Zitat des Tages über Pixar:
Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject.
When Pixar calls and says, 'Hey, you wanna be in a Pixar movie?' you don't do a lot of contemplating!
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.
Pixar has been compared to fine furniture makers who polish the backs of drawers - even if you don't see everything in a particular scene, you still feel that every little detail has been met.
Working at Pixar has been like my graduate school for screenwriting.
Everything I do and everything Pixar does is based on a simple rule: Quality is the best business plan, period.
I think, in Japan, animation isn't relegated to being a genre unto itself. It's just a medium by which you can tell any number of stories, be it horror or action or adventure or drama or whatever, and we're trying to do that as well. Every film that you go see from Pixar, we're hoping is a little bit of a surprise.
After Pixar's 2006 merger with the Walt Disney Company, its CEO, Bob Iger, asked me, chief creative officer John Lasseter, and other Pixar senior managers to help him revive Disney Animation Studios. The success of our efforts prompted me to share my thinking on how to build a sustainable creative organization.
Most Pixar films are better than most live action films.
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.
Oh yeah, I'm still employed at Pixar and I love it here.
Everybody involved in Pixar, I've not met one person who's not incredibly creative and nice and lovely and know what they're doing.
I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.
Hand-drawn animation is something that I feel really strongly about. A Pixar movie may be really great, but it looks like it was drawn by a machine.
At Pixar, we believe strongly that filmmakers should develop ideas they are passionate about. This may sound like a no-brainer, but in fact in Hollywood, the big movie studios have whole departments devoted to acquiring and developing projects that will only later be paired with a director-for-hire.
Every Pixar film, when we start developing the story, it takes about four years to make one of our films.
Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'
As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel.
Every Pixar movie at one time was the worst motion picture ever made.
Pixar films are not realistic. They are believable for the worlds we are creating.
When the Pixar people call, you jump at the opportunity.
One reason for keeping Disney animation separate from Pixar was that by solving their own problems when they finished a film, Disney could say, 'Nobody bailed us out; we did it.' And it's a very important social thing for them to do that.
I mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.
There's a lot of imagination in Asia, and I believe that the next Google will come from there, and the next Pixar. I believe that the great new media companies will come out of Asia and surpass the big media conglomerates that exist right now in the West.
Actually, no, but I am close to the people who are working on Chicken Little, and I'm very close to the people over at Pixar. I mean, as far as stories are concerned, almost everything we have could be told that way.
A lot of the album 'The Definition' was made from two things: Pixar movies and J. Dilla.
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.
At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.
I saw some Pixar movies like 'The Incredibles' and thought, 'This is extraordinary. These are some of the best movies I've seen.'
I'm lucky to be surrounded by incredibly talented people at Pixar, of course, and I learn a lot from them each and every day.
Even in the Pixar and DreamWorks animated movies, there are themes that could be taken into an adult area very easily. 'Zootopia,' I think, is the closest so far; I love that movie because they really did push the envelope as far as the ideas and writing of an animated film for families.
Any of us directing at Pixar, whether it's our first time or not, feel a lot of pressure to not make a bad Pixar film.
Pixar is a community in the true sense of the word. We think that lasting relationships matter, and we share some basic beliefs: Talent is rare.
Anything Pixar does, you know, I really just am in awe of them and thrilled to be included in anything they do.
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.
At Pixar, we do a million versions of the movie, and every one of them goes through their awkward teenage phase where it's terrible and doesn't make sense, and we just keep working on it.
