Famous Disney Quotes

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I have no use for people who throw their weight around as celebrities, or for those who fawn over you just because you are famous.
Walt Disney Company
Some people build roads and then walk
Vineet Raj Kapoor
In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that, in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new, an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: "Anyone can cook." But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.
Anton Ego, from Disney Pixar's 'Ratatouille'
To paraphrase the famous Walt saying, Cast Members are there to work so Guests can play.
Leslie Le Mon (The Disneyland Book of Secrets 2014 - Disneyland: One Local's Unauthorized, Rapturous and Indispensable Guide to the Happiest Place on Earth)
Walt famously said that it-- "it" being being the Disney empire--all started with a mouse, but the mouse was created because the rabbit was purloined.
Leslie Le Mon (The Disneyland Book of Secrets 2014 - DCA: One Local's Unauthorized, Rapturous and Indispensable Guide to the Happiest Place on Earth)
In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the *new*. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new: an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook." But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist *can* come from *anywhere*. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.
Walt Disney Company
Steamboat Willie put Walt Disney on the map as an animator. Business success was another story. Disney’s first studio went bankrupt. His films were monstrously expensive to produce, and financed at outrageous terms. By the mid-1930s Disney had produced more than 400 cartoons. Most of them were short, most of them were beloved by viewers, and most of them lost a fortune. Snow White and the Seven Dwarfs changed everything. The $8 million it earned in the first six months of 1938 was an order of magnitude higher than anything the company earned previously. It transformed Disney Studios. All company debts were paid off. Key employees got retention bonuses. The company purchased a new state-of-the-art studio in Burbank, where it remains today. An Oscar turned Walt from famous to full-blown celebrity. By 1938 he had produced several hundred hours of film. But in business terms, the 83 minutes of Snow White were all that mattered.
Morgan Housel (The Psychology of Money)
ANYONE WRITING ABOUT Francis Marion immediately confronts the task of sifting fact from folklore. The mythmaking began with the first and highly embellished biography of him, written in 1809 by Mason L. “Parson” Weems, the same man who fabricated the famous story of George Washington chopping down the cherry tree. The romantic tradition continued with the Walt Disney television series that ran from 1959 to 1961, starring Leslie Nielsen as the Swamp Fox, and took another turn in 2000 with the popular film The Patriot, in which Mel Gibson portrayed a Rambo-like action figure loosely, if inaccurately, based on Marion. As stated on an interpretive marker at Marion’s gravesite in Pineville, South Carolina, much about the Swamp Fox remains obscured by legend, even though his achievements are “significant and real.
John Oller (The Swamp Fox: How Francis Marion Saved the American Revolution)
THERE WAS ANOTHER, much bigger risk we took that first season. Based on a literal back-of-a-napkin pitch at a restaurant in Hollywood, ABC’s head of drama had given the go-ahead to a pilot from David Lynch, by then famous for his cult films Eraserhead and Blue Velvet, and the screenwriter and novelist Mark Frost. It was a surreal, meandering drama about the murder of a prom queen, Laura Palmer, in the fictional Pacific Northwest town of Twin Peaks. David directed the two-hour pilot, which I vividly remember watching for the first time and thinking, This is unlike anything I’ve ever seen and we have to do this.
Robert Iger (The Ride of a Lifetime: Lessons Learned from 15 Years as CEO of the Walt Disney Company)
As established at various points in this book, Walt was fond of animals. They inspired his most famous characters and works, such as Mickey Mouse, Bambi, The Jungle Book, and so forth. Therefore, Walt, WDAS, and Disney, owe their unique global success to animals. In a small way, WDAS does pay homage to animals, yet they have continuously ignored the harsh lives that most animals today experience. This text is of the opinion that all animals are sentient and can feel pain. However, given the reality and scale of animal harm today, one should hope that this position is incorrect. One should hope that WDAS is right; fish are objects, wild animals want to live in captivity, dogs desire human owners, cows are happy to lactate milk for other species, and so forth. Disney’s depictions of animal harm are hopefully the ones that are correct because if animals do have lives of their own, away from the selfishness of humans, then companies like Disney have made a huge mistake.
Rebecca Rose Stanton (The Disneyfication of Animals (The Palgrave Macmillan Animal Ethics Series))
The FBI recruited high profile celebrities as informants within the entertainment industry. These included Ronald Reagan and his first wife Jane Wyman, Cary Grant, and, perhaps most famously, Walt Disney.
Matthew Alford (National Security Cinema: The Shocking New Evidence of Government Control in Hollywood)
The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.
Various (Beauty and the Beast and Other Classic Fairy Tales)
Colonel Sanders, who made Kentucky Fried Chicken famous, pitched his idea more than 80 times before anyone bought the concept. It took Stallone only three days to write the script for Rocky, and the movie grossed $200 million, but when he wrote it, he had no money to his name, couldn't afford to heat his apartment, and even had to sell his dog for $50 just to be able to buy food. Walt Disney was laughed at for his idea of an amusement park, and yet now people all over the world spend $100 a ticket and save up their whole lives just to have a family vacation at Disney World.
Grant Cardone (The 10X Rule: The Only Difference Between Success and Failure)
If you can dream it, you can do it.
Steve Walters (Biography of Walt Disney: The Inspirational Life Story of Walt Disney - The Man Behind “Disneyland” (Biographies of Famous People Series))
The most famous faux fatality was “George,” the imaginary welder who was killed during the construction of Pirates of the Caribbean. Evidently, poor George was either electrocuted or crushed by a falling beam and continues to haunt the attraction to this day. Cast members still tell the ghost story to new hires, warning that they best say, “Good morning, George,” when they prepare the ride for opening or they’ll experience a day of breakdowns, evacuations or odd occurrences. “You’ll see or hear something strange,” warned one spooked ride operator. “You’ll see moving shadows on the [hidden camera] monitors or mysterious figures standing in the knee-deep water. You’ll feel a sudden, icy cold breeze. You clean graffiti and it comes back.
David Koenig (Realityland: True-Life Adventures at Walt Disney World)
For a generation of girls raised on the Disney corporation's multibillion-dollar line of so-called princess products, the five sisters of Keeping Up with the Kardashians were real-life princesses who lived in a Calabasas, California, castle, unabashedly focused on the pursuit of beauty treatments, expensive fun, and luxury brands - the latter a national fixation spawned in the "luxury revolution" of the last thirtysomething years, in which most of the wealth of the country had traveled into the hands of a few, with the rest of the population looking on longingly as the beneficiaries of a new Gilded Age flaunted their high-end stuff. And entertainment media, from Lifestyles of the Rich and Famous to Keeping Up with the Kardashians, provided them with ample opportunities to do just that.
Nancy Jo Sales (American Girls: Social Media and the Secret Lives of Teenagers)
Known for its classic animated movies like The Lion King and world-famous entertainment complexes, Disney offers some of the best ways to bring the whole family together.
Sallie Stone (100 Places To Get Things FREE!)
If Disney was a mouthpiece for an American way of life, the force of his voice depended on a curious obsession with death.”[6] Virtually every one of his most famous films focused on the subject, from Snow White to Pinocchio.
Arthur C. Brooks (From Strength to Strength: Finding Success, Happiness, and Deep Purpose in the Second Half of Life)
One of the desks was practically a shrine to Tinker Bell, decorated with a half dozen ceramic representations of the world’s most famous pixie. I paused, looking at a figurine of the little blonde bitch posed coyly atop a thimble. Every changeling in the world would love to shove her into a microwave, but Disney, alas, is more powerful than most of us could ever hope to
Seanan McGuire (Rosemary and Rue (October Daye, #1))
The Tri-Circle-D Ranch at the Fort Wilderness Resort and Campground at Walt Disney World is now the home for the famous Dragon Calliope. It can be viewed by guests and it is free to do so. It is even rigged so that by pushing a button, it briefly plays a tune.
Jim Korkis (Secret Stories of Walt Disney World: Things You Never Knew You Never Knew)
When he died, much was made of how singular Steve Jobs had been. For comparisons, observers needed to reach back to the mythic inventors and showmen of earlier eras, particularly Thomas Edison and Walt Disney. Jobs was singular, to be sure. But he also was of a type. He was what psychotherapist and business coach Michael Maccoby called a “productive narcissist.” In 2000, Maccoby published an insightful article in the Harvard Business Review that applies Freudian terminology to three categories of executives Maccoby had observed in corporate life. “Erotics” feel a need to be loved, value consensus, and as a result are not natural leaders. These are the people to whom a manager should assign tasks—and then heap praise for a job well done. “Obsessives” are by-the-books tacticians with a knack for making the trains run on time. An efficient head of logistics or bottom-line-oriented spreadsheet jockey is the classic obsessive. The greats of business history, however, are “productive narcissists,” visionary risk takers with a burning desire to “change the world.” Corporate narcissists are charismatic leaders willing to do whatever it takes to win and who couldn’t give a fig about being liked. Steve Jobs was the textbook example of a productive narcissist. An unimpressed Jobs was famous for calling other companies “bozos.” His own executives endured their rides on what one called the “bozo/hero rollercoaster,” often within the same marathon meeting.
Adam Lashinsky (Inside Apple: How America's Most Admired—and Secretive—Company Really Works)
The difference between winning and losing is most often not quitting.” This famous line from Walt Disney on willpower cannot be more true
Timothy Ferriss (Tribe Of Mentors: Short Life Advice from the Best in the World)
Albert Einstein’s breakthrough theories on the nature of the universe made him the most famous “genius” of all time. Somehow, he had the ability to see what no one else could, to unravel mysteries that most others hadn’t even considered. His antipathy for authority allowed him to see through the haze of the “settled science,” and his childlike curiosity compelled him to continue searching for answers to these incomprehensible mysteries. But how was he so smart? Did he develop his analytical powers through diligent effort? It’s hard to fathom a level of genius like Albert Einstein’s, so it’s too easy to conclude he must have just been born with a special brain. Perhaps he was, we can’t know. But even so, not every seed sprouts. A child born with a misshaped head, slow to speak, and prone to violent temper tantrums, could have been written off before his abilities were ever recognized. He could have been mislabeled — and then lived up (or “down”?) to this label. What would we label a child who can’t pay attention in school, argues with the teacher, refuses to follow instructions, does poorly in most of his classes, and can’t remember his lessons? Fortunately though, for Albert Einstein — and the world — his loving, patient parents consistently endeavored to support and encourage their son’s exceptional independence and curiosity.
David Butler (Children Who Changed the World: The Childhood Biographies of Gates, Jobs, Disney, Einstein, Ford, Tesla, and Edison)
【V信83113305】:California Institute of the Arts (CalArts) is a renowned beacon of experimental art education. Nestled in Valencia, California, it was established through the vision of Walt Disney and represents a unique convergence of the visual, performing, and media arts. Its pioneering curriculum, built on the principles of artistic exploration and interdisciplinary collaboration, challenges traditional creative boundaries. CalArts is famously home to the School of Film/Video, a breeding ground for generations of groundbreaking animators and directors. The institute’s ethos prioritizes critical inquiry and artistic innovation, fostering an environment where students are empowered to develop their distinctive voice. This commitment to avant-garde practice has cemented CalArts' global reputation as a premier institution for artists who seek to redefine the future of contemporary art.,CIOTA成绩单加利福尼亚艺术学院毕业证快速办理方式, 办加利福尼亚艺术学院文凭学位证书成绩单GPA修改, 最佳办理CIOTA毕业证方式, 申请学校!California Institute of the Arts成绩单加利福尼亚艺术学院成绩单California Institute of the Arts改成绩, 制作加利福尼亚艺术学院成绩单, 办理美国-CIOTA毕业证书加利福尼亚艺术学院毕业证, 加急多少钱办理CIOTA毕业证-加利福尼亚艺术学院毕业证书, 购买加利福尼亚艺术学院毕业证和学位证认证步骤, 正版美国CIOTA毕业证文凭学历证书
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【V信83113305】:California Institute of the Arts (CalArts) is a renowned beacon of experimental art education, pioneering a unique pedagogy that champions interdisciplinary collaboration. Founded in 1961 through the merger of professional schools, it was radically envisioned by Walt Disney to bring various art forms under one creative roof. Located in Valencia, its progressive environment nurtures innovative artists in film, art, dance, music, theater, and writing. The institute is famously the birthplace of modern animation, with its legendary program producing industry revolutionaries. CalArts empowers students to critically explore and redefine the boundaries of contemporary practice, firmly maintaining its status as a preeminent global leader in cultivating avant-garde artistic voices.,最佳办理CIOTA加利福尼亚艺术学院毕业证方式, 原版定制CIOTA毕业证书, 加利福尼亚艺术学院毕业证书多少钱, 美国毕业证学历认证, CIOTA毕业证本科学历办理方法, 做今年新版CIOTA毕业证, 在线办理CIOTA加利福尼亚艺术学院毕业证offer外壳皮, 购买加利福尼亚艺术学院文凭, CIOTA毕业证最放心办理渠道
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In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: "Anyone can cook." But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere.
Anton Ego, from Disney Pixar's 'Ratatouille'