Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create… — Dan Scanlon Copy Share Image
The scary thing is that sometimes you are wrapping up animation on a sequence and you don't know how the movie ends or begins.… — Dan Scanlon Copy Share Image
A director can come from anywhere, but having a story background, if you have nothing else, is probably a good thing to have because… — Dan Scanlon Copy Share Image
There are certainly moments in the story room where you watch the movie die on the table. You put A next to B, and… — Dan Scanlon Copy Share Image
I don't think at Pixar we'd ever make something that was too scary for general audiences. — Dan Scanlon Copy Share Image
I think the biggest difference is in live action, you show up, and there's a set there and a ground to stand on, at… — Dan Scanlon Copy Share Image
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever… — Dan Scanlon Copy Share Image
At Pixar, we do a million versions of the movie, and every one of them goes through their awkward teenage phase where it's terrible… — Dan Scanlon Copy Share Image
I trust every lead in every department. All of the teams are phenomenal artists. All I need to tell them is why to do… — Dan Scanlon Copy Share Image
I don't need to try to push everyone out of the way and say, "This is how you do it. I actually like not… — Dan Scanlon Copy Share Image
