A Quote by Warren Spector

Everyone at Junction Point has been inspired by the creative folks at Pixar and Disney Feature Animation to make 'entertainment for everyone.' — © Warren Spector
Everyone at Junction Point has been inspired by the creative folks at Pixar and Disney Feature Animation to make 'entertainment for everyone.'
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.
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.
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.
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.
'Bolt' was made by Walt Disney Animation Studios, not by Pixar.
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.
In overseeing both Disney and Pixar Animation, each studio has a unique culture.
Besides kind of like the Wes Anderson, or, of course, a lot of the European movies, most everybody in the States, the big studios, make pretty much the same film. And we're kind of held to Pixar standards, or Disney standards, as it's kind of always been in the animation industry.
I've worked in animation for a long time. I started in Spain and I wanted to make feature films. That desire to figure out how to make animated features brought me to the U.S. to work for Disney.
Pixar makes movies that make sense for Pixar, and Disney makes movies that make sense for Disney, and they've each emerged in their own unique way.
I've always been inspired by retail entertainment, whether Ralph Lauren or the Disney Store or Niketown.
I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.
Everyone has something that scares them. Everyone must make a choice at some point whether to be brave. Everyone has a story.
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.
I see the creative accomplishments of which highly gifted humans are capable as special cases of the universal creative process, that game played by everyone against everyone else, from which wells up all that has never been before.
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.
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