Walt Disney Quotes

On the sets of the movie 'Manto,' I found that one of the challenges of embodying real-life stories is the mixed medium of facts and imagination, and how one's collage of experiences colour ones representation on celluloid.

You sit and you read that, and you have to imagine turning it into a film that people are going to sit and watch. And you have an awful lot of input from a lot of other people. That's the way I work.

To tell the truth, fairytales have never gone out of style. They have been told and retold for thousands of years, finding new shapes and structures with each new generation of tellers.

It's tricky to take a book of short stories and turn it into a feature film.

Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.

The exciting thing about doing art for someone else's story is how I can translate their world through pictures, and that's always a pretty big challenge.

Over the years, I have been approached about making Ramona into a cartoon or movie, but I was afraid that no one could really capture the spunky character of Ramona.

A good story, a story resonant and remarkable, can be remade endlessly to tell new sides of itself for new generations of readers.

But the animation has become very good, and I think that a movie is not a book, and a book is not a movie.

You want to make money, remake 'Cinderella.' You want to move people, remake the Hippolytus and Phaedra myth.

Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.

Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.

It's hard sometimes, especially with a book like 'Scorch Trials,' to truly adapt to the way the book is because so many of the scenes that take place in the book are really graphed and painted for the imagination. Trying to bring that to life is a really big task.

It's really an interesting problem, trying to earn a living and serve art and serve kids. What I try to create are these visual layers so that readers feel the possibility exists that there might be something in the book they never saw before.

You have to love Dr. Seuss to take on the responsibility of conveying his work in animation or any medium.

You take some creative license when you make a movie, and things can be a little bit different.

I see my role as a translator, telling the story that's in the book using the more visual language of film.

It's a challenge to turn a book series into a television series; you need to keep people on their toes, but you also want to be true to the source material.

It's kind of a test when you read a novel thinking about its potential for the screen: How does it play on your mind's screen?

The essential nature of all filmed entertainment is that you area always straddling the line of whether or not you can realize something that you want to do.

In film, if you've got to do a scene in a swimming pool, you do a scene in a swimming pool. If you've got to blow up a car, you blow up a car. In theater, you can't do that, and therefore, you have the opportunity to engage the audience's imagination in a way that's rich.

It's a very difficult thing to adapt a piece of existing material into film.

No author can create a character out of nothing. He must have a model to give him a starting point; but then his imagination goes to work, he builds him up, adding a trait here, a trait there, which his model did not possess.

The easier you make it look, the more difficult it is. Creating characters out of nothing, and making them interesting - and that's another advice I would give to writers.

The idea right now - and it may evolve - would be a live-action movie where some of his characters would be animated. To me, this movie is very much about the creative process.