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.
Sentiment: POSITIVE
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.
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.
Pixar is going in the direction of the early Disney. And it's also corporate, where they have four or five projects in the works. I don't want to get into that subject.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
I don't think at Pixar we'd ever make something that was too scary for general audiences.
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.
Working at Pixar has been like my graduate school for screenwriting.
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. It's a nice problem to have.
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.
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.