Known Disney Quotes

I love Mickey Mouse more than any woman I have ever known.

Girls bored me - they still do. I love Mickey Mouse more than any woman I've ever known

There’s a whole psychological reason for those cartoons about good against evil. We have "Superman" and all those other hero people, so that we can go out into life and try to be something. I’ve got most of Disney’s animated movies on video-tapes, and when we watch them. Oh, I could just eat it, eat it. […] Jimmy Cricket, Pinocchio, Mickey Mouse – these are world-known characters. Some of the greatest political figures have come to the United States to meet them.

My Belle. I'm so proud of you. Look at what you created here." Belle blushed. "I didn't create it, Papa. It's Hugo's shop." "But you found the missing pieces," her father said. "And that's the mark of a dreamer and a doer. Otherwise known as an inventor.

His strategy of flying boldly into the face of adversity was studied and taught, and during the Clone Wars would come to be known as “the Tarkin Rush,

Okay, I know--my superpower--I'd be able to shoot lightening bolts out from my fingertips--great big knowledge network lightening bolts--and when a person was zapped by one of those bolts, they'd fall down on their knees and once on their knees, they'd be under water, in this place I saw once off the east coast of the Bahamas, a place where a billion electric blue fish swam up to me and made me a part of their school--and then they'd be up in the air, up in Manhattan, above the World Trade Center, with a flock of pigeons, flying amid the skyscrapers, and then--then what? And then they'd go blind, and then they'd be taken away--they'd feel homesick--more homesick than they'd felt in their entire life--so homesick they were throwing up--and they'd be abandoned, I don't know...in the middle of a harvested corn field in Missouri. And then they'd be able to see again, and from the edges of the field people would appear--everybody they'd known--and they'd be carrying Black Forest cakes and burning tiki lamps and boom boxes playing the same song, and they sky would turn into a sunset, the way it does in Walt Disney brochure, and the person I zapped would never be alone or isolated again.

Once, when cornered by a pinwheel-eyed man who insisted that the mayor of Los Angeles was not human but a robot controlled by the audioanimatronics department at Disneyland, Joe had lowered his voice and said, with nervous sincerity, “Yes, we’ve known about that for years. But if we print a word of it, the people at Disney will kill us all.” He had spoken with such conviction that the nutball had exploded backward and fled.

To most people today, the name Snow White evokes visions of dwarfs whistling as they work, and a wide–eyed, fluttery princess singing, "Some day my prince will come." (A friend of mine claims this song is responsible for the problems of a whole generation of American women.) Yet the Snow White theme is one of the darkest and strangest to be found in the fairy tale canon — a chilling tale of murderous rivalry, adolescent sexual ripening, poisoned gifts, blood on snow, witchcraft, and ritual cannibalism. . .in short, not a tale originally intended for children's tender ears. Disney's well–known film version of the story, released in 1937, was ostensibly based on the German tale popularized by the Brothers Grimm. Originally titled "Snow–drop" and published in Kinder–und Hausmarchen in 1812, the Grimms' "Snow White" is a darker, chillier story than the musical Disney cartoon, yet it too had been cleaned up for publication, edited to emphasize the good Protestant values held by Jacob and Wilhelm Grimm. (...) Variants of Snow White were popular around the world long before the Grimms claimed it for Germany, but their version of the story (along with Walt Disney's) is the one that most people know today. Elements from the story can be traced back to the oldest oral tales of antiquity, but the earliest known written version was published in Italy in 1634.

To help cement the friendship between Japan and Disney, Emperor Hirohito personally presented to Roy O. Disney, for the dedication of the Magic Kingdom, a stone Japanese lantern known as a Toro to light the way to success and happiness.

(At first this struck me as an unusual alliance, but if you think about it, the Disney franchise is staunchly pro-rodent, and its best-known pet pussies, from Cinderella’s Lucifer to Alice’s Cheshire Cat, are all at least mildly villainous.)

In a letter to Pixar shareholders, Jobs explained that winning the right to have equal branding with Disney on all the movies, as well as advertising and toys, was the most important aspect of the deal. “We want Pixar to grow into a brand that embodies the same level of trust as the Disney brand,” he wrote. “But in order for Pixar to earn this trust, consumers must know that Pixar is creating the films.” Jobs was known during his career for creating great products. But just as significant was his ability to create great companies with valuable brands. And he created two of the best of his era: Apple and Pixar.

FASCIA: THE TIES THAT BIND Imagine a collagen-rich, stretchy slipcover for every organ, nerve, bone, and muscle in our bodies, and you start to get a sense of how fundamental connective tissue—specifically fascia—is to the entire body. Suspending our organs inside our torso, connecting our head to our back to our feet, fascia protects, supports, and literally binds our body together. Fascia can be gossamer-thin and translucent, like a spider web, or thick and tough like rope. Ounce for ounce, fascia is stronger than steel. Other specialized types of connective tissue include bones, ligaments, tendons, cartilage, and fat (adipose) tissue. Even blood, strictly speaking, is considered connective tissue. But to me, the most exciting aspect of the latest research on connective tissue relates to fascia. Fascia is the stretchy tissue that forms an uninterrupted, three-dimensional web within our body. Our body has sheets, bags, and strings of fascia of varying thickness and size, some superficial and some deep. Fascia envelops both individual microscopic muscle filaments as well as whole muscle groups, such as the trapezius, pectorals, and quadriceps. For example, one of the largest fascia configurations in the body is known as the “trousers,” a massive sheet of fascia that crosses over the knees and ends near the waist, giving the appearance of short leggings. This fascia trouser is thicker around the knees and thinner as it continues up the legs and over the hips, thickening again near the waist. When the fascia trouser is healthy, supple, and resilient, it acts like a girdle, giving the body a firm shape. Fascia helps muscles transmit their force so we can convert that force into movement. The system of fascia is bound by tensile links (think of the structure of a geodesic dome, like the one at Epcot in Disney World), with space and fluid between the links that can help absorb external pressure and more evenly distribute force across the fascial structure. This allows our bodies to withstand tremendous force instead of absorbing it in one local area, which would lead to increased pain and injury. Fascia is also a second nervous system in and of itself, with almost 10 times the number of sensory nerve endings as muscle. Helene Langevin, director of the Osher Center for Integrative Medicine at Harvard Medical School, has done landmark studies on the function and importance of connective tissue and its impact on pain. One of the leading researchers in the field today, Langevin describes fascia as a “living matrix” whose health is essential to our well-being.

That uncertainty can make us uncomfortable. We humans like to know where we are headed, but creativity demands that we travel paths that lead to who-knows-where. That requires us to step up to the boundary of what we know and what we don’t know. While we all have the potential to be creative, some people hang back, while others forge ahead. What are the tools they use that lead them toward the new? Those with superior talent and the ability to marshal the energies of others have learned from experience that there is a sweet spot between the known and the unknown where originality happens; the key is to be able to linger there without panicking. And that, according to the people who make films at Pixar and Disney Animation, means developing a mental model that sustains you. It might sound silly or woo-woo, this kind of visualization, but I believe it’s crucial. Sometimes—especially at the beginning of a daunting project—our mental models are all we’ve got.

Facebook and Google (now known as Alphabet) are together worth $1.3 trillion. You could merge the world’s top five advertising agencies (WPP, Omnicom, Publicis, IPG, and Dentsu) with five major media companies (Disney, Time Warner, 21st Century Fox, CBS, and Viacom) and you’d still need to add five major communications companies (AT&T, Verizon, Comcast, Charter, and Dish) to get only 90 percent of what Google and Facebook are worth together.

They should both have known that it couldn’t work, but they willfully avoided asking the hard questions because each was somewhat blinded by his own needs. It’s a hard thing to do, especially in the moment, but those instances in which you find yourself hoping that something will work without being able to convincingly explain to yourself how it will work—that’s when a little bell should go off, and you should walk yourself through some clarifying questions. What’s the problem I need to solve? Does this solution make sense? If I’m feeling some doubt, why? Am I doing this for sound reasons or am I motivated by something personal?

believe one of the best models for creativity is found in the design and development of Disney theme parks, a practice better known as Imagineering.

Lucian of Samosata (120–AD 200) was the author of more than eighty known manuscripts and is considered the supreme Ancient Greek satirist. His Philopseudes (“Lover of Lies”) is a story within a story, which includes the original version of The Sorcerer’s Apprentice adapted into a poem by Goethe in 1797 and later Disney’s Fantasia (1940).

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.

People who are too optimistic for me love living in "La La Land" also known as (aka) Disney fairy tale movies. I don't trust people who don't live in reality. They keep forgetting their mistakes (it ain't fun to feel disappointed) and they continue to feel unreasonable hope that "next time" things will work out for them. I prefer hope based on realism. It has been said that depressed humans are the only realistic people living on planet earth. I was once a hard working optimist but now I am too sick, tired, disabled, and crabby to be hard working anymore. At the most I can be smart working but that is only due to holy spirit. I wasn't born disabled but other individuals made me permanently disabled from your point of view. Have a nice day!

I still do think fondly about my days in Edendale and Mixville — the little-known corners of the city limits where the movies actually were born. Tucked into the once barren hills just west of Downtown were the studios of Western hero Tom Mix and fledgling cartoonist Walt Disney. Behind razor wire near Glendale Boulevard lingered a small stone monument to Comedy. Why? Because the ancient Selig Company had once made movies there.

In the deep forest of eastern Volusia County alongside the dark waters of Spruce Creek is a charming cottage of fantasy architecture known as the Snow White House that is virtually unknown to Disney fans. It is located off Taylor Road, roughly two miles west of I-95.

The latest element to turn up is called plutonium--which is Disney with a touch of mineral water. The word uranium had a mighty sound, a solemn sound, an awful sound. Plutonium is a belly laugh. Plutonium, incidentally, is not known in the stars; the stars are too high-minded. Plutonium is a mouthwash used by Mandrake. Plutonium is just something belonging to the comical race of people who started their first atomic fire under a football stadium.

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.

it simply, all people want exactly what you want. You want to be included, listened to, respected, and involved, don’t you? You want to be asked your opinion and have it taken seriously. You want to feel valued. And you want to be known as an individual and treated as such. Well, so does everyone else. That’s why great leaders make sure that everyone in the workplace—no matter the rank or position—feels included and no one feels left out.

If only I had acted just a moment sooner, Hans had thought. Then they would never have known forgiveness. Never felt the love of a sibling again. Just like me. Just like my entire life. Elsa would have been dead. Anna would have followed soon after, and I would have taken what I deserve. Instead of the crown, all he had gotten was a punch in the face.

Palpatine smiled and gestured. Anakin knelt before him, and the words came—the words he had used to pledge to the Jedi, but changed, as he had changed. “I pledge myself to your care,” he said. “To the ways of the Sith.” “Anakin Skywalker, you are one with the Order of the Sith Lords,” Palpatine replied. “Henceforth, you shall be known as…Darth Vader.” “Thank you, my Master.

It hurt Obi-Wan to see black smoke billowing from the Jedi Temple. It hurt more to enter and find clones dressed in Jedi robes, waiting to ambush any real Jedi who came in. But what hurt the most was seeing the bodies of beings he had known and worked with, lying everywhere, and the Padawans and younglings. No one had survived.

Because she didn’t love herself. She feared rejection because she was so unlike anyone she’d ever known. She was so full of fear that she sequestered herself away. This sad woman’s only companions were striking blackbirds that soared in the skies around her home, perching in trees and on ledges, gathering information so she would have news of the outside world. That is how she learned of the princess’s christening. No one understood why the woman was so angry for not being invited to the christening. But you see, my little bird, she knew something the girl’s parents and fairy godmothers did not.

Around a hundred Texans faced 3,000 Mexican Government troops. According to the account that long filled patriotic Americans’ schoolbooks, Crockett died a hero defiantly swinging the butt of his rifle, Old Betsy, at oncoming Mexicans after running out of ammunition. A Different Story Surfaces In 1975, a previously untranslated diary written by José Enrique de la Peña, senior Mexican officer at the battle, revealed that Crockett and six other survivors had actually surrendered. According to this account, they were executed shortly afterwards. The revelation did not come without controversy. Historians still dispute whether the diary is genuine, pointing to the unclear circumstances of its emergence in the mid-1950s in Mexico, just at the height of Disney’s fictionalisation of Crockett’s story across the border in the United States. Advocates cite a supporting pamphlet that was lodged in the archives of Yale University long before the Crockett fad began, which they suggest point to the diary being genuine. A crude Mexican attempt at Party pooping? Or bursting the bubble of a fabled tale? The truth may never be known, but the episode once more demonstrates Oscar Wilde’s observation of the truth being rarely pure and never simple.

DCL entered into a 99-year lease agreement with the Bahamian government in 1999, giving the cruise line the rights to develop what was then known as Gorda Cay. Renamed Castaway Cay by Disney, the island measures about 1.5 square miles and sits in the Atlantic Ocean, roughly 80 miles north-northeast of Nassau, at about the same latitude as Fort Lauderdale, Florida (100 miles to the west).

The Young & Rubicam analysis explored changes in EVA and MVA from 1993 to 1999 for a set of 50 well-known and highly regarded brands, such as American Express, American Greetings, Fruit of the Loom, Disney, Kodak, Sears, Heinz, Harley-Davidson, and The Gap. The relationship of changes in these fundamental financial indicators was profiled among two sets of brands: those with “tightly defined” archetypal identities, whose closest secondary relationship was 10% or more below the first, and a “confused” set of brands, whose secondary archetype was within this 10% boundary. Each set consisted of an equal number of brands. The analysis showed that the MVA of those brands strongly aligned with a single archetype rose by 97% more than the MVA of confused brands. Also, over the six-year period under study, the EVA of strongly aligned brands grew at a rate 66% greater than that of the EVA of weakly aligned brands.

Heated seats or talk radio? Or music? I can do all of them at once if you want.” He starts flipping switches, making the corresponding sound effects. Leave it to Dan to turn his super fancy Range Rover into the USS Enterprise. My body betrays me and I snuggle deeper into the warming leather seats. “Where are we going anyway?” “Why, the happiest place in Natchitoches, of course.” He waves his hands in a broad gesture to encompass the whole town. I panic for a second when he doesn’t immediately put his hands back on the wheel. “Oh my God, will you be careful!” He smiles at me then glances down at his knee, which can apparently steer just fine. “I’d never endanger your life, fair lady.” I roll my eyes and take a relieved breath. Something walks into my thoughts and takes a seat. Is he…flirting? “Looks like no matter how hard you try, you can’t stop talking like you’re in the middle of a LARP game.” I find myself scratching at my nail polish again, so I tuck my hands under my thighs. “I didn’t know I should be trying to not talk that way. In fact, I try to find every opportunity to practice my verbal skills. I can’t seem out of practice when Craytor returns again.” He holds a fist up in the air. “Heads shall roll, maidens shall be rescued, and elves shall be insulted!” I make sure he sees my blank stare followed by a slow blink before saying, “Right. You never said where we’re going.” “The Phoenix, of course. We don’t exactly have Disney World Natchitoches.” He puts on an über-cheesy smile, which is way more endearing than the fake mischievous one he tried back at school.That smile turns on the heated seats around my heart. Oh God, did I just think that? Gross. He nudges my arm. “Get it? Because I said the happiest place in Natchitoches. And that’s a well-known advertisement slogan for—” I hold my hands up. “I get it. Really, I get it

Walt flew into the state by private jet many times in the early 1960s. The trips to scout land were kept secret to avoid the inevitable escalation in land prices were the overall plan to become known. A clandestine operation, using phony company names, moved to acquire the land. But Orlando was not the first choice. At one point, Disney found a huge tract of gorgeous land in Florida's panhandle, along the Gulf coast. The Saint Joe Paper Company, a large timber and paper milling company founded in the 1930s by a du Pont air, owned it. When Disney himself approached the company's patrician chairman, Edward Balll, about buying the land, Ball sniffed, A condition operation, using phony company names, move to acquired the land. But Orlando was not the first choice. At one point, Disney found a huge tract of Korgis land in Florida Panhandle, I'm on the golf coast. The Saint Joe paper company, a large timber and paper milling Company found it in the 1930s by a Dupont air, owned it. When do you see himself approach the companies patrician chairman, Edward bowl, about buying the land, Ball sniffed, "We don't deal with carnival people.

If you have a keen eye for arts and crafts and Disney, be careful putting your unlicensed creative works up on eBay or Etsy. Disney is known to scour those websites and have auctions and listings removed with an accompanying “cease and desist” letter.

Although Obi-Wan had never really known his own family, he did have sympathy for Anakin’s loss. And as Anakin’s powers grew stronger, Obi-Wan began to believe that his Padawan may have been transformed by the tragedy for the better.