John Lasseter Quotes
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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.
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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.'
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If you've seen 'Spirited Away', 'Spirited Away' is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.
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When you really study espionage movies, or spy movies, the beginnings are really set up to have, like, an amazing bit of action, but at the moment you're watching it, you have no idea why or what it's about.
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Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.
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'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.
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I would get so into playing as a kid that I'd lose track of time.
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I'm a big Disneyland nut.
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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.
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Pixar is not about computers, it's about people.
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I believe God is in the details.
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Every Pixar film, when we start developing the story, it takes about four years to make one of our films.
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If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.
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Rotten Tomatoes is such a great website, in that it has one foot in the Internet world and one foot in the cinema world, and it keeps its grounding between them just perfectly.
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'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.
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My mother was a high school arts teacher, so I was always surrounded by the arts.
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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.
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I've got Disney blood running through my veins.
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Today, among little girls especially, princesses and the romanticised ideal they represent - finding the man of your dreams - have a limited shelf life.
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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.
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My brother liked sewing and sculpting and making things, and my sister sewed and painted and cooked and baked. She's a professional baker now and makes the most gorgeous sculpture-like cakes. She's the queen of wedding cakes in the Lake Tahoe area.
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With science, there is this culture of experimentation, and most of the time, those experiments fail.
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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.
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The magic of Disneyland, walking through the tunnel underneath the train station to Main Street, it just transports you to other places and other times.