A Quote by Bonnie Hunt

When I first landed at Pixar, I felt like I found this creative oasis with John Lasseter... It's what you thought Hollywood was going to be. — © Bonnie Hunt
When I first landed at Pixar, I felt like I found this creative oasis with John Lasseter... It's what you thought Hollywood was going to be.
After Pixar's 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.
This is a world that's big enough for everyone. I like that message in that comes out of John Lasseter, and it comes out Pixar, it comes out of the Apple, Google, the Ben and Jerry's thing. These are American companies that send that message around that is good, that is healthy. And everyone goes, "That's the America I always believed in before Watergate."
My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.
There is a whole separate filmmaking team that's doing it, but that's part of what's great about the Brain Trust and about the inspiring leadership of John Lasseter. He leaves it up to that creative group of individuals to help each other elevate each thing that they're working on to only try to make it better and to share what you've learned on the first one.
I mean, they clearly have a process of how they go about making their movies, and John Lasseter has been instrumental in implementing that process for all three studios with the Brain Trust and the way we work and the way we break stories and how it's all creative led. There are no executives in the room. So I think all of that is embraced unilaterally. But that's the first time I've heard of that.
I auditioned for 'Coco' when I was nine years old, and I had no idea I was auditioning for a Disney/Pixar movie. When I was 10, they told me that it was going to be a Disney/Pixar movie, and I was just mind-blown. I was so shocked and thankful that I was going to Pixar.
I remember getting into the plane, and I was kind of fearful. I didn't know why. I just felt like something was going to happen, and we landed and I thought that was interesting because I was just thinking we were going to crash. I just remember my feet touching the ground, and that's all I remember.
I kinda went back to that period between '88 and '94 where I felt like I was the most creative, without being hindered by powers that be. I was no longer going to try to hinder myself to what I thought was going to be on the radio.
My hand landed on a rock, and the gnome landed on it, squashing my thumb between the rock and the gnome. Basically, it was crushed and took the end of my thumb off. I just looked at my hand, and the first thought that flashed into my mind was, 'How on earth am I going to make my devil horn sign now? That's my trademark!'
I wanted to be seen as a good person, and never wanted to let people down, but I found it hard to handle the fame or adulation. I didn't feel worthy of it. I was ashamed by who I thought I was because I felt partly responsible [for the abuse] and I was never able to enjoy the stuff I should have been able to enjoy. My first thought when I won the Tour was: 'My God, I'm going to be famous', and then I thought, 'He's going to call'. I was always waiting for that phone call. I lived in fear that anyone would ever find out.
How I found out is, I landed in Des Moines from a plane ride back from the Rob Zombie tour. I was, like, 'Okay, cool, I'm home. I can finally get some rest.' Once I landed, I turned my phone on, and my manager rang, and I'm, like, 'Oh, what?' He said, 'Paul Gray just died.'
There have been times where I have definitely felt like I was a john. As a pin-up photographer for ten years, when I was photographing men and women, to be honest, sometimes I felt like I was a john, especially when I was shooting guys because they - you know - they had to have big erections in the photos.
Any of us directing at Pixar, whether it's our first time or not, feel a lot of pressure to not make a bad Pixar film.
In Hollywood, they think drawn animation doesn't work anymore, computers are the way. They forget that the reason computers are the way is that Pixar makes good movies. So everybody tries to copy Pixar. They're relying too much on the technology and not enough on the artists.
I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.
John [Lasseter] always said that he was Andy, and Joe [Ranft] and I were Sid, and I think that's true.
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