Hayao Miyazaki Quotes

With directing, you've got to find something and drag it up from its inception, and I'm at the early stages of doing that again. There's something all-consuming and addictive about that.

At Pixar, 'Wall-E' was our ninth film, and they've all been successes - more than that, they've all really touched people. Everybody wonders, 'How do you do it?' Well, how do you not do it? You just work hard.

'Super 8' was a lot of fun. It was a lot of fun working with J.J. Abrams, who I think is a kid in a grown man's body, which is a great ingredient for any artist in our business. You have to be a kid at heart to be able to make believe, and his imagination is phenomenal.

Directing is really exciting. In the end, it's more fun to be the painter than the paint.

No one ever sets out to make a bad movie. There's almost always incredible amount of passion and work put behind any given project. You just have to give it everything you got, and sometimes it works out, and a lot of the times it doesn't.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

I go into meetings with some film-makers and they literally have nothing to say, they're almost bored by their own material. I'd rather work with people who are very passionate and very animated about what they want to do. People who just want to tell stories.

It's not just about acting. I love film, I'm a director now, I love writing, I love producing, I love having a company that makes films and to be prolific and have a place to put all the ideas that are constantly bubbling up inside of me and that don't let me sleep at night.

All you can really do as director is sort of set a tone.

The most difficult part of making movies is to keep making them. Maybe, you could make the biggest hit in the world, but then the big problem is what to do next and how to maintain devoted to a certain instinct that I have about films.

I love my work, apart from when it's driving me crazy. But I get to be interested in stuff and think like a filmmaker as I'm buzzing about the world and then see an opportunity to make a film, and then make it happen.

When you're a director, you really live whatever you do.

Doing a movie is a stressful thing. You spend months of you life focusing into that one project, and I want to make sure I do something I really like or I'm really passionate about.

My three Ps: passion, patience, perseverance. You have to do this if you've got to be a filmmaker.

I really feel like you shouldn't make a movie as a kind of exercise. You have to be all the way in.

I'm not the guy who does slo-mo, or I'm not the guy who does splashing rain or doves flying or anything; that's not me. Every film, I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

A film is made in somebody's head - out of their determination to do it at all.

It's always an amazing gift to be able to work with storytellers who 'get it' and who can not only draw anything but can draw it better and more dynamically than you'd ever envisioned.

I'm just making 'Threadworlds' out of the things I love and that I'm passionate about learning. When we created 'Avatar,' Michael DiMartino and I did the same thing.

Who wants to put together something that will bear some relationship to the vision or memory or experience or story or idea or dream or whatever.

Genius can probably run on ahead and seek out new ways. But the good artists who follow after genius - and I count myself among these - have to restore the lost connection once more.

I already have legitimacy as a filmmaker and now I'm trying to do stuff that's just fun. Until I find a cool tangible subject again that I want to tackle.

I love making movies. But it's a lot of investing your heart and soul. It can be exhausting.

'The Chimney Sweeper's Boy' began differently from any previous book I'd written. It actually derives from a story a friend - the novel's dedicatee, Patrick Maher - told me.

I read an interview with Mark Wahlberg, and he was like, 'I might read a script and love it, but it's all about the filmmaker.' I think that's a good lesson for me.