Top 1200 Disney Animation Quotes & Sayings

When I first started working at Disney animation, I can't tell you how many people said to me, 'Oh, man, take a powder.' Nobody takes animated musicals seriously. I swear.

Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.

'Aladdin' was probably my favorite Disney animation when I was a kid. The animation was great and Robin Williams was unbelievable as the Genie. 'Aladdin' was an amazing adventure and the lead character was a hero for guys, which I loved. It wasn't a princess or a girl beating the odds; it was a street rat. That seemed really cool to me.

Nobody does animation better than Disney; it's just that some of us wanted out of the box. Burton was one. I was another. We were the mutual complaint society.

I used to take my little Disney figurines and turn them into stop-motion animation.

Look what Disney's done to their animation department. There wasn't an animator in charge of their animation unit!

Walt Disney World is tribute to the philosophy and life of Walter Elias Disney... and to the talents, the dedication, and the loyalty of the entire Disney organization that made Walt Disney's dream come true. May Walt Disney World bring Joy and Inspiration and New Knowledge to all who come to this happy place... a Magic Kingdom where the young at heart of all ages can laugh and play and learn -- together.

Aladdin' was probably my favorite Disney animation when I was a kid. The animation was great and Robin Williams was unbelievable as the Genie. 'Aladdin' was an amazing adventure and the lead character was a hero for guys, which I loved. It wasn't a princess or a girl beating the odds; it was a street rat. That seemed really cool to me.

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.

One of the best animated films I've seen come out of Disney was the Tarzan movie. I wasn't crazy about the story or the design on Tarzan's face, but the traditional animation was spectacular.

Disney had such a hold on the mind of America-they were Adolf Hitler. The whole country thought Disney was some sort of god and that animation was some sort of pure thing for children.

While talking to Wardha, I realized that Disney is actually the surname of the man behind the studio, but one only identifies it with animation. Now I have a new dream. If I can achieve the same level of legend with the Nadiadwala name, that would be awesome.

The quality and success of Disney was actually bad for us animators because everyone on the planet thought that animation was only for kids and only in a certain domain. The big film festivals never thought much about animated films.

A lot of Disney Channel actors and actresses, when they stop working for Disney Channel, they have a real aversion for not wanting to be remembered by Disney Channel.

I ran development and programming at Disney TV animation. We did a lot of cartoons.

Ariel got me into animation. She was the first Disney heroine that really felt alive. She felt like a real young woman.

Animation translates well to a small screen. When you look at Walt Disney or Chuck Jones - you know, Bugs Bunny - there really isn't any difference if you watch on a very big screen or a computer screen.

Motion comics are just cheap animation. Very cheap animation. And I like animation almost as much as I like comics, but I'm not rushing to pay out for a cheap hybrid of the two.

'Bolt' was made by Walt Disney Animation Studios, not by Pixar.

The title 'Spirited Away' could refer to what Disney has done on a corporate level to the revered Japanese animation director Hayao Miyazaki's epic and marvelous new anime fantasy.

I'm the biggest fan of animation. I love the history of animation, I know it well.

I love all sorts of animation, probably the most beautiful would be the tradtional hand drawn animation that Disney is known for. Stop-motion has a certain "grittieness" and is filled with imperfections, and yet their is an undeniable truth, that what you see really exits, even it if is posed by hand, 24 times a second. This truth is what I find most attractive about stop-motion animation.

I've always loved animation it's the reason why I do what I do for a living - the films of Walt Disney. This art form is so spectacular and beautiful. And I never quite understood the feeling amongst animation studios that audiences today only wanted to see computer animation. It's never about the medium that a film is made in, it's about the story. It's about how good the movie is.

Those in power at Disney, the very generous figures at Disney Animation, have convinced themselves I'm a good-luck charm for their movies, which is great. It's working out really well for me, and it seems to be a mutually beneficial arrangement.

The problem is that every time people have deviated from the Disney playbook in hand-drawn animation, they've done so with staff that are nowhere near Disney-level talent or Disney-level budgets.

'Zootopia' features such a large and diverse range of characters - one of our biggest casts ever for a Disney Animation film. We needed talented actors who could help bring these animals to life.

I love Disney. I know that some Disney stars want to break out of the Disney mold, but no, if they let me, I would work with Disney until I die.

In college, I was a cartoonist at 'The Daily Northwestern.' So I draw myself. I was an animator. But basically, I went to Northwestern to major in English, wound up in college for two years. Studied animation there. Came to Disney. My first week at Disney was the week that 'Star Wars' came out.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

In overseeing both Disney and Pixar Animation, each studio has a unique culture.

I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.

What we try to do at Disney and through Disney character voices is really maintain the integrity of our classic characters at all costs. So Ariel needs to be me for every project, and if there are any other Ariels floating around out there, it's not necessarily Disney.

'Snow White' was really hip for its time. Walt Disney was basically using Sigmund Romberg and operetta in the telling of the story, and through animation - that was revolutionary.

There was a manga boom, so I read 'Astro Boy,' 'Osomatsu-kun,' and such. But what influenced me the most were things like 'Popeye' and Disney animation.

I don't know how to animate on the computer, and I'm really grateful that I worked with a couple of other guys. We called it our triumvirate, John Kahrs and Clay Kaytis, who really understood computer animation but loved and embraced hand drawn, which is Disney's heritage.

I think 2-D animation disappeared from Disney because they made so many uninteresting films. They became very conservative in the way they created them. It's too bad. I thought 2-D and 3-D could coexist happily.

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.

Luckily, I went to school at CalArts, and then ended up here at Disney, starting in the Animation Building and working my way up. I started as an animator, and then did character designing and storyboarding, and eventually, directing.

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.

I like doing everything. That's why I came to Pixar, as opposed to Disney or any other studio - it's small. At the time I started, I was, like, the 10th person in the animation group, and we all had to do everything. That's the way I like it, keeping it fresh.

There are so many sitcoms, especially in animation, that we've almost forgotten what animation was about - movement and visuals.

The only movies I saw till I was 17 were made by Disney. My parents had this thing. Disney was like, you know, "Ford is a good car. Disney makes good movies that are good for kids and safe."

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 was always really fascinated with animation, but just in a way all kids are with watching Disney movies and all that, but I had no idea how animation was done.

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.

Of all studios that should be doing 2-D animation, it should be Disney.

Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.

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.

I don't know if I really watched any Disney animation as a kid.

If you are going to describe the history of animation, you'd look at the early Disney work, then 'Bugs Bunny,' 'Road Runner' and other Warner Brothers theatrical productions. But when you got to 'Rocky and Bullwinkle,' you'd see they were unique: They assumed you had a brain in your head.

When I was a freshman in high school, I read a book about the making of Disney's 'Sleeping Beauty' called 'The Art of Animation.' It was this weird revelation for me, because I hadn't considered that people actually get paid to make cartoons.

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

I've been fascinated with gargoyles since I was a kid. I took a high school trip to Europe, the 8 countries in 5 weeks kind of trip. Even then I collected postcards of gargoyles. Then I sort of forgot about it. You flash-forward a few years and I'm at Disney, we're looking for an idea to base a show on. I was running series development at the time at Disney TV Animation. And we came up with the Gargoyles comedy series. Which didn't sell!

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.

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.

Walt Disney’s Mickey Mouse... by Floyd Gottfredson will be warmly received by comics aficionados but should also intrigue Disney animation buffs who aren’t necessarily plugged into comic strip history... I have a feeling that this book, crafted with such obvious care, will earn Gottfredson a new legion of admirers.

I think Pixar has the opportunity to be the next Disney - not replace Disney - but be the next Disney.

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.

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.