Disney's gay character, because it got around a gay man was playing him.
Disney, who brought joy, arguably, to billions of people, was, perhaps, or had some... racist proclivities. He formed and supported an anti-Semitic industry lobby. And he was certainly, on the evidence of his company's policies, a gender bigot.
We moved amazingly fast because our product was acceptable to a broad market: tots, teenagers, adults. Even to some people who never before liked cartoons. When we started we knew Disney already had the kids. So we figured we should be broader.
I did this film called 'Prom.' It was a Disney movie. And at that point, I didn't know what the hell I was doing. I had no idea how to act. It was purely instinctual. I just remember the first scene I did and the first take, it feeling so right.
More than just a zoo, the Animal Kingdom is an extraordinary experience of animals, rides and performances. The exhibits have the scale and creativity you associate with Disney. The African safari ride is terrific and worth riding several times.
Growing up, I was always really inspired by Disney, and I had a great love of everything they created. My mum was huge fan, and she used to collect stills, and so they were all around the house, and we very much grew up on the early Disney films.
I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.
I even went to film school at School of Visual Arts in New York City. And then, after that, I got a day job at Universal publicity department, then moved over to Disney publicity department. So I had this day job, and at night I would study music.
Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.
If Disney wants ideas for a princess, make her an independent woman, one who is not afraid to face the daily struggles of life, and refuses to wear expensive dresses. Because we all know life is messy, and those dresses are too pretty to get dirty.
When Courtney's mother and I first separated I tried to be Disney Dad, showering her with gifts, trips and then I snapped out of it. You don't have to try to impress your kids. If they're not getting what they need from you, they will let you know.
At one point, I was hell-bent on being a Disney animator, and sort of got over that in college and wanted to do my own stuff. You know, towards the end of college I had actually planned to go to the Boston Conservatory of Music for musical theater.
I'd love to do an action film. I'd love to do a film based on a book series; I love to read the book and then go see the movie. I'd love to have a show on Disney; I love working for them. And I'm also working on getting some new music out of my own.
I was very impressed by Walt Disney and the idea that you could have a dream and you could realize it to the point where people could walk around within it... It still resonates with me. I wanted to be somebody who believed in their ideas that much.
I was kind of the black sheep with the Disney kids. I was uninterested in making friends with most of them. I didn't really fall into 'the Disney mold.' I was more or less the kid hanging out with the crew members and got along with them far better.