It has that thing - the imagination, and the feeling of happy excitement- I knew when I was a kid.
If I can't find a theme, I can't make a film anyone else will feel. I can't laugh at intellectual humor. I'm just corny enough to like to have a story hit me over the heart.
Sheer animated fantasy is still my first and deepest production impulse.
We call it EPCOT, spelled E-P-C-O-T: Experimental Prototype Community of Tomorrow. Here it is in larger scale. EPCOT will take its cue from the new ideas and new technologies that are now emerging from the creative centers of American industry. It will be a community of tomorrow that will never be completed, but will always be introducing and testing and demonstrating new materials and systems. And EPCOT will always be a showcase to the world for the ingenuity and imagination of American free enterprise.
We've got to fight against bigness. If a school gets too large, you lose an intimacy with the students; they begin to feel they're just part of a big complex. I don't think you can create too well in a big plant. That's why I always tried to avoid bigness in the studio.
You're flying Buzz! No Woody we're falling in style!
A good ending is vital to a picture, the single most important element, because it is what the audience takes with them out of the theater.
There is nothing wrong with good schmaltz, nothing wrong with good heart... The critics think I'm kind of corny. Well, I am corny. As long as people respond to it, I'm okay.
Childishness? I think it's the equivalent of never losing your sense of humor. I mean, yes there's a certain something that you retain. It's the equivalent of not getting so stuffy that you can't laugh at others.
When we opened Disneyland, a lot of people got the impressions that it was a get-rich-quick thing, but they didn't realize that behind Disneyland was this great organization that I built here at the Studio, and they all got into it and we were doing it because we loved to do it.
I don't want the public to see the world they live in while they're in the Park (Disneyland). I want to feel they're in another world.
There are fashions in reading, even in thinking. You don't have to follow them unless you want to. On the other hand, watch out. Don't stick too closely to your favorite subject. That would keep you from adventuring into other fields. It's silly to build a wall around your interests.
Well I come from a land, from a far away place, where the caravan camels roam. They will cut of your ear if they don't like your face, it's babaric, but hey, it's home.
I resent the limitations of my own imagination.
I have long felt that the way to keep children out of trouble is to keep them interested in things.
Disneyland is a work of love.
Perhaps Bach and Beethoven are strange bedfellows for Mickey Mouse, but it's all been a lot of fun.
All you've got to do is own up to your ignorance honestly, and you'll find people who are eager to fill your head with information.
In my work I try to reach and speak to that innocence, showing it the fun and joy of living; showing it that laughter is healthy; showing it that the human species, although happily ridiculous at times, is still reaching for the stars.
I just want it to look like nothing else in the world. And it should be surrounded by a train.
Why would I want to be president? I'm the king of Disneyland.
There is a natural hootchy-kootchy motion to a goldfish.
Over at our place, we’re sure of just one thing: everybody in the world was once a child. So in planning a new picture, we don’t think of grown-ups, and we don’t think of children. But just of that fine, clean, unspoiled spot down deep in every one of us, that maybe the world has made us forget.
If anybody gets highbrow around the studio, out he goes.
I have never been interested in personal gain or profit. This business and this studio have been my entire life.
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