American - Director | January 12, 1957 -
Soon I learned that the worse the puns and jokes, the funnier they could be, if you knew how to deliver them.
John Lasseter
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Walt Disney had always tried to get more dimension in his animation and when I saw these tapes, I thought, This is it! This is what Walt was waiting for! But when I looked around, nobody at the studio at the time was even halfway interested in it.
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I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.
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Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.
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If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.
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I believe in research you cannot do enough research; believability comes out of what's real.
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It's the nature of Hollywood that there are the people in power and the people who tell them what they want them to hear.
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Everything I do and everything Pixar does is based on a simple rule: Quality is the best business plan, period.
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You never hear of a live-action studio that has been making so-so films looking over at a studio that's making great movies and going, 'Oh, we see the difference - we're using a different camera.'
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When you set out to really entertain adults as well as kids, your audience is basically anybody who is breathing.
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Every movie has three things you have to do - you have to have a compelling story that keeps people on the edge of their seats; you have to populate that story with memorable and appealing characters; and you have to put that story and those characters in a believable world. Those three things are so vitally important.
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Walt Disney always said, 'For every laugh, there should be a tear.' I believe in that.
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