Pixar Quotes
The best sayings about Pixar that you can share on Instagram, Pinterest, Facebook and other social networks!
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At Pixar, I don't have to compromise at all. When I look at the finished "Toy Story 3," I don't sit and constantly think, oh, the actor was having a bad day, or oh, it rained and we couldn't use that set. The story that I wanted to tell is what is on screen, and I haven't had to compromise it one iota.
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Pixar has announced Larry the Cable Guy will be starring in Cars 3 thru 6. Howie Mandel will be playing his sidekick, Mopey the Moped.
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Dr. Paul Ekman, who worked in San Francisco - still does - which is where Pixar Animation Studios is, he had early in his career identified six. That felt like a nice, manageable number of guys to design and write for. It was anger, fear, sadness, disgust, joy and surprise.
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Now that had worked very successfully at Pixar, and he ended up adding one at Walt Disney Animation and one at DTS. So, I'm part of that Brain Trust where I sit in on all things creative for the whole studio, but especially in the Planes area.
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I loved DreamWorks and Pixar, and I still love kids’ films...
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The saddest day in Pixar history was when some guy said 'get Larry the Cable Guy on the phone.
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I feel kind of fortunate that over the last 25 years I've been in almost every Disney/Pixar film.
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What makes Disney movies and Pixar movies always so good, hey take time and they're constantly honing, and tweaking, and rejiggering things, and taking influences from every cog, including myself, that can help. Any place where there can be inspiration. They make every moment very layered and very rich.
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I think it's the most extraordinary studio around. I would love to do my next project with Pixar.
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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.
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The thing that drives me and my colleagues at both Apple and Pixar is that you see something very compelling to you, and you don't quite know how to get to it, but you know, sometimes intuitively, it's within your grasp. And it's worth putting in years of your life to make it come into existence.
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The silliness-much of which is clearly intentional-is blended with some genuine grandeur. The Pixar touch is evident in the precision of the visual detail and in the wit and energy of Michael Giacchino's score, but the quality control that has been exercised over this project also has a curiously undermining effect. The movie eagerly sells itself as semitrashy, almost-campy fun, but it is so lavish and fussy that you can't help thinking that it wants to be taken seriously, and therefore you laugh at, rather than with, its mock sublimity.
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Not everyone can become a great artist; but a great artist *can* come from *anywhere*.
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Pixar is the first studio that is a movie star.
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If you have a kid and you try irony out on them, they don't get it at 7, 8 years old. You can't really hide the Internet from kids. It worries me some particularly because I've done Disney and Pixar stuff.
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I'm a big fan of the Pixar movies, and Ed Catmull, who wrote a book about his experiences producing them, talks about how it takes three or four years to get it right.
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Pixar makes movies that make sense for Pixar, and Disney makes movies that make sense for Disney, and they've each emerged in their own unique way.
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If I knew in 1986 how much it was going to cost to keep Pixar going, I doubt if I would have bought the company.
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Pixar films are not realistic. They are believable for the worlds we are creating.
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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.
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The thing about working at Pixar is that everyone around you is smarter and funnier and cleverer than you and they all think the same about everyone else. Its a nice problem to have.
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As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel.
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Working at Pixar has been like my graduate school for screenwriting.
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Pixar is the most technically advanced creative company; Apple is the most creatively advanced technical company.
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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.'
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Most Pixar films are better than most live action films.
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My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.
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Well, we try to - we definitely try to have a balance. And I think things have gotten a lot better at Pixar. When we did "Toy Story," that was an all hands on deck situation that really was time intensive.
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We [film supervisors] always try to encourage discussion in the room because a lot of times newer animators who are just out of school or people come from other studios, they're gonna have different points of view and we want to make sure we're vetting all the ideas to get the best ones. A lot of people are shy about speaking up if this is their first time at Pixar or if they don't have a lot of experience, so we try to encourage that.
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Why would I ever want to run Disney? Wouldn't it make more sense just to sell them Pixar and retire?
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