Bryan Konietzko Quotes

What's happened with computer technology is perfectly timed for someone with my set of skills. I tell stories with pictures. What I love about CGI is that if I can think it, it can be put on the screen.

There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.

I've always been thinking in three dimensions, ever since I started working with computer animation in the early '80s.

A lot of people have helped me along the way. But you know the biggest thing for me was when computer animation came along.

I would love to do some motion capture work just to be able to challenge myself.

As I look back on my career, I had a goal, which was to build the first feature computer-animated film.

In the earliest days of Pixar, when we were making 'Toy Story' and 'A Bug's Life,' we all came together as a group.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

Computers don't create computer animation any more than a pencil creates pencil animation. What creates computer animation is the artist.

I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

Now, I just made an animated movie a few years ago, 'The Tale of Desperaux', and that had twelve hundred shots in it. Twelve hundred CG shots is a pretty big plan.

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

I think it's the most extraordinary studio around. I would love to do my next project with Pixar.

On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.

I feel I'm just meant to do stop-motion. Live-action is much more glamorous to some, but it's basically a whole army of people focused on one thing.

When we did 'Toy Story,' that was an all-hands-on-deck situation that really was time-intensive.

Our experience on 'Avatar' heavily influenced how we approached 'The Dragon Prince' and how we built our team.

When we made 'Toy Story,' we knew, even back then, that this was going to be the ugliest film we would ever produce.

I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.

We got together as a group to come up with the idea for 'Toy Story 3' in the same cabin where we dreamed up 'Toy Story.'

Doing something like 'Bushwick,' a lot of people need to agree that the piece is working with what's going on on the screen. So it's a lot of tweaks and re-works, just kinda moving pieces around and getting things to hit right.

Everybody is always trying to make the best movie they can. It's a process.

What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.

Films are not mathematics - that's the first thing you need to understand. At least, that's how I feel. They are not words on paper. Films are made with people, with teams and with individual bundles of creativity coming together to fulfill the vision of an individual who is the director of the film.