Top 1200 Disney Cartoon Quotes & Sayings - Page 18

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.

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.

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.

When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills.

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.

It's people who look like me, just seeing representation of everyone. I didn't get that when I was young. I only saw one black girl that was on a Disney show, that was known for being the sassy, coocoo, that type of girl.

I'm not particularly an expert on the genre. Correct me if I'm wrong, but usually you see most of the super-villain in his villainous role. He's the Green Goblin, or whatever various bad guys in Batman, or something like that. It's the excessive, larger than life, cartoon-ish, costumed character that is the personification of evil and has to be destroyed.

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.

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 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.

My mom thought I might be good for voiceover. She thought I had a cute voice, so maybe I could do a cartoon or something. And while we were looking into that, we also thought I should get into theater acting, so I tried it and the first audition I went on, I booked it. And it kind of just snowballed from there.

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.

'Boo & Hiss' has been a passion project of mine for a couple of years. I was intrigued with the idea of what would happen in a classic cartoon predator/prey relationship if the predator - in this case, a cat - got to finally do in his adversary only to have the mouse return as a ghost and bedevil the cat.

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.

Well let's see; I'm not obsessed with... I like Walt Disney except that you know, except for the horrible fascism. I love the art of it. I like a lot of things I don't agree with and that's one of them.

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 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.

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.

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.

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.

When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.

With 'Tower Prep,' Cartoon Network wanted to go into a new area where no other kids' programming was going. There were a lot of kids' sitcoms on the air, but they wanted to really go with more of like an adventure/drama feel.

My craziest ideas come from cartoons. I approach music by taking that cartoon extreme and the real life extreme and finding somewhere in the middle. The animated element lures people in, but the real-life substance puts the nail in the coffin.

Video game voicing is absolutely different from cartoon work. In cartoons, you're almost always there with the entire cast, and the entire script is acted out in sequence. With video games, it's you by yourself, in a room with a script you just got when you walked in.

When I auditioned for 'Jessie,' I knew that Disney Channel basically will do 100 episodes of a show if it's a hit; they'll stick with something. It's a great network to work with because they make a nice big commitment to a show.

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.

A lot of the moments and experiences in 'Warcross' were inspired by specific moments that I remember as an intern working at Disney or having fun with my coworkers. A lot of it is very anecdotal.

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. Its all fabulous, too, that I have a daughter that appreciates the whole Princess thing.

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.

It's pretty crazy. I was thinking about that today, how 'True Blood' has penetrated so much of the cultural zeitgeist. It's truly amazing; it's incredible! The cover of 'Rolling Stone' is major. What's next, the cover of 'Vanity Fair?' When I'm in a 'New Yorker' cartoon, then I will feel like I have made it.

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 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.

They just talk drivel. Whoever is winning is great, whoever isn't, isn't. It's banal. And also semi-literate at times ... they never criticise in an intelligent way. Anything that isn't banal is said to be an outburst. They've created this cartoon world where everyone talks like Lineker and says nothing.

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.'

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.

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.

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.

I think my craziest hair was when I first went red for my 30th birthday. My idea was The Little Mermaid because I always wanted to be her and then I was going to be I love Lucy and every red-haired character that you can imagine. It was really cartoon red and now I'm in the more natural believable tones.

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 think Japans work really hard, and when they have a chance to listen to music, they just go crazy. And the Ramones would be a natural fit for Japan, because Japan invented the cartoon, and the Ramones, especially in Rock 'N' Roll High School, are very cartoonish. So it'd be a perfect group for them.

I never tried to make a cartoon for a certain age bracket. I just tried to make entertaining pictures. That's why they still play and why they play so well in foreign countries.

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.

I'm not really a super-serious person. I guess in some ways I am, but I do like to have a lot of fun. I mean, one of my favorite places in the world is Disney World, so that'll tell you a little bit about me.

I think part of it is the fact that they were kind of the first of its kind - there weren't a lot of cartoons for adults. People forget at the time that The Simpsons started out, it was controversial - the fact that they said "hell" and "damn" in a cartoon was a lot. America was in an uproar.

I've been a comics fan since my first hit of those gateway drawings: Judy, Asterix, and the TV cartoon 'Spider-Man and his Amazing Friend' - which naturally led me to Spider-Man comics.

I got a call from my agent saying you have an offer to voice a cartoon by the name of 'My Little Pony.' And that's pretty much what went in my ear. So I asked him the three questions that actors always ask. I need to see the script, when and how much, which were legitimate questions.

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?

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.

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.

[Voicing a cartoon] feels like going down a mysterious but joyful black hole. Once you relax for 15 or 20 minutes, and really go, "I don't care if I look like an ass," it's really fun to see what happens. You know that nothing is being visually judged.

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.

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.

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.

At first the cartoon medium was just a novelty, but it never really began to hit until we had more than tricks... until we developed personalities. We had to get beyond getting a laugh. They may roll in the aisles, but that doesn't mean you have a great picture. You have pathos in the thing.

Who doesn't love a Disney princess, and who wouldn't want to be one? Belle is my favorite. She's the smart, awkward, and adventurous. She doesn't have too many friends - goes off and hangs out with talking silverware. I think it's great.

The thing with Disney songs is they're very manipulative, very sentimental, but they do get you, you know - there's a kind of sadness to them and that kind of music doesn't really exist any more.

I kind of see myself as a cartoon that's on its way to becoming a real person that has to find that special amulet or mushroom to get to that next realm or level. I don't feel like anything is that tangible. It freaks me out, why I feel unhappy or conflicted and why that can change on a dime.

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.

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.