A Quote by John Lasseter
I don't believe that an animation studio should be an executive-driven studio.
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When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive.
At a certain point you have to make a decision in your life about where will you best serve, and I decided that I would best serve as a producer as opposed to a studio executive. There are many upsides to being the studio executive, but one of the downsides is that you get removed from the actual process of making the movie.
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.
I don't know for a fact, but I feel fairly certain that the first person who described a movie as 'character driven' had to have been a producer or studio executive.
I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.
I took a lot of influences from Studio Ghibli, which is the Japanese animation studio that made 'Spirited Away' and 'Castle in the Sky.' They're like the Japanese version of Disney - but without all the schmaltz.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
The way I formed my studio and how I organize things actually came out of the model of the Japanese animation studio and the manga industry. The manga industry is gigantic in Japan.
Our ambition is to be the center of independent animation filmmaking; to be the bravest animation studio in the world.
I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.
A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.
I used to carry a notebook to the studio. I don't do that no more 'cause I don't have the time to write anywhere but right there in the studio on the spot. So when you hear my stuff, know that I wrote it in the studio.
I'm very critiqueful of my own stuff, and I kick everybody out the studio when I'm singing, no one is in the studio, it's just me and the engineers, no one else in the studio when I'm doing my thing.
There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
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