Quotes About Pixar

Apple is a wonderful company for its customers and investors. So, too, Pixar. (NeXT, not so much...) But Apple is also an engine of misery for its subcontracted Chinese workers.

People talk a lot about Pixar going off the rails. A lot of people are saying they aren't happy that we are making sequels. But for every one of those people, there is one that is happy because they fell in love with the worlds we created. We hope we've proved that a sequel can be every bit as enjoyable as the original.

Once we can do Pixar-quality graphics rendered in real time with interactivity, I could see games costing $200 million to make, and all of a sudden you have to sell a lot of games just to break even, so I'm a little worried someone's going to do that.

Most people know me at Pixar as the guy that doesn't like to do sequels or very reluctant to do sequels.

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.

For me, the work we did to turn around 'Toy Story 2' was the defining moment in Pixar's history.

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.

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

But I believe that as the quality of these platforms gets better, and as products like Roblox start to look and feel more like a Pixar movie, you're going to see the span of these platforms get bigger, and ultimately I believe there will be a platform company that's as big if not bigger than the publicly traded game publishers.

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 play a lot of computer games. I love computer graphics. I've had Pixar in me for a long time.

I don't think that photorealism is required to offer emotions. You can have very abstract characters and renderings offering the same type of emotions - look at Pixar movies: they're not photorealistic; they're stylised, and it doesn't prevent emotion from happening.

From an animation perspective, it doesn't get better than Pixar. You're working so much in the blind because the huge circle of collaborators that's required to pull off a film like this means that you are just one small arc in that large circle. The level of trust that you have to give into is significant.

When I want to get inspired, I'll put a Pixar movie on silent and listen to Nas.

I would say that Pixar is doing for animation what Chaplin did for film, infusing it with heart and characters that you care about and stories that you lose yourself in. They are similar revolutionaries and changing a medium.

I'll watch a Pixar movie over and over and over again. I'll be with friends of mine who have kids, that want to watch 'Finding Nemo,' and I'm like, 'Yeah, okay, let's watch 'Nemo' again, for the seven billionth time!,' because they're amazing movies.

Pixar has invented much of computer animation as it's known today, and I've been very lucky to be the first traditional animator to work with computer animation.

I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.

The thing about Pixar, they don't do the 'trend is your friend.' They're really about timeless story telling, and that's pretty great.

There's always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation. But you can do good stuff either way. The Pixar movies are amazing in what they do, but there's plenty of independent animators who are doing really amazing things as well.

At the casting sessions it was all boys and though I wasn't exactly bored I didn't need to be there, and songs constantly floating in the car keep commenting on everything neutral encased within the windshield's frame ( … one time you were blowing young ruffians … sung over the digital billboard on Sunset advertising the new Pixar movie) and the fear builds into a muted fury and then has no choice but to melt away into a simple and addictive sadness.

In Hollywood, they think drawn animation doesn't work anymore, computers are the way. They forget that the reason computers are the way is that Pixar makes good movies. So everybody tries to copy Pixar. They're relying too much on the technology and not enough on the artists.