Quotes About Animation

Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.

Of course when you toss a stick of dynamite at a cartoon character, he can come back to life again in the next frame. Getting the same effect with actors is going to be a lot tougher.

Yes, actually. Animation's a very easy thing to watch on tour.

I really love 'Toy Story' a lot. It's what I grew up with.

Animation is very singular. Like, even the 'Toy Story' movies. People will go, 'Oh, gosh, you're so lucky, getting to play opposite Tom Hanks!' And it's, like, 'It may have appeared to be that, but we were never in the room together.'

Every kid has a toy that they believe is their best friend, that they believe communicates with them, and they imagine it being alive, their toy horse or car or whatever it is. Stop-motion is the only medium where we literally can make a toy come to life, an actual object.

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

I remember when John Lasseter called me back in the late 1990s to personally invite me to come be the voice of Barbie in 'Toy Story 2.'

For 'Toy Story 3' to be recognized by the Academy as not only one of the best animated films of the year, but also as one of the 10 best pictures of the year, is both humbling and overwhelming.

When we made 'Toy Story,' we knew, even back then, that this was going to be the ugliest film we would ever produce.

Each of the 'Toy Story's are telling an emotional story, but they're comedic. They're so successful creatively in terms of the stories they're telling. And they're pretty grounded.

After we finished 'Toy Story 2,' we talked about going right into making 'Toy Story 3,' because we had an idea that we thought had some promise. But there were a bunch of boring contractual problems going on between Disney and Pixar at the time that kept us from making the movie.

In the earliest days of Pixar, when we were making 'Toy Story' and 'A Bug's Life,' we all came together as a group.

We hope 'Toy Story 3' looks amazing but still retains the character design of the first film. I like to think it looks like 'Toy Story' would have looked back then had we had the skills and the technology.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

When we did 'Toy Story,' that was an all-hands-on-deck situation that really was time-intensive.

You know, I loved 'Toy Story.' It's a great movie, but it has some pretty serious drama.

I had the whole 'Ghostbusters' toy set with the firehouse and the car and everything. Sometimes I'd use my grandpa's camera and make little stop-motion cartoons with those toys - I was definitely a weird kid.

When I was nine years old I use to copy - not trace - the covers of the Donald Duck comics. Many years later I became a close friend of Jack Hannah, the director of the Donald Duck film shorts.

Cute animals have a pretty good track record in animation for inspiring passionate fandom.

Oh yeah, I'm still employed at Pixar and I love it here.

I think it's the most extraordinary studio around. I would love to do my next project with Pixar.

I also love the makers of South Park, because they're political, strong, and they're making all of these comments that would get you shot for if you did it in a drama.

I animated 20 years at Terry Toons. It's important to know that animators like pizza and a raise once in a while, and you've got to treat them with love.