Words matter. These are the best Pete Docter Quotes, and they’re great for sharing with your friends.
I guess different brains work in different ways.
I loved ‘Dumbo.’ I watched Bugs Bunny time and again. The Muppets were big, too. All of those, they have this real, not darkness but poignancy, that’s what makes it stick with you.
‘In-between’ is sort of – an animator does the key poses. He’ll do extremes, you know, like a character reaching out for a glass of water and then another one of him drinking. And the in-betweener has to do all the drawings that goes between those two. You know it could be 12, 23 whatever in-betweens.
I love IMAX.
In a regular theatre, you’d be kind of moving your eye from one character 5 feet over to the right on the cut. In IMAX, suddenly that’s like 20 feet. So I would love to do something. I think I would really want to take the massive screen into consideration so that it would be done properly.
We all want happiness in our life. I mean, there are so many books on, like, how to be happy and what you need for happiness, and you want that for your kid, too; you want your kid to be happy.
Little kids definitely have desires and jealousy. There are some emotions that don’t show up at birth, but by three or four, they are all there.
There’s that bubble of childhood that makes you innocently do anything. Then, when you get older, that pops, and you’re aware of limitations and judgment and social pressures and things like that.
When we did ‘Toy Story,’ that was an all-hands-on-deck situation that really was time-intensive.
When I was in middle school, I liked to make cartoons.
‘Toy Story’ really felt like just a bunch of guys working in their garage for fun. When it came out and people liked it, it was mind-blowing.
I made tons of films. I did animation for my friends’ films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.
It’s really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
I don’t think of ‘Monsters, Inc.’ as existing in the same space as Carl Frederickson from ‘Up,’ or whatever, you know? They seem like completely different universes to me.
I love to go to the airports and just put on, like, dark glasses, so nobody can tell I’m staring at them, and just draw people.
‘Monsters,’ everybody has the thought of monsters in your closet as a kid, and more importantly, the idea of becoming a parent. We’re always kind of looking for those emotional nuggets. They’re always at the heart of the story.
At Pixar, of course, we have all these people, and they’re just used to our process now where it’s a discussion; it’s a discovery. It’s not individual artists going and fussing off by themselves in isolation and then handing their work in.
With sadness specifically, in America you read about people medicating to avoid sadness. They don’t want to experience sadness, and yet it’s such a vital part of being human.
I wanted to make sure that ‘Up’ wasn’t a 3D movie about a man who sails his house to South America. It’s a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
I kind of feel like… I have a slower instinct than most live-action directors, but I have more patience.
