Top 164 Pixar Quotes & Sayings - Page 2

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.

Pixar is seen by a lot of folks as an overnight success, but if you really look closely, most overnight successes took a long time.

Anything Pixar does, you know, I really just am in awe of them and thrilled to be included in anything they do.

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

Everyone at Junction Point has been inspired by the creative folks at Pixar and Disney Feature Animation to make 'entertainment for everyone.'

We work very hard in all of the Pixar films to not make anything in the imagery that causes people to think of something other than the story.

I would say that Pixar is doing for animation what Chaplin did for film, infusing it with heart and characters that you care about and stories that you lose yourself in. They are similar revolutionaries and changing a medium.

I play a lot of computer games. I love computer graphics. I've had Pixar in me for a long time.

The thing about working at Pixar is that everyone around you is smarter and funnier and cleverer than you and they all think the same about everyone else. Its a nice problem to have.

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.

When it comes to producing breakthroughs, both technological and artistic, Pixar's track record is unique. In the early 1990s, we were known as the leading technological pioneer in the field of computer animation.

At Pixar, we do a million versions of the movie, and every one of them goes through their awkward teenage phase where it's terrible and doesn't make sense, and we just keep working on it.

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.

One reason for keeping Disney animation separate from Pixar was that by solving their own problems when they finished a film, Disney could say, 'Nobody bailed us out; we did it.' And it's a very important social thing for them to do that.

The thing about working at Pixar is that everyone around you is smarter and funnier and cleverer than you and they all think the same about everyone else. It's a nice problem to have.

The way Pixar has always worked is that we think of an idea and then we make it. We don't develop lots of ideas and then pick one.

I saw some Pixar movies like 'The Incredibles' and thought, 'This is extraordinary. These are some of the best movies I've seen.'

I think Pixar's done an amazing job integrating art and science. They really get this idea that art and engineering work side by side.

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.

Everything I do and everything Pixar does is based on a simple rule: Quality is the best business plan, period.

I started off life at Pixar with interesting technical problems. But as time has moved on, I found that the social and management problem was far more complex and interesting.

There's the animation ghetto of feature films in this country. There's this flavor at DreamWorks, and Pixar does their own thing, and generally they're safe. But if you look at Walt Disney's original films, at the time and in the context, they weren't safe. They were really dark and troubling.

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.

Most people know me at Pixar as the guy that doesn't like to do sequels or very reluctant to do sequels.

One of the effects Pixar University has on the culture is that it makes people less self-conscious about their work and gets them comfortable with being publicly reviewed.

Why would I ever want to run Disney? Wouldn't it make more sense just to sell them Pixar and retire?

I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter.

The thing about Pixar, they don't do the 'trend is your friend.' They're really about timeless story telling, and that's pretty great.

It's hard dealing with day to day disappointments and feeling like you can't find success. Especially when your best friend is Pixar.

Once we can do Pixar-quality graphics rendered in real time with interactivity, I could see games costing $200 million to make, and all of a sudden you have to sell a lot of games just to break even, so I'm a little worried someone's going to do that.

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.

Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding. The voices of the toys in the 'Toy Story' films, for example, are never audible to humans.

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 mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.

One of Pixar's key mechanisms is the Braintrust, which we rely on to push us toward excellence and to root out mediocrity. It is our primary delivery system for straight talk.

We've always had ups and downs at Pixar, starting with the high we felt doing something we'd never done - 'Toy Story' - and the low we felt right after when we realized we'd messed a bunch of things up along the way.

The Pixar name means more than any other name. It's very important to us to keep that name at a high level.

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.

I'm a big fan of the Pixar movies, and Ed Catmull, who wrote a book about his experiences producing them, talks about how it takes three or four years to get it right.

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.

Out of the blue, I received this offer and invitation to be a part of this movie, 'The Good Dinosaur.' I turned to my Pixar experts, my kids, and asked them what this could all be about. Of course, they flipped out, and it was pretty obvious from their reaction that I was going to do this.

I love all three 'Cars' movies, and I honestly love almost all of the Pixar movies. They make you laugh, they make you emotional, and they bring back memories.

With the quality of films it seems animation can do almost anything these days. It’s amazing what goes on. But for us it’s always about trying to tell a good story, with great characters. And that will probably always be the philosophy as far as Disney and Pixar is concerned.

The first 'Monsters, Inc.' represents starting at Pixar for me, I have a special place in my heart for it. So to be able to tell a story with those ideas is an honor.

Pixar is a community in the true sense of the word. We think that lasting relationships matter, and we share some basic beliefs: Talent is rare.

To be in a Pixar movie is just great to begin with, and it has afforded me the opportunity to do a different medium because I have never done voice-over before. And I love it.

Apple is a wonderful company for its customers and investors. So, too, Pixar. (NeXT, not so much...) But Apple is also an engine of misery for its subcontracted Chinese workers.

I don't think that photorealism is required to offer emotions. You can have very abstract characters and renderings offering the same type of emotions - look at Pixar movies: they're not photorealistic; they're stylised, and it doesn't prevent emotion from happening.

Throughout Pixar's history, we've had major meltdowns and crises. It's happened throughout our history: you reach a certain point, it doesn't work, and you start all over again.

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

In some ways, 'The Little Mermaid' was old-fashioned. Rendered in the hand-drawn style, it was the last Disney animated feature to use cels and Xeroxing. Pixar and its CGI imitators soon made that rigorous process obsolete.

Now that had worked very successfully at Pixar, and he ended up adding one at Walt Disney Animation and one at DTS. So, I'm part of that Brain Trust where I sit in on all things creative for the whole studio, but especially in the Planes area.

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.

Pixar has announced Larry the Cable Guy will be starring in Cars 3 thru 6. Howie Mandel will be playing his sidekick, Mopey the Moped.

Most Pixar films are better than most live action films.

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.

The saddest day in Pixar history was when some guy said 'get Larry the Cable Guy on the phone.

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.'

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.

Hand-drawn animation is something that I feel really strongly about. A Pixar movie may be really great, but it looks like it was drawn by a machine.