Lee Unkrich Quotes

I have a very low tolerance for animation. I'm used to the perfect integrity you get from drawing your own comics. There's something about that that animation always loses.

I'll probably never put out another album because I'm a tough critic of my work, and I don't think I could come up to those standards any more.

I've made movies where I was not happy, and I'd rather not work for a year than do a bad film. It takes a long time for me to recuperate when I do that.

I don't want to release a CD; I want to release the real deal, so we're just gonna take our time.

I want to be choosier. I can't let quality take a back seat... not after 'Kaaka Muttai.'

I don't want to put out something I'm not psyched on just because I finished it. That's the stupidest reason to do something, really. I want it to be up to my standards. I don't want to put out something I wouldn't listen to.

When you're a producer on top of that, just havin' a beat that's hot is not enough. Now you know your sound, 'cause you've been workin' on your sound for so long, and now you're extra picky. You might do a beat that's ill, that the average rapper would pay big money to get on, but you don't wanna do it because you're like, "Ehhh... it's not what I'm looking for, it's not what I'm goin' for." So you're extra picky.

I don't want to make a half-assed film. It's not my area of expertise.

There have been screenwriters who I'm sure would gladly kill me, because I've been very fast and loose with their work, because I felt like it wasn't up to my high standards. I would push and pull it on set, and make changes all the time. But then when you're working with an original screenplay, my theater instincts kick in, and I suddenly become very keeper-of-the-words.

Unless I can do myself justice and play well, I'm not going to play.

The thing is, I feel like it would defeat the purpose of being a musician if I let any kind of fear of failure affect my songwriting or making an album or whatever.

There's no certain type of cinema, but there's a certain type of promise every film comes with. The agenda is to keep an eye on quality and live up to that promise.

Once I finish something, if I don't feel that it's absolutely fabulous, there's no way I would ever let it be recorded, I wouldn't even present it to a producer.

Two things - one is obvious: always keep making. The second thing, with regard to music videos specifically - the music video industry can be a place that takes advantage of young freelancers and filmmakers. Make sure you're making stuff that you're proud of and you can get behind.

For me, to consciously seek unpredictable roles would be dangerous.

Any of us directing at Pixar, whether it's our first time or not, feel a lot of pressure to not make a bad Pixar film.

Whatever I do, no matter it's for television, web or the big screen - it should satisfy me as an actor.

I don't want to worry about someone calling me and going, 'You better find a way to get another Taylor Swift record out this quarter.' When there's that kind of financial pressure dictating your path, it's hard to take creative risks.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

I'm a big perfectionist, and I like to make sure everything 120 percent, from the production to the vocal performance to the lyrics, the melody and everything.

When I took over 'New Mutants,' writing and drawing, and I figure this is a big deal, I'm 23, 22 at that time, and I am nervous because I've had nothing but success. And now they're giving me the entire platform to create. And I figure, if I fall flat on my face here, it's going to hurt. It's going to set me back.

In a small lab, if you make a mistake, you can go in the next day and fix it. But here, when you are committed to spending a hundred thousand or a million dollars, you can't fix it later. You need to have a system of checks and balances internally. In particle physics, that's just part of the structure.

The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.

Don't worry about getting final cut, worry about making the best possible cut.

When you get above the line, you're above the line. So my thing is I just want to make music where I am always above that line.