A man should never neglect his family for business.
The flower that blooms in adversity is the rarest and most beautiful of all.
I am in no sense of the word a great artist, not even a great animator; I have always had men working for me whose skills were greater than my own. I am an idea man.
You're off to Great Places! Today is your day! Your mountain is waiting, So... get on your way!
Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody. I guess that’s the job I do.
Disneyland is like Alice stepping through the Looking Glass; to step through the portals of Disneyland will be like entering another world.
To have a film where there's an evil figure and a good person fights against the evil figure and everything becomes a happy ending, that's one way to make a film. But then that means you have to draw, as an animator, the evil figure. And it's not very pleasant to draw evil figures.
I love the nostalgic myself. I hope we never lose some of the things of the past.
Too many of Disney animators, and a lot try to emulate Disney, are trying to hit what they call quality levels. They're boring mannerisms.
If the animators could hide something so secretly that I could watch it numerous times, both on the computer and on the screen, and not pick up on it, then it deserves to be in the movie. But if they had more overt things, I'd often tell them to cut it out. In general, as long as they captured the spirit of the character, then they're fine. But sometimes it took a while, and we had to replace a lot of animators.
The scary thing about the future... there will be tiny cameras everywhere, and they'll be flying around like mosquitoes and drones. That will be bad. Drones are scary. You can't reason with a drone.
Why be a governor or senator when you can be king of Disneyland?
It is a curious thing that the more the world shrinks because of electronic communications, the more limitless becomes the province of the storytelling entertainer.
Disneyland really began when my two daughters were very young. Saturday was always Daddy's Day and I would take them to the merry-go-round, and sit on a bench eating peanuts while they rode. And sitting there alone, I felt there should be something built, some kind of family park where parents and children could have fun together.
Disneyland would be a world of Americans, past and present, seen through the eyes of my imagination--a place of warmth and nostalgia, of illusion and color and delight.
Landscapes of great wonder and beauty lie under our feet and all around us. They are discovered in tunnels in the ground, the heart of flowers, the hollows of trees, fresh-water ponds, seaweed jungles between tides, and even drops of water. Life in these hidden worlds is more startling in reality than anything we can imagine. How could this earth of ours, which is only a speck in the heavens, have so much variety of life, so many curious and exciting creatures?
Every great artist must begin by learning to draw with the single line, and my advice to young animators is to learn how to live with that razor-sharp instrument or art. An artist who comes to me with eight or ten good drawings of the human figure in simple lines has a good chance of being hired. But I will tell the artist who comes with a bunch of drawings of Bugs Bunny to go back and learn how to draw the human body. An artist who knows that can learn how to draw ANYTHING, including Bugs Bunny.
People who get into animation tend to be kids. We don't have to grow up. But also, animators are great observers, and there's this childlike wonder and interest in the world, the observation of little things that happen in life.
The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.
Sometimes I am just playing the character. I will move out of the way of the microphone, and they will have to tell me. Because I am moving around a lot. I am performing the cat. The animators look for that material, to see if they can put it back into the movie.
When animators weren't sleeping, they were drinking.
My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.
In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.
I want to see abstract art move. Especially in the '30s, you had animators doing innovative work, and I was entranced by that. It's basically what you see when you close your eyes, when you fall asleep.
Animation is so much work! I don't know if I have the skills to really hack that. Maybe as storyboard artist or something like that. But you have to go to school to be an animator. I can't just pop behind the animator's table and be like, "Here I am.".
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