Top 929 Disney Quotes & Sayings - Page 16

I always wanted to make motion pictures, ever since I was a wee boy, and I was 32, and time was marching on. I met a guy who said, 'Come out to Hollywood for 10 days, and I'll get you a deal.' So I figured, 'OK, 10 days.' On the 10th day, he got me a development deal with Disney, not for a lot of money, but it allowed me to make the move.

People I get the most star-struck by are people I've sort of grown up with watching. So, for example, working with Debby Ryan, when I first met her, I was a bit nervous and a bit star-struck because I had grown up watching her TV shows on the Disney Channel.

Generally people are afraid. They pretend they aren’t; it’s part of the denial. We’re all part of it. As much as we pretend otherwise, we want what’s comfortable, and we’re afraid of the different. We’re afraid of change. It happened in Los Angeles, too, when the first models of Disney Hall were shown. You should have heard the outcry from the public, critics and press. It was called “broken crockery,” “outlandish” and blah blah blah. Of course now the feeling is different.

Most of the things that I remember from childhood wouldn't make a particularly good story: rescuing worms during rainstorms, our schnauzer attacking a wheel of cheese when someone dropped it during dinner, my parents tricking us into riding Space Mountain at Disney World (we thought it was an educational people-mover kind of ride), playing Star Wars (I got to marry Harrison Ford and my sister married Luke Skywalker) in first and second grade. On the other hand, we always had lots of interesting babysitters--seminary students and friends of my parents--who told really good ghost stories.

All films created by Walt Disney at the time of his major outpouring of work were carefully crafted to fit scenes, characters, moods and situations. If these elements changed in any way, songs - no matter how good they were - were discarded. Others were written for the new scenes. Many times, character songs were dropped because characters were dropped...sequences were dropped etc.

I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.

All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or Ancient Egypt, is re-assimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonize past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality, in attractive and instantly appealing forms.

The way Disney characters move, they're very kind of slow and fluid and flowing; one pose kind of eases into the next. If you look at a show like 'The Simpsons' and subsequently a show like 'Family Guy' - the characters will jerk from pose to pose a lot, a bit more snappy. Which sort of goes along with the writing tone of the show.

What goes through one's head when Disney asked for 52 more shows? I remember seeing that in the supplemental features...When they first said "52" I literally laughed, I thought they were kidding. They said, "Well, how many do you think could do?" And I said, "Well, we've got 6 scripts in the works, so 6 obviously we could do. We did 13 last year, I think we could do 13 this year without a problem." I said, "If we really pushed it, I think we could do 18." And they said, "What about 52?" I started laughing but they were serious and eventually they did get the 52 episode order.

I’ve often wished that I had some suave and socially acceptable hobby that I could fall back on in times like this. You know, play the violin (or was it the viola) like Sherlock Holmes, or maybe twiddle away on the pipe organ like the Disney version of Captain Nemo. But I don’t. I’m sort of the arcane equivalent of a classic computer geek. I do magic, in one form or another, and that’s pretty much it. I really need to get a life, one of these days

I got stuck on the Peter Pan ride when I was nine years old with my dad at Disney World. We got stuck on that part of the ride when you're suspended in the pirate ship above the miniature London, and I was fascinated by the why of it all. 'Why is Peter Peter Pan, why is he in Neverland, how did he learn how to fly, etc.?'

I'm finding that everything sells. I've been toying with the fact that I have this big giant glass jar with the metal screw lid on it that's full of ribbons and memorabilia from conventions and stuff. I've got buttons and I have all of my Walt Disney Mickey Mouse credit cards. I'm wondering in my old age if anyone would pay for a credit card with Mickey Mouse on it issued to me. I wonder if anyone would pay anything for that?

The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.

I was under contract with Walt Disney at the time. I was co-starring in my second season of a show called, Texas John Slaughter. The Andy Griffith Show hired me to play Thelma Lou. I only worked when they called me. I would do an episode in two days and I got paid $500. After all the federal, state and local taxes were taken out and then my agent's commission I only got $200 some dollars per episode.

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.

You never know how things are going to fit. So, you don't count your eggs until they hatch. You can't pre-project that. I mean, this was literally like a childhood fantasy of mine, to be able to work in action. You know, growing up on Disney films like Pocahontas and wanting to enter into that, or Aladdin and how he's fighting - being your own hero, being your own heroine is like every one's dream.

When I went through a really intense break-up - you know, I was engaged - the thing that gave me the most anxiety was not knowing what to do with myself when Disney wasn't there to carry me anymore or if I didn't have him. And now I'm FREE of both of those things and I'm fine. I lay in bed at night by myself and I'm totally OK and that's so much stronger than the person three years ago, who would have thought they would have died if they didn't have a boyfriend.

I have a brand new favorite for a Disney animated feature coming out next Christmas called The Princess and the Frog. I'm Ray the singing Cajun firefly. New Orleans is my second hometown. I was a deckhand on a riverboat there when I was 18, so I have that Cajun accent down pat. Ray is a lovesick firefly who's near-sighted and falls in love with the Evening Star. Of course, Winnie the Pooh and Tigger will always be favorites of mine too.

I worked at the original Coyote Ugly bar when I was a young, unpublished writer. Then later when I became a writer, I wrote an article about it for GQ. Disney read this article about this filthy, disgusting pit in the East Village [of New York City], where we used to set the bar on fire to get customers away from us, and said, "That's a great movie for kids!" They made the fantastic Coyote Ugly movie, now legendary.

I remember being young and people passing me things under the bathroom to sign, like under the stall. Like adults. We were shooting at Disney World, and my mom went with me to the bathroom, and an adult woman came in and under the stall was like, "Can you sign this?" And I remember my mom being like, "Have you lost your mind? What is wrong with you? You don't do that! She is a child and you don't do that to anyone!" Who thinks that is a good idea? Someone.

Gummi Bears was actually an adventure comedy. It was great fun, it had this terrific backstory, a show created by Jymn Magon. The candy was the inspiration for starting the show in the first place but the series that was created was really great. We felt that Gummi Bears never got the respect it deserved. I don't take any credit for Gummi Bears. Gummi Bears was up and running by the time I joined Disney. I thought it was a great show.

I think we're all just doing our own thing and finding our own paths and I think we just work really hard. I don't personally know some of the Disney girls as well as I know some of the Nickelodeon girls, but I have run into them and talked to them and they're all really cool and I respect them and what they do and I'm just trying to do my own thing.

There’s a whole psychological reason for those cartoons about good against evil. We have "Superman" and all those other hero people, so that we can go out into life and try to be something. I’ve got most of Disney’s animated movies on video-tapes, and when we watch them. Oh, I could just eat it, eat it. […] Jimmy Cricket, Pinocchio, Mickey Mouse – these are world-known characters. Some of the greatest political figures have come to the United States to meet them.

Remember Robin Williams's great work as the voice of the genie in Disney's 'Aladdin'? Because he wanted to leave something wonderful behind for his kids, he said, he did the voice for a cut-rate fee of $75,000, far below his usual $8 million payday. But then something happened: The movie became a huge hit, raking in $504 million.

I had two chances to fail [working for Disney]. The first one, they said was "too juvenile." The second one was,they give you general areas to work in. They said, "Set 'My Fair Lady' in ancient Egypt."I came up with this idea about an Egyptian princess, and I gave her, as a sidekick, a little scarab. I had a telephone meeting with the executive "handling" me, and he said, "I looked over the notes. Very cute. But lose the beetle.Beetles don't talk." Well, how do you answer that? I said, "Excuse me just a moment, I've got a teacup calling me on the other line."

I remember the first time we stood in this spot. We were on the deck of a boat in the middle of what was then Penny's Bay, envisioning what could be, what would be, what will be. Six years later, through our dream partnership with Hong Kong government, the creative dream is now a reality. Hong Kong Disneyland stands before us as a living symbol of the creativity and imagination that are the heart and soul of Disney.

The first thing I did as a child was draw. I wanted to make animated movies. I think Disney's 'Cinderella' was the first movie I ever saw. 'Peter Pan' was the first movie I ever saw in the movie theater. I grew up with 'Dumbo' and 'Pinocchio' and 'Sword in the Stone.' Those were the movies I wanted to make.

The Disney sale happens, Clone Wars closes out, and they start Rebels. And I remember talking with Dave Filoni at the studio, at a time when I didn't know what I would or wouldn't be doing for Star Wars. And Dave kind of shrug his shoulders and says what I don't have the courage to bring up, which is, "You know Maul is coming into Rebels, right?" And I was hoping! I feel like this guy, he got his mileage. He's had more than his fair share at trying to make his mark on the Star Wars universe.

Don't get me wrong. I like Disney World. The rest rooms are clean enough for neurosurgery, and the employees say things like "Howdy, folks!" and actually seem to mean it. You wonder: Where do they get these people? My guess: 1952. I think old Walt realized, way back then, that there would eventually be a shortage of cheerful people, so he put all the residents of south western Nebraska into a giant freezer with a huge picture of Jiminy Cricket on the outside, and the corporation has been thawing them out as needed ever since.