A Quote by Dan Scanlon

I worked in the story department for years on 'Cars' and 'Toy Story 3.' — © Dan Scanlon
I worked in the story department for years on 'Cars' and 'Toy Story 3.'
I worked in the story department for years, on Cars and Toy Story 3.
Toy Story 1, 2, and 3, to us, are some of the greatest films ever made, and each is better than the one before it. But if you go to Toy Story 6, they all end up decomposing in a trash heap somewhere.
We got together as a group to come up with the idea for 'Toy Story 3' in the same cabin where we dreamed up 'Toy Story.'
I will tell you that the ego in me would love to play the lead. I would have loved to have been Buzz Lightyear, or Woody in "Toy Story," "Toy Story 2" but they hire celebrities for that, well-known people.
Everywhere I go - from villages outside Kandy, Sri Lanka, to community centers in Amman, Jordan, to offices at the State Department in Washington, D.C. - I find people with a similar story. When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.
We hope 'Toy Story 3' looks amazing but still retains the character design of the first film. I like to think it looks like 'Toy Story' would have looked back then had we had the skills and the technology.
Cars are all jammed up all along the road and a light turns red and someone honks. In every one of those cars there is a story or a hundred stories. For every light on in al of those huge city buildings there is a story. No one knows what I am about to face and no one knows my story and neither do I right then.
After we finished 'Toy Story 2,' we talked about going right into making 'Toy Story 3,' because we had an idea that we thought had some promise. But there were a bunch of boring contractual problems going on between Disney and Pixar at the time that kept us from making the movie.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
Each of the 'Toy Story's are telling an emotional story, but they're comedic. They're so successful creatively in terms of the stories they're telling. And they're pretty grounded.
Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.
When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
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