Pixar is the most technically advanced creative company; Apple is the most creatively advanced technical company.
Not everyone can become a great artist; but a great artist *can* come from *anywhere*.
I never look back, darling. It distracts from the now.
Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'
Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject.
As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel.
Oh yeah, I'm still employed at Pixar and I love it here.
I think it's the most extraordinary studio around. I would love to do my next project with Pixar.
Most Pixar films are better than most live action films.
Quality is the best business plan.
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.
I had never touched a computer in my life before I came to Pixar.
I think Pixar has the opportunity to be the next Disney - not replace Disney - but be the next Disney.
I loved DreamWorks and Pixar, and I still love kids’ films...
What's fun about the story development at Pixar is it's a journey. You don't just write a script and then that's the movie you make. It's just constant evolution and being open to that and that collaboration with the voice actors and with the artists and animators at Pixar.
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.
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.
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.
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.
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.
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.
Well, we try to - we definitely try to have a balance. And I think things have gotten a lot better at Pixar. When we did "Toy Story," that was an all hands on deck situation that really was time intensive.
I feel kind of fortunate that over the last 25 years I've been in almost every Disney/Pixar film.
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.
Pixar has outdone itself in visual magic and vivid storytelling.
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