Dreamworks Quotes

Stories are best when they 'emerge' from the depths, and when built in a painting from early sketch through the three-act process to The End, it is a perfect pathway to the unconscious stories set in our dreamwork.

As I said, i'm very quiet, i don't go around saying "I'm awesome!" but when I brought in my portfolio into DreamWorks and showed them what I could do, my art style is a lot wilder than I am.

Oriental DreamWorks did a lot of the surfacing of the village [in Kung Fu Panda 3] and you know all the little paintings on all the gables and everything? They have meaning, and they could do that because they know what that means, we don't necessarily know about that over here.

If there is any truth to my parenting the dreamwork movement, it comes from the power of the press.

We'd all [with Mike Mitchell] been together at Dreamworks for over ten years, so we all had the same goals.

Twelve days north of Hopeless and a few degrees south of Freezing to Death

I loved DreamWorks and Pixar, and I still love kids’ films...

Actually, we got signed in November of 2000 with Dreamworks which is the most amazing label. We have friends on other labels and though we are not selling millions of records, yet, they treat us with tons of respect and give us some very good guidance.

One should share their dreams with others right away in the morning. One can use my Lightning Dreamwork process. First, the person shares the dream without being interrupted. Then each person shares their thoughts about the dream by saying, "If it were my dream," not presuming to tell the person what the dream means in an objective way. Lastly, the dreamer is helped to make an action plan for embodying the energy and guidance from the dream.

You have to remember that writing those sorta songs is not reality, it's more like trance, dream, y'know, like dreamwork. The mythical thing can enter the creating but there's the mythical place and the real place. And there's both...I get it between waking and sleeping. Or, when I'm doing something else. I don't sit down and think I'm gonna write about subject X or subject Y. I could be doing something and an impression comes in from outside and the song emerges out of that. It's never thought about or contrived.

You might have seen a housefly, maybe even a superfly, but I bet you ain't never seen a donkey fly! Ha, ha!

A person often meets his destiny on the road he took to avoid it.

A company like DreamWorks, all we do is make product. That's all we do. We don't own distribution. We are purely in the creation of content.

I'd made pretty clear to the people at Paramount and Dreamworks that, if they wanted Lemony Snicket to comment, he would be completely horrified by the entire film. And as long as they understood that, it was okay. I'm not much of a fan of DVD commentaries myself, so this was my way of getting revenge, in a sense, for all the puffed-up directors and stars who talk endlessly about the self-aggrandizing minutiae of making a movie.

When I came to DreamWorks, I was in bad trouble. They were in bad trouble. They were millions of dollars in the hole and a few days from closing their doors. I was on my last leg.

If DreamWorks and Disney need that name to sell the cartoon and get people in the seats, that's what they need. It's not fair, but there's plenty of other work for us to do.

My earlier days were all about playing, writing songs and producing songs. In the early 90's my former wife, Marylata Elton, got tapped to run the music department for DreamWorks. She worked right under Hans Zimmer during the heady days of Prince of Egypt, Shrek, Chicken Run, Gladiator just to name a few. She was and still is, one of the great music executives and has quite a career path of her own.

After six years of working on low-budget independent films of the too-weird-to-watch variety, being asked by DreamWorks to come and play with the big boys, it was like finding an unicorn in your sock drawer.

Marylata [ Elton] introduced me to Hans Zimmer. Hans tapped me [to] work on songs for DreamWorks' animated features. I arranged Elton John's opening main title for The Road to El Dorado, I played guitars on Shrek for Harry Gregson-Williams and John Powell, I co-produced "I Can See Clearly Now" for Antz.

There is nothing like Integral Dreaming in the literature. This is an ambitious undertaking and its readers will gain an in-depth understanding of dreams and dreaming that they will find nowhere else. The ‘five movements’ of Integral Dream Practice will encourage many readers to follow the steps outlined, and integrate dreamwork into their own lives. This book will be an instant classic in the field.