Byron Howard Quotes

What about Mickey Mouse? Disney tried very hard to make him a star. But Mickey Mouse is more of a symbol than a real character.

I really cite Walt Disney as teaching me everything I know. It sounds crazy, but I'm serious! In 'Bambi,' the mother dies, but you don't see the corpse. You see the father, the stag, come up and you see 'Bambi' alone, and that has so much more impact than seeing a mutilated deer.

I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.

When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.

I try to build a full personality for each of our cartoon characters - to make them personalities.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

I think the best way to sell a made-up character is to plant his feet into the real earth.

I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.

I think probably I've been influenced by Chekhov and Walt Disney, if you see what I mean.

There was a manga boom, so I read 'Astro Boy,' 'Osomatsu-kun,' and such. But what influenced me the most were things like 'Popeye' and Disney animation.

For me as an audience member, it makes the characters more relatable and interesting if they're evolving and changing - it makes them feel more real in a way. But not every cartoon is trying to be real.

I always wanted to have a villain song for Hades in 'Hercules,' but I couldn't figure out how we would have Hades sing.

Whether it is television or film, the character on the page has to speak to me.

It's very hard to connect with a character when you haven't gotten a sense of who they are.

I think what I look for in a script, it's the relatability quotient that matters the most.

I keep saying my books don't have superheroes. They have ordinary people in extraordinary situations.

I've starred in many melodramas, but the reason 'Something in the Rain' is so special to me is that I feel like I'm living in reality.

I am a firm believer that the craziest stories that have been told and are being told are in anime. They have character arcs that go over, like, 400 episodes, like a 400-episode character arc.

When we were kids, I know when I saw 'Pinocchio' it had a huge impact. I was ten years old, and I went home, and I was drawing the characters.

Well, I'm always drawn to the drama first. A story is really only interesting to me, if you can remove all of the genre moments and remove the supernatural element, and it still works. Then, I'm interested.

I'm focused on finding characters I connect to.

When you allow an animator to focus on a portion of the film and really understand the arc of the scene, what's happening with the characters, they can make choices all along the way that reinforce the main points of the scene. They really get to know what's happening.

I like to make films with characters that resemble real people, about societies that exist.

I admit I do develop characters from little parts of things I've seen others do.

One of the most exciting parts of the Nexus and 'Bad News' Barrett eras were I had a lot of influence in the character and I had a lot of influence in how I was going to portray myself.