Walt Dohrn Quotes

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

A lot of the time in animation is spent getting the story right - that's something you can't rush.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

I leave the story room to grow into what the movie is driving me to do.

I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.

On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

I've always loved film, and it started with Pixar movies.

We knew that for E.T. to feel real, you had to have some connection to his eyes.

I don't really make movies with an intention other than asking myself, 'Do I love the character, and do I love the story?'

I never outline my novels before I write. I do have a vague sense of beginning, middle, and end at the outset of each book, but for me, writing has always been a very character-driven process.

I'm a one-uniform kind of person; I like to establish the look of a character and just stick with that - like a cartoon.

The emotions of the actors are better when they understand the chronological factors that are adding to the story.

Matthew Wiener on 'Mad Men' writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.

Film acting is so different from theatre acting, and TV is about letting things pay off and not winning every scene.

Reilly Brown is a master of balancing action, humor, and extreme violence, and his character designs for some of the alien races and technology that we encounter is just amazing.

I care about narrative structure; I care about how stories unfold.

In an early version of the story, I thought Aang could shepherd a herd of twenty bison.

I started out as a producer. and I used to work at Disney. and I worked with a lot of the animators and went on to become great friends with a lot of these guys and worked on a lot of projects together.

What you want to do in a film is encapsulate the characters and the stories into one focused, coherent two-hour time block, and that's sometimes hard to do especially when you have a group as varied and distinctive as the 'X-Men' are.

'Oppam' is more of a director's movie, especially because I play a visually-challenged hero in it. The character doesn't have a perspective, and so cameras aren't placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.

Putting together a list of heroes for 'Original Sin' was a long process, just like figuring out the villains. Along the way, some were taken out, and a few more were added.

I made Tony a person. For me, Tony was real. I made him become a human being, and that affected the animation and everything.