Quotes of All Topics . Occasions . Authors
I'm lucky to be surrounded by incredibly talented people at Pixar, of course, and I learn a lot from them each and every day.
Steve Jobs is like a brother to me and he's one of the founders of Pixar, and when the first iPad came out, I got one right away.
I saw some Pixar movies like 'The Incredibles' and thought, 'This is extraordinary. These are some of the best movies I've seen.'
The way Pixar has always worked is that we think of an idea and then we make it. We don't develop lots of ideas and then pick one.
If I went back to live-action, I'd have to do it the Pixar way. If I didn't, I'd feel like I was walking a tightrope without a net.
Everybody involved in Pixar, I've not met one person who's not incredibly creative and nice and lovely and know what they're doing.
Anything that has to do with Disney and Pixar, I am on board with. That is where my heart and family are. So when they call, I jump.
It's hard dealing with day to day disappointments and feeling like you can't find success. Especially when your best friend is Pixar.
I am so proud that 'Up' is Pixar's 10th film. I think it's the funniest film that we've ever made and also one of the most beautiful.
The thing about Pixar, they don't do the 'trend is your friend.' They're really about timeless story telling, and that's pretty great.
I think Pixar's done an amazing job integrating art and science. They really get this idea that art and engineering work side by side.
When I first landed at Pixar, I felt like I found this creative oasis with John Lasseter... It's what you thought Hollywood was going to be.
I'd watch Pixar movies for, like, six hours, back-to-back. I'd watch 'Finding Nemo' twice a week, back-to-back-to-back, three times in a row.
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.
Everyone at Junction Point has been inspired by the creative folks at Pixar and Disney Feature Animation to make 'entertainment for everyone.'
Pixar is a community in the true sense of the word. We think that lasting relationships matter, and we share some basic beliefs: Talent is rare.
Pixar makes movies that make sense for Pixar, and Disney makes movies that make sense for Disney, and they've each emerged in their own unique way.
Hand-drawn animation is something that I feel really strongly about. A Pixar movie may be really great, but it looks like it was drawn by a machine.
When I was at Pixar, I was in my hole. I was an animator, I had my shots and I was like, "Yeah, I've gotta make this perfect!" It's a very selfish thing.
I love all three 'Cars' movies, and I honestly love almost all of the Pixar movies. They make you laugh, they make you emotional, and they bring back memories.
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.
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.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
The first 'Monsters, Inc.' represents starting at Pixar for me, I have a special place in my heart for it. So to be able to tell a story with those ideas is an honor.
Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject.
One of the effects Pixar University has on the culture is that it makes people less self-conscious about their work and gets them comfortable with being publicly reviewed.
I started off life at Pixar with interesting technical problems. But as time has moved on, I found that the social and management problem was far more complex and interesting.
To be in a Pixar movie is just great to begin with, and it has afforded me the opportunity to do a different medium because I have never done voice-over before. And I love it.
One of Pixar's key mechanisms is the Braintrust, which we rely on to push us toward excellence and to root out mediocrity. It is our primary delivery system for straight talk.
Apple is a wonderful company for its customers and investors. So, too, Pixar. (NeXT, not so much...) But Apple is also an engine of misery for its subcontracted Chinese workers.
Throughout Pixar's history, we've had major meltdowns and crises. It's happened throughout our history: you reach a certain point, it doesn't work, and you start all over again.
I mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.
I never heard one word in Pixar about, 'Will kids get this?' I don't think it's important that they get everything. I think that it's important that they get engaged, interested.
The thing about working at Pixar is that everyone around you is smarter and funnier and cleverer than you and they all think the same about everyone else. It's a nice problem to have.
At Pixar, we do a million versions of the movie, and every one of them goes through their awkward teenage phase where it's terrible and doesn't make sense, and we just keep working on it.
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.'
People will turn their noses up at a sequel or that type of thing, but Pixar really works hard - if they're making a sequel - to make a sequel an original movie, to make it an original story.
Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding. The voices of the toys in the 'Toy Story' films, for example, are never audible to humans.
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.
The goal is not to just do 'Video Game High School' every year. We want to grow into a real content production company. We want to be Pixar or HBO. We want to make five series a year or 10 series a year.
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.
I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the Lucasfilm computer division had been sold off and became Pixar.
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.
I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.
When it comes to producing breakthroughs, both technological and artistic, Pixar's track record is unique. In the early 1990s, we were known as the leading technological pioneer in the field of computer animation.
We've always had ups and downs at Pixar, starting with the high we felt doing something we'd never done - 'Toy Story' - and the low we felt right after when we realized we'd messed a bunch of things up along the way.
Actually, no, but I am close to the people who are working on Chicken Little, and I'm very close to the people over at Pixar. I mean, as far as stories are concerned, almost everything we have could be told that way.
In some ways, 'The Little Mermaid' was old-fashioned. Rendered in the hand-drawn style, it was the last Disney animated feature to use cels and Xeroxing. Pixar and its CGI imitators soon made that rigorous process obsolete.
I would say that Pixar is doing for animation what Chaplin did for film, infusing it with heart and characters that you care about and stories that you lose yourself in. They are similar revolutionaries and changing a medium.
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.