Quotes from John Lasseter

Every young person gets so excited about new software packages and new technology.

I can't tell you, as a parent, how it feels when the doctor tells you your child has diabetes. First off, you don't really know much about it. Then you discover there is no cure.

Today, among little girls especially, princesses and the romanticised ideal they represent - finding the man of your dreams - have a limited shelf life.

I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter.

When Walt Disney was making his films, he trusted his instincts and made films for himself, but they appealed to everybody, not just kids.

I love Japan. I love the collision of the modern and ancient worlds coming together in that place. It's so high-tech and cool.

I love French auto design of the early '50s, '60s, early '70s of Citorens, Renaults, and Peugeots. They're so unique.

Every movie has three things you have to do - you have to have a compelling story that keeps people on the edge of their seats; you have to populate that story with memorable and appealing characters; and you have to put that story and those characters in a believable world. Those three things are so vitally important.

Growing up, my favorite TV show was 'The Man From U.N.C.L.E.', hands down.

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.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

If you've seen 'Spirited Away', 'Spirited Away' is set in a very, very Japanese sensibility. And so, to Japanese audiences, when Sen would walk up, the main character, and look at this big building with a flag on it with Japanese writing on it, everyone in Japan would know what that is.

I do what I do because of Walt Disney. Goofy. Mickey Mouse. I never forgot how their films entertained me.

I never quite understood why Disney hadn't made a sincere fairy tale since 'Beauty and the Beast.'

When you really study espionage movies, or spy movies, the beginnings are really set up to have, like, an amazing bit of action, but at the moment you're watching it, you have no idea why or what it's about.

We use shorts at the studio extensively to develop talent. I always love to give opportunities for young story people, animators, layout people something like that to take the next step up in their career and try things out.

I always laugh at these companies that have these rules saying, 'You're only allowed to have this or that on your desk.' It's no fun to work at a place like that.

There was a period of time when they estimated the two biggest stars in Hollywood were Charlie Chaplin and Mickey Mouse.

As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.

I'm a big Disneyland nut.

I love bringing the inanimate object to life.

Nobody pays attention to the way a person's shirt folds around his shoulder when they sit down, but if that shirt folded in an unusual way, you'd notice it.

At Pixar, after every movie we have postmortum meetings where we discuss what worked and what didn't work.

Steve Jobs is like a brother to me and he's one of the founders of Pixar, and when the first iPad came out, I got one right away.