Tim Burton Quotes

When I did 'Stardust,' I was fighting the studio for things I believed were right.

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.

Every Pixar film, when we start developing the story, it takes about four years to make one of our films.

You must lose yourself if you want to be successful in animation and be the character.

With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.

I think what makes a good actor's director is the same thing that makes a good director. Acting is just one of the trades necessary to make a movie.

Working on the 'Ice Age' movies, I'm really proud to be in them.

I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.

If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.

Writing is a solitary existence. Making a movie is controlled chaos - thousands of moving parts and people. Every decision is a compromise. If you're writing and you don't like how your character looks or talks, you just fix it. But in a movie, if there's something you don't like, that's tough.

I don't make deals, I make pictures.

It's hard sometimes if you think a character should look a certain way and you're being pushed to do it differently. I've had fights over that. That's why it's so important that you work with good people.

As the director, I try to go in and know as much as I can about the material. I really try to go in and understand what all the characters are about, what the movie's going to look like.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

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.

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

A director shouldn't get in the way of the movie, the story should.

Animation had been done before, but stories were never told.

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script, and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.

I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.

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

My job was to give 'The Secret Life of Pets' production team lots of options when it came to Duke. So that's what I always tried to do.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.

There's really powerful and potentially dominating forces when you make a film that can harm it if you're incapable of orchestrating things.

I can't just go in and throw clothes at a picture. I still have to have some kind of an idea of a character, of who she is, where she's from. It's almost like playing a child's game. You have your dolls, and you create characters for them. Fashion indulged that in me.