Quotes of All Topics . Occasions . Authors
I went to Cal Arts. I went to art school.
I remember the N64 coming out. That was a beautiful day.
Being able to make a comedy at Disney was really appealing.
I love that fans feel comfortable enough to send us their artwork.
We can't put up a movie that looks beautiful but doesn't have substance.
It was never someplace that I said, 'In my career, I must work at Disney.'
A good movie makes the audience feel like they've journeyed with the characters.
We try lots of stuff. We throw it against the wall, and the stuff that sticks stays in the movie.
So much of the time spent on 'Zootopia' was inventing it. What does it look like? How does it work?
I think that 'Family Guy' and 'The Critic' come from some of the same kind of seed. I don't know what it is.
I don't like movies, TV shows, or books or anything that's preaching to the audience or speaking down to us.
I like giving the audience a lot of stuff to look at, and rewards for repeated viewings and paying attention.
For artists, we're always looking for approval. We're putting our artwork out there and saying, 'What do you think?'
I think it would be impossible to make a movie about video games if there wasn't some violence that we know from video games.
Rather than just making a movie about video games, I wanted to start with the character and what the character was going through.
From the moment we started working on the first 'Wreck-It Ralph,' we knew there were so many possibilities with these characters.
'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.
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.
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.
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.
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 like when entertainment not only makes me laugh or cry or thrills me, but makes the world a little clearer - and makes myself a little clearer.
If people want to watch a movie about a fox and rabbit becoming friends and turn that into an evil, agenda-pushing practice, then what can you say?
It seemed like, when I was a teenager, there was a video game everywhere: they were in 7-Elevens, movie theatres, pizza shops; they were everywhere.
I love the idea of a very simple 8-bit video game character struggling with the complex question: 'isn't there more to life than the role I've been assigned?'
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 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.
It wasn't until I was in that world, directing shows and movies, that I realized basically my job is to give back to another generation what the generation before me gave to me.
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.
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.
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.
Between 'Futurama' and 'Simpsons,' I'm able to work with the voices of Michael Jackson, Dustin Hoffman, and the cast of 'Star Trek.' It's great, you know; it's great to work with such talented people.
People will sometimes put each other in boxes and have biases toward one another because of what they look like or where they come from or who they are. But ultimately, it's up to us to decide who we are.
This new generation of animators was trained in CG. They know all the fundamentals of any 2D animator, but a lot of them learned on these CG rigs. You give them a good rig, and they can make that thing sing.
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.
Judy Hopps truly believes in something. We're not just giving her the run of the story, where we give her everything. Through her actions, she has to prove what she believes in. Personally speaking, I think that's cool.
The hallmark of a good comedy is that it can make you laugh, but it can also take you to the point where you're in love with these characters, and you want to see them be happy, and you want to feel that emotion for them.
I loved 'The Secret of NIMH.' When that came out, it felt like, 'Wow, this is something really, really new.' It looked like a Disney film, but it felt very cutting edge to me. To a twelve-year-old kid, it seemed very inspiring.
The challenge is, how do you take someone who's supposed to be a villain and make that appealing and lovable? You have to empathize with him and put yourself in his shoes and root for him and want him to have the things he wants.
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?
I think 'Wreck-It Ralph' can stand proudly in the pantheon of the great Disney animated films. It's a fairy tale disguised as something more contemporary. With its balance of heart and comedy, it is still very much rooted in the Disney legacy.
I spent a lot of money and time at pizza places. Golf and Stuff in Ventura, right off the 101, was my hangout. Skating Plus, right behind it, always had a good selection of games. That was the place to be when you were from Oxnard back in the '80s.
I'm part of that original generation that came up playing video games, that pumped a lot of our allowance into video games. We financed the rise of video games. I started playing them in the Straw Hat Pizza Palace at the Carriage Square Mall in Oxnard, CA.
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?'
What we've done now sits with those films that inspired me as a kid, and I hope there is a kid like myself today who is watching 'Wreck-It Ralph,' and he or she is inspired the way I was inspired when I was 5 years old, and now they'll pursue this crazy dream.
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.
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.
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.
When I was young, I was on a real hot streak with 'Crazy Climber.' There was a good three-week span where I couldn't get that game out of my head. I could not get back to the arcade fast enough to try and climb up there and not get kicked by a potted plant this time. That one got under my skin.
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.