Zitat des Tages von Rich Moore:
I love that fans feel comfortable enough to send us their artwork.
Arcade-game characters have no free will. They're programmed to do one thing day in and day out - they don't have a choice in the matter.
I remember the N64 coming out. That was a beautiful day.
I always thought that Mario was kind of the bad guy - because if you knew about the game, there was supposed to be a back story where Mario was teasing the ape, and the ape stole his girlfriend, and this was kind of karma for Mario, you know?
There was a moment with 'Zootopia' where we said, 'This is the experiment: let's try Judy in the role of the protagonist. Let her character introduce us to the city and this world.' And suddenly, all that struggling and trying to make traction into this story was done.
We can't put up a movie that looks beautiful but doesn't have substance.
'The Critic' was so absurd, and I loved that. I loved working with Jon Lovitz, I think he's got a great, great voice for animation.
I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.
As an artist, it feels good that we've created something that is connecting with the audience, which is what we always strive to do.
So much of the time spent on 'Zootopia' was inventing it. What does it look like? How does it work?
I think when, like, things like 'The Wizard' and even like 'Tron,' when it first came out, I was a teenager, and, man, I really wanted to kind of just kind of disappear into it.
I think that 'Family Guy' and 'The Critic' come from some of the same kind of seed. I don't know what it is.
The best games came from great characters.
I never saw a Laurel & Hardy movie in a theater when they first ran, when I was a kid. But as a child, I knew who they were, and knew the culture of it, what they meant.
Being able to make a comedy at Disney was really appealing.
I'm really excited that the studio is trying, because when I began my career in the early '90s, late '80s, Disney was not something - though I respected it and liked what they were doing in those years - it's not like I thought I wanted to be a part of that studio right now.
Disney is a place that I've always rooted for, and I think the audience does also because we have a deep, deep love for what that means.
I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.
It feels like there's something for everyone in video games. It's not just a toy for a certain age group. It's steeped in the culture now.
I love living in Burbank. It has major movie studios, huge media empires, but the city still feels like a mom-and-pop town. It's not pretentious at all. It doesn't feel like a big Hollywood town, and it has every right to be, but it's very friendly and easygoing.
You put as much effort as you can when they're young into trying to teach them to be good people or make them the best they can be, and they're older now, my kids. I'm at that stage where I let them go, and you just hope that all that nurturing you did earlier on sticks, and you launched good people out there.
Good comedy films, if you listen to the score, the music is not trying to be funny. It's always, in a way, underscoring the tragedy and struggle of the main character.
I fell in love with this idea of an old school game character, like Donkey Kong, who looks like a very simple guy but is really wrestling with this very profound struggle: 'What's the meaning of life? What if I don't like this job I've been programmed to do?'
My first movie I saw when I was a kid was 'The Jungle Book.' I was 5 years old, and I saw it in a movie theater. Seeing that movie really lit the fuse and ignited my passion for animation.
To me, I love being able to see some of John C. Reilly's face in Ralph, and some of Sarah Silverman in Vanellope. That there are hints of them there. In the broad strokes, they are there.
