Lee Unkrich Quotes
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We go to movies to be taken away to another place, to be dazzled, to dream, to hopefully be filled with wonder. The design of the world and the look of the film is all in service of trying to create that feeling of wonder in the audience.
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Pixar is filled with people who don't get rid of their toys.
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When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.
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We know that families and kids are going to be an important part of our audience, so we've always made sure that we've picked subject matter that was appropriate for kids. But I think if you try to target a movie to kids, you're going to fail.
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When you think about it, the most important thing to a toy is to be played with by a child, and anything that keeps them from being played with gives them stress - things like getting lost, getting broken.
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I'd really love to watch David Lynch work, to be a fly on the wall.
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In the earliest days of Pixar, when we were making 'Toy Story' and 'A Bug's Life,' we all came together as a group.
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It's an incredible honor to be nominated by the Academy.
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With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.
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It is shocking how much a day-care center is like a prison. They both have security cameras with walled exercise yards. Prisons are permanent day cares for people permanently in time-out - convicts.
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I saw a lot of movies that I probably shouldn't have seen. I saw 'Dog Day Afternoon' when I was in first grade - that kind of thing.
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Every one of us at Pixar is worried that we're going to be the one to make the dud.
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We could make the most beautiful film in the world, but if it doesn't have a heart beating underneath it, then no one's going to be interested.
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Finding a good kid actor is like finding a needle in a massive haystack.
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I ended up being exposed to cinema that a lot of other kids wouldn't have been exposed to.
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It's important that nobody gets mad at you for screwing up. We know screwups are an essential part of making something good.
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I didn't want to be the guy who screwed up 'Toy Story.'
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The walls between live-action and animation are becoming really porous, and it's interesting.
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I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
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We hope 'Toy Story 3' looks amazing but still retains the character design of the first film. I like to think it looks like 'Toy Story' would have looked back then had we had the skills and the technology.
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The only reason we made 'Toy Story 2' is that we happened to come up with a storyline that was really good. It wasn't driven by wanting to make a sequel.
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I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
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I really personalized the pressure to make a good 'Toy Story' film. It made me physically sick at the beginning. Literally, I wanted to throw up in the morning because I was just so racked with stress.
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It wasn't the first film to show a kind of alternate vision of suburbia, but it left an indelible impression, I think, on everybody, and all films like that will forever be measured against 'Blue Velvet.'