Pixar Quotes

A Mozart symphony is very much like a Pixar movie - in the sense that Pixar movies are hugely successful because they operate on several levels at the same time.

I feel kind of fortunate that over the last 25 years I've been in almost every Disney/Pixar film.

Pixar has outdone itself in visual magic and vivid storytelling.

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. Its a nice problem to have.

At Pixar, after every movie we have postmortum meetings where we discuss what worked and what didn't work.

Why would I ever want to run Disney? Wouldn't it make more sense just to sell them Pixar and retire?

I started at Pixar the month Monsters Inc. came out.

We know screwups are an essential part of making something good. That's why our goal is to screw up as fast as possible.

I had never touched a computer in my life before I came to Pixar.

I think it's the most extraordinary studio around. I would love to do my next project with Pixar.

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.

I think Pixar has the opportunity to be the next Disney - not replace Disney - but be the next Disney.

Pixar is seen by a lot of folks as an overnight success, but if you really look closely, most overnight successes took a long time.

Most people know me at Pixar as the guy that doesn't like to do sequels or very reluctant to do sequels.

If you have a kid and you try irony out on them, they don't get it at 7, 8 years old. You can't really hide the Internet from kids. It worries me some particularly because I've done Disney and Pixar stuff.

Working at Pixar has been like my graduate school for screenwriting.

I'm a big fan of the Pixar movies, and Ed Catmull, who wrote a book about his experiences producing them, talks about how it takes three or four years to get it right.

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.

The silliness-much of which is clearly intentional-is blended with some genuine grandeur. The Pixar touch is evident in the precision of the visual detail and in the wit and energy of Michael Giacchino's score, but the quality control that has been exercised over this project also has a curiously undermining effect. The movie eagerly sells itself as semitrashy, almost-campy fun, but it is so lavish and fussy that you can't help thinking that it wants to be taken seriously, and therefore you laugh at, rather than with, its mock sublimity.

After the song [for sausage Party] was finally done, we didn't have enough time, but we thought it would be fun. It also would've thrown it off a bit, because we really are doing more of an homage to Pixar, and if we filled it with songs, it would've felt more like Disney. And we had an experience, while we were making it, that going too Disney made it too weird.

Oh yeah, I'm still employed at Pixar and I love it here.

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

That's not how most of Hollywood does it-which helps to explain why Pixar does so well. How are you changing the game in your field? What is your distinctive take on how your industry operates? Do you work as distinctively as you compete?

Working at Pixar you learn the really honest, hard way of making a great movie, which is to surround yourself with people who are much smarter than you, much more talented than you, and incite constructive criticism; you'll get a much better movie out of it.

If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.

I play a lot of computer games. I love computer graphics. I've had Pixar in me for a long time.

The Pixar people continuously amaze me. They come up with something that actually looks as though it takes place in this happy, real-world. Every plot line is not just plausible, but oddly authentic. The stories are full of adventure, humor and love. The characters are written with great human dimension. I don't know how they do it but they astound me.

What makes Disney movies and Pixar movies always so good, hey take time and they're constantly honing, and tweaking, and rejiggering things, and taking influences from every cog, including myself, that can help. Any place where there can be inspiration. They make every moment very layered and very rich.

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.

The saddest day in Pixar history was when some guy said 'get Larry the Cable Guy on the phone.

Pixar has announced Larry the Cable Guy will be starring in Cars 3 thru 6. Howie Mandel will be playing his sidekick, Mopey the Moped.

Motion pictures are just beginning to live up to their true potential of being immersive experience - going from beyond black and white flickering images to fully immersive 3D color high-definition. You don't even know where the real world starts and the fake world begins. And yet, none of that's going to matter unless the story and the emotions that they allow us to become invested in are something that we can recognize. Pixar is able to do this in ways that almost defies speculation.

If I knew in 1986 how much it was going to cost to keep Pixar going, I doubt if I would have bought the company.

Quality is the best business plan.

Pixar films are not realistic. They are believable for the worlds we are creating.

One of the most poignant pieces of recent science fiction for me was the portrayal of the adults in the Pixar film WALL-E. I feel like we're on the cusp of becoming fat babies in floating chairs being fed everything in shake form, and I feel like I am as prone to laziness as anybody.

I don't want to fail, of course. But even though I didn't know how bad things really were, I still had a lot to think about before I said yes. I had to consider the implications for Pixar, for my family, for my reputation. I decided that I didn't really care, because this is what I want to do. If I try my best and fail, well, I've tried my best.

I never look back, darling. It distracts from the now.

At Pixar, I don't have to compromise at all. When I look at the finished "Toy Story 3," I don't sit and constantly think, oh, the actor was having a bad day, or oh, it rained and we couldn't use that set. The story that I wanted to tell is what is on screen, and I haven't had to compromise it one iota.

I felt a particular attachment, naturally, to the Superman character and really dug deep, but at the same time, I am a passionate fan, be it Star Wars, be it the entire Marvel catalog, be it the DC catalog, or the original thinking at Pixar. I'm a fan first, so I'm always curious to see the way people express themselves and how it's being done.

The thing that drives me and my colleagues at both Apple and Pixar is that you see something very compelling to you, and you don't quite know how to get to it, but you know, sometimes intuitively, it's within your grasp. And it's worth putting in years of your life to make it come into existence.

Pixar is the most technically advanced creative company; Apple is the most creatively advanced technical company.

We [film supervisors] always try to encourage discussion in the room because a lot of times newer animators who are just out of school or people come from other studios, they're gonna have different points of view and we want to make sure we're vetting all the ideas to get the best ones. A lot of people are shy about speaking up if this is their first time at Pixar or if they don't have a lot of experience, so we try to encourage that.

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.

Dr. Paul Ekman, who worked in San Francisco - still does - which is where Pixar Animation Studios is, he had early in his career identified six. That felt like a nice, manageable number of guys to design and write for. It was anger, fear, sadness, disgust, joy and surprise.

My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.

Now that had worked very successfully at Pixar, and he ended up adding one at Walt Disney Animation and one at DTS. So, I'm part of that Brain Trust where I sit in on all things creative for the whole studio, but especially in the Planes area.

Not everyone can become a great artist; but a great artist *can* come from *anywhere*.

There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.

Most Pixar films are better than most live action films.