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My father pulled into Pearl Harbor four days after the bombing, and he said, everything was still burning. He said they never told the public how bad it was. It was really bad.

John Lasseter

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John Lasseter
Age: 67
Born: 1957
Born: January 12
Animator
Executive Producer
Film Director
Film Editor
Film Producer
Screenwriter
Hollywood
California
John Alan Lasseter
John A. Lasseter
Really
Told
Never
Days
Harbor
Public
Pearl
Four
Harbors
Father
Bombing
Stills
Pearls
Still
Pulled
Everything
Burning

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This is what I always tell my filmmakers-you have to do tons of research, because you don't know where the inspiration is going come from.
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Animation is the only thing I ever wanted to do in my whole life. I have no desire for live-action or anything else.
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I believe in the nobility of entertaining people and I take great, great pride that people are willing to give me two or three hours of their busy lives.
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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.'
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You cannot base a whole movie on just the imagery alone. It has to be the story and the characters.
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I realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.
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Quality is the best business plan.
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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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Soon I learned that the worse the puns and jokes, the funnier they could be, if you knew how to deliver them.
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One of the fun things about play is making up stories.
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At Pixar, after every movie we have postmortum meetings where we discuss what worked and what didn't work.
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In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.
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I've got Disney blood running through my veins.
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The art challenges the technology, and the technology inspires the art.
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When I look at the success I have, it's because of my creative thinking skills.
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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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The more we all help each other, the more we all benefit. So go out there. Help others.
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Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.
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Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
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One of the big technical advances that's really great looking is the water.
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