“I think, in Japan, animation isn't relegated to being a genre unto itself. It's just a medium by which you can tell any number of stories, be it horror or action or adventure or drama or whatever, and we're trying to do that as well. Every film that you go see from Pixar, we're hoping is a little bit of a surprise.”
“The way we work at Pixar is we write the script, but then we quickly move on into story reel, which is basically like a comic-book version of the film. And then we do our own dialogue and music and sound effects, all in an effort to be able to basically sit in the theater and watch the movie before we shoot it, essentially.”
“I love to go to the airports and just put on, like, dark glasses, so nobody can tell I'm staring at them, and just draw people.”
“Walt Disney wasn't making films for kids. Neither were the Muppets. A lot of the great, really cool films, they weren't making them for kids.”
“I like doing everything. That's why I came to Pixar, as opposed to Disney or any other studio - it's small. At the time I started, I was, like, the 10th person in the animation group, and we all had to do everything. That's the way I like it, keeping it fresh.”
“I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.”
“It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.”
“When people go to the theater, they don't want to think 'I know exactly what I'm gonna get,' and then they get it and then they walk out. I think you want to walk in going 'I don't really know what this is about,' and have the fun of discovering it.”
“I loved 'Dumbo.' I watched Bugs Bunny time and again. The Muppets were big, too. All of those, they have this real, not darkness but poignancy, that's what makes it stick with you.”