“When you take something that’s inert, and through motion, give it life, make it appear to be alive, living, breathing thinking and having emotions, that’s animation. But when you take something that’s live-action, and move a part of it, that’s a special effect.”

— John Lasseter, talking to Variety

“I started to do stop-motion when I was a kid. You take a Super 8 and make some models, and move, click, move, click. All that. I love all forms of animation, but there is something unique and special to stop-motion: it’s more real and the set is lit like a set. But I think it’s also a kind of lonely and dark thing to want to do.”

— Tim Burton

“Harry Warner set the tone of our day in court by observing that he had no idea where our cartoon division was, and added, ‘The only thing I know is that we make Mickey Mouse.’ We were proud to hear that and assured him that we would continue to keep Mickey at the top of his popularity. Jack Warner suggested that is would be healthiest for our future if we did so.”

— Chuck Jones, Chuck Amuck: The Life and Times of an Animated Cartoonist

“People who get into animation tend to be kids. We don’t have to grow up. But, also, animators are great observers, and there’s this childlike wonder and interest in the world, the observation of little things that happen in life.”

– John Lasseter, talking to The Guardian

“Luckily with animation, fantasy is your friend.  And the more fanciful and the more out of control the story seems to be reaching… I think all of these things go down more easily when the medium is an animated one and not a live action one.”

— Steven Spielberg,

from an interview with Movie Talk about The Adventures of Tintin

“The Cartoon…is in some respects the best medium of cinema expression. … [Cartoons] have a distinct sociological value. They exhibit man in society caught in a network of events…trying to escape the consequences. They are in fact a comment, a very witty, instructive and biting comment on the absurdities of Man and other living things seen in the light of materialism. At the same time they are human, tragic, and comic.”

— Huntly Carter (British film critic, 1930)

“At Pixar we’re almost more excited about the things that didn’t work because it’s like: well, we tried this but we didn’t expect this. It’s like a trapeze artist, who’s going to do a quintuple somersault – it’s never been done before in the world. Hollywood is a place where, typically, if something doesn’t work you lose your job. In Hollywood terms, not only is there no net but there’s poison spikes down there. Of course you’re only going to do something you know you can land. Whereas at Pixar we don’t just have a net, we have down comforters and air bags, and you have everybody trying stuff constantly. That’s one of the things we’ve changed here.”

— John Lasseter, talking to The Guardian