Andrew Stanton
Andrew Stanton
Andrew Stantonis an American film director, screenwriter, producer, and voice actor based at Pixar Animation Studios. His film work includes writing and directing Pixar's A Bug's Life, Finding Nemo, and WALL-E, and the live-action film, Disney's John Carter. He also co-wrote all three Toy Story films and Monsters, Inc...
NationalityAmerican
ProfessionDirector
Date of Birth3 December 1965
CityRockport, MA
CountryUnited States of America
There's a mercurial nature, but more of a mysterious nature to women that I think is what makes them so attractive. And I think that that's what I love: Guys never seem to know when they've come too close and crossed the line, and then the temper comes.
You end up using your own instincts. You end up having the guts to do what you should have done all along. After a while, we needed to give (the movie) back our voice. We went too far in listening to every single thing (Disney) told us to do.
There are so many times and places in history in our world that I just don't know anything about, and when I learn about them they're always fascinating.
Well, I have no problem with 3-D but I don't think it's necessarily a blanket requirement for every film.
I think you could go back to any filmmaker or musician or artist, and look at what their input was in their formative years, and you could trace all the lines.
The happiest moments of my childhood were when my toys broke, because then I could destroy them with impunity.
We're all going to keep telling love stories, we're all going to tell hero stories. It's all a question of what your own thumbprint, your own DNA, is, and what it brings to the table that makes it unique.
Being a sci-fi geek myself and going to movies all my life, I came to the conclusion that there were really two camps of how robots have been designed. It's either the tin man, which is a human with metal skin, or it's an R2D2.
If you're trying to do multiple agendas, you'll confuse yourself as a storyteller. If you have one purpose, everything else will fall into place.
The big myth is that we want to make the best computer-animated movie in the world. And it's like, no. We want to make the best movie we can make.
It's like trying to turn an aircraft carrier around. It takes a long time for things to stop, so we took advantage of working very fast and redid a large part of the picture.
It'll look even better now for somebody at home than it ever did for anybody seeing it for the first time in the theater.
Art is messy, art is chaos - so you need a system.
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. Its a nice problem to have.