Top 70 Pixar Quotes

I saw some Pixar movies like ‘The Incredibles’ and thought, ‘This is extraordinary. These are some of the best movies I’ve seen.’

Pixar has the integrity to not rush.

Probably more than any other movie we’ve made here at Pixar, ‘Up’ was the one we were the most nervous about.

We’ve always had ups and downs at Pixar, starting with the high we felt doing something we’d never done – ‘Toy Story’ – and the low we felt right after when we realized we’d messed a bunch of things up along the way.

Anything that has to do with Disney and Pixar, I am on board with. That is where my heart and family are. So when they call, I jump.

Every one of us at Pixar is worried that we’re going to be the one to make the dud.

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.

We work very hard in all of the Pixar films to not make anything in the imagery that causes people to think of something other than the story.

I love all three ‘Cars’ movies, and I honestly love almost all of the Pixar movies. They make you laugh, they make you emotional, and they bring back memories.

To tell you the truth, I hadn’t seen any Pixar until I went to see ‘Wall-E,’ and I watched it and I was shocked to see how adult it was, with the setting in our lives, both present and future, and how they dealt with it… And then quite relieved to find that the one I was working on, ‘Up,’ how adult it was.

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.

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.

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.

Out of the blue, I received this offer and invitation to be a part of this movie, ‘The Good Dinosaur.’ I turned to my Pixar experts, my kids, and asked them what this could all be about. Of course, they flipped out, and it was pretty obvious from their reaction that I was going to do this.

The world does not want to see a Pixar film that’s not great.

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.

Oh yeah, I’m still employed at Pixar and I love it here.

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.

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.

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

I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the Lucasfilm computer division had been sold off and became Pixar.

I’m really proud of ‘Cars.’ ‘Cars,’ when it first came out, got probably the most mediocre reviews of a Pixar film.

I love all the Pixar movies, and I like ‘Happy Feet Two.’ ‘Cause it has a lot of babies.

The goal is not to just do ‘Video Game High School’ every year. We want to grow into a real content production company. We want to be Pixar or HBO. We want to make five series a year or 10 series a year.

Working at Pixar you learn the really honest, hard way of making a great movie, which is to surround yourself with people who are much smarter than you, much more talented than you, and incite constructive criticism; you’ll get a much better movie out of it.

I think Pixar’s done an amazing job integrating art and science. They really get this idea that art and engineering work side by side.

When I first landed at Pixar, I felt like I found this creative oasis with John Lasseter… It’s what you thought Hollywood was going to be.

Every Pixar movie at one time was the worst motion picture ever made.

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.

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.

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.’

At Pixar, good ideas may be cut from a film, but they are never forgotten.

Everything I do and everything Pixar does is based on a simple rule: Quality is the best business plan, period.

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.

I have tremendous brand experience. What I do a lot for Disney is manage the great brands of this company, whether it’s Disney, ESPN, ABC, Pixar, Marvel, ‘Star Wars.’ And I’m very engaged in technology and its impact on the consumer, either what experience you deliver for them or how to market and sell to them.

If I went back to live-action, I’d have to do it the Pixar way. If I didn’t, I’d feel like I was walking a tightrope without a net.

One of the effects Pixar University has on the culture is that it makes people less self-conscious about their work and gets them comfortable with being publicly reviewed.

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.

In overseeing both Disney and Pixar Animation, each studio has a unique culture.

I started at Pixar the month ‘Monsters Inc.’ came out.

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

‘Bolt’ was made by Walt Disney Animation Studios, not by Pixar.

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.

What I’ve learned running Pixar applies to all businesses.

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.

As far as I know, the guys at Pixar are opposed to a Monsters, Inc. sequel.

Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding. The voices of the toys in the ‘Toy Story’ films, for example, are never audible to humans.

Pixar is filled with people who don’t get rid of their toys.

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

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.

I’ve always loved film, and it started with Pixar movies.

At Pixar, we do sequels only when we come up with a great idea, and we always strive to be different than the original.

The first ‘Monsters, Inc.’ represents starting at Pixar for me, I have a special place in my heart for it. So to be able to tell a story with those ideas is an honor.

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.

I am so proud that ‘Up’ is Pixar’s 10th film. I think it’s the funniest film that we’ve ever made and also one of the most beautiful.

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.

One of the head guys at Disney categorically said to me, ‘We don’t want to make children’s films any more. We want to make films that are going to appeal to all quadrants.’ Hence you have films like ‘Shrek’ and all the Pixar stuff, which is designed to suit everybody.