I think that the entertainment industry and the entertainment press tends to focus on opening weekend box office as a measure of the success of a film and I think the true success is out there in people's homes and how much they absolutely love these characters.
The spy genre is something I loved.It also extends to the bad guy because I think, to me, what I love the most about the spy genre is when you have a great bad guy. What makes a great bad guy, to me, is the logic. What he's about has to make sense to me, that if I was in his shoes, yeah, right, that makes sense.
I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.
Pixar films are not realistic. They are believable for the worlds we are creating.
Toys are put on this Earth to be played with by a child.
People have a real love of looking at small worlds - something inside them is innately attracted to that 'miniature' realm.
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.
My father pulled into Pearl Harbor four days after the bombing, and he said, everything was still burning. He said they never told the public how bad it was. It was really bad.
I just devoured all of his [Buster Keaton’s] films because his sense of comic timing was amazing. He’s the closest a human being has ever come to a cartoon character. And I was just amazed at his sense of character and timing, the humor. It's all just so…sophisticated, even when you watch it today.
When I look at the success I have, it's because of my creative thinking skills.
A gem of a short film has a sense of pure joy in animation that is different from anything you see in a feature film.
One of the fun things about play is making up stories.
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.
I'm the biggest fan of animation. I love the history of animation, I know it well.
I've got Disney blood running through my veins.
I worry about kids today not having time to build a tree house or ride a bike or go fishing. I worry that life is getting faster and faster.
'Bambi' is an amazing film, and when you watch it today, it's just as beautiful. It's timeless. It's just as beautiful today as it was back then.
I always loved the idea of a spy movie and part of it came from my personal love of spy movies. It started when I was growing up as a little kid in the 60s.
Soon I learned that the worse the puns and jokes, the funnier they could be, if you knew how to deliver them.
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.
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.
There is such amazing talent at Disney. My job is 100% creative, and I am very excited to creatively lead them.
Every young person gets so excited about new software packages and new technology.
What's fun about the story development at Pixar is it's a journey. You don't just write a script and then that's the movie you make. It's just constant evolution and being open to that and that collaboration with the voice actors and with the artists and animators at Pixar.
One of the big technical advances that's really great looking is the water.
