Andrew Stanton

There are so many times and places in history in our world that I just don't know anything about, and when I learn about them they're always fascinating.

I think you could go back to any filmmaker or musician or artist, and look at what their input was in their formative years, and you could trace all the lines.

I was that kind of kid that was going to the movies every weekend, I couldn't get enough of the movies, and now I get to make them. So I kind of have a one-track mind.

Working at Pixar you learn the really honest, hard way of making a great movie, which is to surround yourself with people who are much smarter than you, much more talented than you, and incite constructive criticism; you'll get a much better movie out of it.

Loneliness is, I think, people's biggest fear, whether they are conscious of it or not.

And I'm not anti-sequel, but I just feel like there are very few ideas that are meant to be continued.

We all fall into our habits, our routines, our ruts. They're used quite often, consciously or unconsciously, to avoid living, to avoid doing the messy part of having relationships with other people, of dealing with a person next to us. That's why we can all be in a room on our cell phones and not have to deal with one another.

We're all going to keep telling love stories, we're all going to tell hero stories. It's all a question of what your own thumbprint, your own DNA, is, and what it brings to the table that makes it unique.

If you're trying to do multiple agendas, you'll confuse yourself as a storyteller. If you have one purpose, everything else will fall into place.

I had never touched a computer in my life before I came to Pixar.

Being a sci-fi geek myself and going to movies all my life, I came to the conclusion that there were really two camps of how robots have been designed. It's either the tin man, which is a human with metal skin, or it's an R2D2.

Even as a kid I was never the generator of humor, but I always knew who was funny, who to hang out with.