ANDREW STANTON

The way Pixar has always worked is that we think of an idea and then we make it. We don't develop lots of ideas and then pick one.

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

I never think about the audience. If someone gives me a marketing report, I throw it away.

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.

In fact, I don't think I'll ever make anything that will feel as divinely dropped in my lap as the opening of 'Wall-E.'

I've always been shocked and waiting-for-the-other-shoe-to-drop that a girl would ever talk to me, let alone want to marry me. They always seem to hold the power to me, and from my mother to my wife to my daughter, every time I try to really figure them out, and think I've got them pegged, I pay for it.

Most people know me at Pixar as the guy that doesn't like to do sequels or very reluctant to do sequels.

The happiest moments of my childhood were when my toys broke, because then I could destroy them with impunity.

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

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

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.

Sadly, my hobby is what I do for work, so I don't go off and go fishing. I go home and veg, and then I go back to work.

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 think in the future we might see things arrive the way Prince announces a concert where a few days before the show he announces it and tickets just go up. You might see that with movies and other things.

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

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.

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.

Well, I have no problem with 3-D but I don't think it's necessarily a blanket requirement for every film.

There's a mercurial nature, but more of a mysterious nature to women that I think is what makes them so attractive. And I think that that's what I love: Guys never seem to know when they've come too close and crossed the line, and then the temper comes.

The thing about working at Pixar is that everyone around you is smarter and funnier and cleverer than you and they all think the same about everyone else. It's a nice problem to have.

Great art inspires great art.

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.

Well, executive producer can mean anything in the world of Hollywood, sadly. It can be a bought title in many instances.

I'm a family man, I have kids, and I go to the movies. And I'm just going to make the kind of movie I want to see.

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.