Top 87 Quotes & Sayings by Pete Docter
Explore popular quotes and sayings by an American director Pete Docter.
Last updated on September 17, 2024.
We all want happiness in our life. I mean, there are so many books on, like, how to be happy and what you need for happiness, and you want that for your kid, too; you want your kid to be happy.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
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.
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.
There's that bubble of childhood that makes you innocently do anything. Then, when you get older, that pops, and you're aware of limitations and judgment and social pressures and things like that.
There's no way for me to anticipate what people will like or not like.
I love IMAX.
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.
Work hard! In the end, passion and hard work beats out natural talent.
With sadness specifically, in America you read about people medicating to avoid sadness. They don't want to experience sadness, and yet it's such a vital part of being human.
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 remember as a kid having a balloon and accidentally letting the string go and watching it just float off and into the sky until it disappeared. And there's something about that, even, that feels very much like what life is, you know, that it's fleeting, and it's temporal.
When I was in middle school, I liked to make cartoons.
I always feel like if you have a smaller crew, you can not only get to know the individual strengths of people more specifically, but then, you also give them a longer runway to be able to apply the knowledge that they have learned to subsequent work.
I'm not actually sure if guilt is an emotion.
I don't think of 'Monsters, Inc.' as existing in the same space as Carl Frederickson from 'Up,' or whatever, you know? They seem like completely different universes to me.
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.
In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
In a regular theatre, you'd be kind of moving your eye from one character 5 feet over to the right on the cut. In IMAX, suddenly that's like 20 feet. So I would love to do something. I think I would really want to take the massive screen into consideration so that it would be done properly.
I kind of feel like... I have a slower instinct than most live-action directors, but I have more patience.
'Toy Story' we found, sorta by accident, because we didn't know what we were doing, the idea of being replaced by somebody. Everybody has that fear, or encounters this jealousy at some point.
When I was in fifth grade - so, about 11 - my folks moved us to Denmark. And so not only did I have all new friends and all new surroundings, I didn't even understand what they were talking about, which was very difficult and kind of started me, I think, on my path to animation.
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 don't think it's physically possible for little kids to know what abstract thought is.
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.
Back in the days before the Internet, there was no place to put a short film, so Mike Gribble and Spike Decker had this festival of animation. My student films got selected.
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.
There was a guy that I got to know pretty well - Joe Grant. He was one of the creators of Dumbo and worked side-by-side with Disney. Being a total Disney nerd, I was obsessed with asking him questions. He was 92 when I got to know him.
At Pixar, of course, we have all these people, and they're just used to our process now where it's a discussion; it's a discovery. It's not individual artists going and fussing off by themselves in isolation and then handing their work in.
As a director, nobody told me I'd be talking to people all day. I'm naturally reclusive - I feel myself peek out at a certain point and go, 'All the extrovert in me is done! I'm on reserve!'
Little kids definitely have desires and jealousy. There are some emotions that don't show up at birth, but by three or four, they are all there.
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.
Every time you recall a memory, you're basically making another copy of it and, at that same point, it is susceptible to new changes and adaptations.
'In-between' is sort of - an animator does the key poses. He'll do extremes, you know, like a character reaching out for a glass of water and then another one of him drinking. And the in-betweener has to do all the drawings that goes between those two. You know it could be 12, 23 whatever in-betweens.
When we did 'Toy Story,' that was an all-hands-on-deck situation that really was time-intensive.
'Monsters,' everybody has the thought of monsters in your closet as a kid, and more importantly, the idea of becoming a parent. We're always kind of looking for those emotional nuggets. They're always at the heart of the story.
'Toy Story' really felt like just a bunch of guys working in their garage for fun. When it came out and people liked it, it was mind-blowing.
It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
I guess different brains work in different ways.
And in part that's good but then, like any emotion - and this is something we learned from the research as well - there are positive and negative aspects to all of these.
But the truth is, at some point, our films - almost every single one of them - are really bad. And it's largely hats off to John Lasseter and Ed Catmull who have set up a system whereby they're expecting it.
Every time you recall a memory, you're basically making another copy of it and at that same point it is susceptible to new changes and adaptations. So, you know, if you remember from when you were, you know, in second grade and there was Christmas and you got a present from your grandfather and your mom was wearing a red dress, that may or may not all have happened.
They're expecting us to make mistakes, and they've set up a process that allows us to correct for that and do it again and iterate. So I think that's a real key to the films that we've made.
Well, what if we did this in the mind as opposed to the brain? So instead of blood vessels and dendrites, what if it was consciousness and dream production? And that would allow us to have characters that represent emotions. And that felt like, man, that's exactly what animation does best - strong, opinionated, caricatured personalities. And that just got me excited.
It's, like, you know, if you're sad, it's a way of connecting with other people. And we - a lot of times we sort of feel embarrassed by being sad, and we go off by ourselves to hide and cry by ourselves. But, really, it's a way of re-establishing relationship.
People are funny -- they are able to project personality onto anything. I remember as a kid I spent a $ 5 bill once and felt so bad because the other $ 5 bill was now going to be lonely without all the other bills I had in my wallet, you just invest these dead things with life and that is our tendency as people. So animation takes advantage of that, grabs on to it, and runs with it.
And usually I'm not watching the screen. I'm kind of sitting and looking off to the side, spying on people to see what they react to' cause it's - as Joe Ranft used to say, you know, animation is like telling a joke and waiting for three years to see if anyone laughs
Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film.
In the end, passion and hard work beats out natural talent.
Parents don't want their children to lose that purity and innocence of childhood. We want to bottle that and hold onto that, but it's impossible.
And as I was sort of doodling, I was thinking, surprise and fear - probably fairly similar so let's just lose surprise. And that left us with five.
There's something really emotional about not having any sound. That allows, I think, the audience to participate more actively and kind of imagine what are they talking about there?
And it sort of hit me that the very subject matter of the film that I'm dealing with is the key to the most important thing in our lives, and that's our relationships. And so we had done all this research showing the job of each individual emotion, you know, fear keeps you safe. It deals with uncertainty.
You know there's always that kid in your class — and every class has one — the kid who draws all the time and is really good? That was not me. I was a lousy draftsman. But as soon as I figured out that I could make things come alive, like using the corners of my math book to make flipbooks, I was hooked.
It's like you run into this dark tunnel, trusting that somewhere there's another end to it where you're going to come out. And there's a point in the middle where it's just dark. There's no light from where you came in and there's no light at the other end; all you can do is keep running. And then you start to see a little light, and a little more light, and then, bam! You're out in the sun.
Sometimes suffering is a weird attraction.
You have to think about good storytelling and characters first. Then hopefully, the rest of that stuff will follow, some more than others. But if you don't have a good film and strong characters, then you don't have anything down the road.
If you were feeling sad right now and you recall a sad - or, a very happy memory from the past, it will be tinged with more sadness based on your current feeling. So we felt like that was actually on solid scientific ground .
Any great movie you watch has some element of darkness or loss or some suffering in it. That's what makes the fun parts fun.
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