Top 187 Quotes & Sayings by John Lasseter - Page 2

A good part of my leadership skills is crafted from learning from experiences early in my career that were not positive experiences.

In an animated film you can do whatever you want, but that doesn't mean you should do everything you want.

Take any movie with an actor you like. Turn your head and just listen to the performance. In some cases, the physical presence remains as strong when you can't see the actor, when it's just the voice.

I try to make pictures I would want to see.

'Bolt' was made by Walt Disney Animation Studios, not by Pixar.

I loved animation and cartoons, even when it was not cool when you were in high school. I raced home to see the Bugs Bunny cartoons.

My father pulled into Pearl Harbor four days after the bombing, and he said, everything was still burning. He said they never told the public how bad it was. It was really bad.

I am so proud that 'Up' is Pixar's 10th film. I think it's the funniest film that we've ever made and also one of the most beautiful.

For me, personally, I will always do G-rated films, which the world needs more of.

Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.

I've often heard people say that managing creative people is the hardest thing in the world. 'They're never happy, they drive up the cost of things, blah blah blah.' I just manage people the way I always wanted to be managed. That is, to be creatively challenged, but never to be told what to do.

Winnie the Pooh and his friends from the Hundred Acre Wood are among the most entertaining and beloved characters ever animated by Disney.

I'm a big fan of pantomime storytelling, being an animator.

At Pixar, we've been huge fans of any new technology that makes the viewer experience of our movies better. Blu-ray is the best yet because the picture quality, especially for our movies, is unbelievable.

Pixar has been compared to fine furniture makers who polish the backs of drawers - even if you don't see everything in a particular scene, you still feel that every little detail has been met.

I'm really proud of 'Cars.' 'Cars,' when it first came out, got probably the most mediocre reviews of a Pixar film.

I never quite understood why Disney hadn't made a sincere fairy tale since 'Beauty and the Beast.'

When I started work with LucasArts Computer Division back in 1984, I went to the Palace of Fine Arts and saw the Festival of Animation for the first time. I loved the diverse collection of animated films the festival held.

The hardest thing to get is true emotion. I always believe you need to earn that with the audience. You can't just tell them, 'Ok, be sad now.'

Today, among little girls especially, princesses and the romanticised ideal they represent - finding the man of your dreams - have a limited shelf life.

I would get so into playing as a kid that I'd lose track of time.

I was born in 1957, so when I was a kid, there wasn't anything called a video game. When 'Pong' came out, it was awesome.

You know, going to the movies has always been recession-proof. It's fairly cheap entertainment; it's classic escapism.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.

I laugh very hard at work every day.

At Pixar, we do sequels only when we come up with a great idea, and we always strive to be different than the original.

I don't really think of myself as a businessman at all. That's why I have the 'chief creative officer' role.

I love bringing the inanimate object to life.

I'm a car nut. My father was a parts manager at a Chevrolet dealership.

I think the best movie ever made was 'Dumbo.'

I was mentored by great Disney animators at the end of their careers.

I'm a big Disneyland nut.

Nobody pays attention to the way a person's shirt folds around his shoulder when they sit down, but if that shirt folded in an unusual way, you'd notice it.

Of all studios that should be doing 2-D animation, it should be Disney.

Car love is the sound of a throaty V-8 rumbling and revving, the acceleration throwing you back in the seat - especially when you get on a beautiful, winding road and the light's dappling through the trees.

To me, I would much rather be part of a healthy industry than being the only player in a dead industry.

Every Pixar movie at one time was the worst motion picture ever made.

Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.

Rotten Tomatoes is such a great website, in that it has one foot in the Internet world and one foot in the cinema world, and it keeps its grounding between them just perfectly.

I love Japan. I love the collision of the modern and ancient worlds coming together in that place. It's so high-tech and cool.

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

'Bambi' is an amazing film, and when you watch it today, it's just as beautiful. It's timeless. It's just as beautiful today as it was back then.

If you've seen 'Spirited Away', 'Spirited Away' is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.

The way the films look will never entertain an audience alone. It has to be in the service of a good story with great characters.

I don't believe that an animation studio should be an executive-driven studio.

Pixar is not about computers, it's about people.

If you think something's stupid, it probably is.

I love working for a company full of geeks.

When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'

I love the Sonoma wine community. It's like Pixar - nothing competitive, only supportive. They're always rooting for you.

The Walt Disney Animation studio is the studio that Walt Disney started himself in 1923, and it's never stopped and never closed its doors and never stopped making animation, and it keeps going as kind of the heart and soul of the company.

'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.

The only thing Steve Jobs has ever asked me in all the years we've been together and have been partners, the only thing he has ever asked me is: 'Make it great.'

In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.

When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.

'Finding Nemo' was originally shot in 3D.

I always laugh at these companies that have these rules saying, 'You're only allowed to have this or that on your desk.' It's no fun to work at a place like that.

When Walt Disney was making his films, he trusted his instincts and made films for himself, but they appealed to everybody, not just kids.

At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.