Pixar films are not realistic. They are believable for the worlds we are creating.
John LasseterRead
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.
Interpretation
Attention to detail is crucial in art, even in aspects that may not be visible to the audience.
This quote by John Lasseter emphasizes the importance of meticulous craftsmanship in the world of animation and storytelling. Just as fine furniture makers ensure that every part of their work is refined, regardless of visibility, Pixar instills a similar devotion to detail in their scenes, creating an immersive experience for the viewer that is felt rather than explicitly seen.
In practice
Using this quote in a discussion about the intricacies of animation and what makes Pixar successful.
Pixar films are not realistic. They are believable for the worlds we are creating.
Everything I do and everything Pixar does is based on a simple rule: Quality is the best business plan, period.
You know, going to the movies has always been recession-proof. It's fairly cheap entertainment; it's classic escapism.
At Pixar, good ideas may be cut from a film, but they are never forgotten.
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.
Pixar is not about computers, it's about people.
In Red Flags, Juris Jurjevics has brilliantly accomplished a feat that is becoming a major characteristic of 21st century literature: the seamless combining of a genre form with the deep resonance of literary art. This book is thrilling to read for both its narrative drive and its insight into the human heart.
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
I believe that a good children's book should appeal to all people who have not completely lost their original joy and wonder in life. The fact is that I don't make books for children at all. I make them for that part of us, of myself and of my friends, which has never changed, which is still a child.
It helps me to learn things in different languages, even if it's just phonetically, and to make myself vulnerable to other audiences by trying to reflect back to them the genius of their own cultures, and to do that, oftentimes, in new jazz settings, new arrangements. It's a way to show respect.
People ask me: ‘What is punk? How do you define punk?' Here's how I define punk: It's a free space. It could be called jazz. It could be called hip-hop. It could be called blues, or rock, or beat. It could be called techno. It's just a new idea. For me, it was punk rock. That was my entrance to this idea of the new ideas being able to be presented in an environment that wasn't being dictated by a profit motive.
I found it easier to make up songs than to learn other people's songs.
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