Top 1200 Disney Animation Quotes & Sayings - Page 20

In the animation world, people who understand pencils and paper usually aren't computer people, and the computer people usually aren't the artistic people, so they always stand on opposite sides of the line.

You never know what`s going to be big. It`s the fans. It was just a Disney Channel Movie and the kids made it huge... For High School Musical 2 (2007) (TV), we just wanted to have fun and make something together.

I was working in a gaming company, but I really wanted to make animation. I didn't really have anything special, no special tools at my disposal, so I used what I had on hand like Photoshop, and that's really how I started.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.

I'm just randomly wandering around the Walt Disney studios making pew-pew sounds, trying to direct people, and nobody listens to me anymore. I'm turning into a Force ghost. It's a strange feeling.

All the Disney Princess films are iconic and beautiful, so to have been a part of all that was really a wonderful part of my life. It's all fabulous, too, that I have a daughter that appreciates the whole Princess thing.

Children's programming in America, I think it's pretty shoddy in terms of lack of diversity. It's pretty much cartoons and Disney sort of shows. I don't find any of that stimulating for children.

I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.

For me, drawing is the greatest joy. Animation is never as good as when I'm sitting at that desk drawing. Even when it's up on the screen, it's never as wonderful as those moments when it's drawn, to me.

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.

Animation is a fascinating area from an acting point of view because it's not really like anything else because you are only providing a portion of the performance. That's very inspiring and it forces you to do things in a different way - to tell stories through your voice.

You can't get anymore classic than being a part of a Disney animated film. To me, that's something I can have in my back pocket for the rest of my life. I'll be able to show it to my kids. I'll be walking around Disneyland, and it'll be bizarre to shake hands with Rapunzel.

I convinced Tim to add one song, and then we added five. We changed a lot of things while we were shooting, which you should never do in stop-motion animation. With this, it was a much smoother ship, so I wasn't getting sent the scratch reels of things.

Love for coworkers, love for customers, love for the product and love for self. Walt Disney instilled all of these "loves" in his company. Each of these factors is critical to achieving success in any organization.

We used to make a 'Tom and Jerry' short every six weeks and they were about six minutes long, so we were producing about a minute of animation a week.

I am deeply honored that my team is being recognized by H.S.H. Prince Albert II and the Festival de Television de Monte-Carlo for Disney/ABC's role in creating television that inspires and captivates audiences wherever they live.

Keeping the cat front-and-center was definitely a smart choice, from Tim and the animation department. Mr. Whiskers got referred to more than we actually saw him on stage. Seeing him on screen, you just love him.

The great thing about animation is it's like the radio. I used to do lots of radio when I was a kid, and you get to play parts you would never get to play ordinarily.

We are all trained by Disney to believe that the wedding is the finish line, but the wedding is just another starting line. In light of this fact, we should quit the huge, fancy, debt-inducing weddings.

I'm inspired by Walt Disney. I'm inspired by Howard Hughes. I'm inspired by Henry Ford. I'm inspired by Steve Jobs. I mean, I'm inspired by James Perse.

While I wouldn't say that I'm going to do another Disney TV show, I would like to do another comedy or something musical. But I like doing the dark independent stuff as well.

I'm involved with every single thing that they do as far as just being aware, and then they ask my opinion. I'm involved in the sequence reviews and some of the animation reviews and character designs and things like that. I give my input on that movie as well.

I like Disney stuff. No-one looks at 'Toy Story' and says,' Oh, that's just for kids.' Why is it that games can only appeal to a certain audience, but movies and books - I mean, how many adults read 'Harry Potter?'

I had just screen-tested with the director for another prince for a Disney project. I won't say which one, but I'd kind of been through the process with that - and I was so gutted that it didn't work out. I said to my agent, I'm swearing off princes for a little bit.'

In some ways, 'The Little Mermaid' was old-fashioned. Rendered in the hand-drawn style, it was the last Disney animated feature to use cels and Xeroxing. Pixar and its CGI imitators soon made that rigorous process obsolete.

When I first heard from my manager, who asked me, 'There's this Disney 'Mulan,' do you want to audition for it?' I'd heard that so many people were auditioning. So, I asked myself what I could bring.

I don't let Molly watch much television. The only stations I let her watch are PBS and the Disney Channel. The cartoons on the other stations are too violent and filled with obnoxious commercials.

I grew up with 'Cinderella.' So that was my go-to Disney film, definitely. It was princess-related, and coming from a smaller area in Illinois and wanting to do something greater than myself in Broadway, that was a film that I could really relate to.

It was just an honor for me to be doing the role of Miguel because I identify with him. I grew up watching Disney movies, and 'Coco' shows a wonderful tradition, culture, and celebration that not many movies have shown.

I'm part of the first generation who grew up with manga [comics] and anime [animation], you know, after 'Godzilla.' I was absorbed with Ultraman on TV and in manga. The profession of game designer was created really recently. If it didn't exist, I'd probably be making anime.

I got to do Disney Sunday movies. I got to do a TV pilot there. And it really helped me to realise that I needed to not just be a writer, but a producer, to see my work up on the screen the way I wanted it to look and play.

I loved my 12 years at ESPN. And I loved working with Stephen A. - and trust me, it's hard to even talk about it, because I miss him. But the truth was, I never quite fit on a Disney-owned network.

It's a film made in a very radical creative manner. It was possible because we didn't have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It's a film [Boy and the World] with sensitivities completely opposite to what the market wants to sell.

I think I'm going to put together a compilation under Disney's name of my songs that I've done for them - because I've done six or seven by now! The latest was for the Princess Diaries 2 soundtrack. So that's the next thing that's coming out.

Do you guys remember that time when we were all definitely going to die and then Ben grabbed the steering wheel and dodged a ginormous freaking cow and spun the car like the teacups at Disney World and we didn't die?

When you think about Walt [Disney]'s life, I don't know of anybody on Earth over the last hundred years who has touched as many people as he did. He's touched every nation on Earth.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

In animation, there's not a medium I believe that's more collaborative. It is a team of people, of different disciplines, coming together. The decisions are made by consensus in many cases. My job as a director is to exercise the best judgement I can in terms of which decision is the best one to make for the movie.

Deep down I knew that if Hell existed, it was a real place full of ruthless, venal people, like the commodity pits at the Chicago Board of Trade, Disney World, or oral arguments before the United States Supreme Court.

And usually I'm not watching the screen. I'm kind of sitting and looking off to the side, spying on people to see what they react to' cause it's - as Joe Ranft used to say, you know, animation is like telling a joke and waiting for three years to see if anyone laughs

I support Children's Hospital of Los Angeles through Disney Channel and Britti Cares International in support of children with various diseases and illnesses and donate my time with pride and dignity.

I do a lot of teen shows and voice over work for animation, so when I got the part in 'The Number 23,' it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.

I watched the Disney Channel all the time growing up. 'Lizzie McGuire' was my all-time favorite. I'm pretty sure I had every piece of merchandise that involved Lizzie. And I loved 'That's So Raven.'

I still have a lot my Disney store art left and if I ever run out I'll just redraw it, because it will still be my original art and as a freelancer I own it.

At the end of the day on 'Pete's Dragon,' if we didn't nail something, we could come back and pick it up later. I always knew there was a safety net built in that Disney would not let the movie fail. But in this case, with 'A Ghost Story,' it was all on the line.

I'm a child of the Disney Renaissance, so the new classics are near and dear. I suppose this is a legend more than a fairy tale, but 'Mulan' is easily my favorite. Not only is it a fun, action-packed, beautiful movie, but it's so important for young girls to have.

And it's about a three-month process every screening. And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.

As a young artist in New York, I thought about postwar Japan - the consumer culture and the loose, deboned feeling prevalent in the character and animation culture. Mixing all those up in order to portray Japanese culture and society was my work.

Playing a Disney princess is the most amazing, unbelievable thing and on the other, it's completely terrifying. I would say it's a cocktail of every sort of emotion. Princesses are great role models, they teach you about grief loss and have big hearts.

After I was fired from Disney, I did some of the worst movies ever made and I got professionally involved with a manager who said it didn't matter what you did as long as you kept working. I wound up completely broke.

The child stars who emerged from Disney boot camp and dominated pop culture in the late '90s and '00s are not only still around but also have spawned successors who have proven even more indispensable to the business of music, movies, and television.

Storyboards are kind of inflexible, once you finish making them you have to stick to them. Since animation takes such a long time you become a slave to a storyboard that was created four years ago while as an artist and storyteller you change, you have new ideas.

When you take something that's inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that's animation. But when you take something that's live-action, and move a part of it, that's a special effect.

I've been a Fellow in a number of companies: Xerox, Apple, Disney, HP. There are certain similarities because all the Fellows programs were derived from IBM's, which itself was derived from the MIT 'Institute Professor' program.

In the electronic game world, I know I have a reputation for doing the cyberpunk thing, and for doing the serious epic fantasy thing, but if you go back to when I was a kid, I've been a Disney fan all my life.

I left Disney in 2000 because I thought that the process of watching TV was really going to change, and the process of creating it and the business model had to change, too.

Cinderella is older than she lets on. She's ancient. She's had work done. The Disney film was based on Charles Perreault's French story 'Cendrillon,' published in 1697.

The UTV/Disney fit works because UTV Motion Pictures was already very strong in producing and creating its own films beyond just co-producing, acquiring or distributing titles.

I was just a little girl watching TV and wanting to be in it. My parents had no idea how to get me there, but here I am as a part of this great cast on the Disney Channel. Truly, if you just want to do this, then you have to commit to it.

We were such fans of Sleepy Hollow, in all of its iterations - growing up with the Disney show, and then Tim Burton's and, obviously, the most important being Washington Irving's short story. It evokes and invokes a very specific feeling and tone.