Monsters Inc Quotes

Be careful in the company of monsters that you don't become one.

My God, that scene in Monster Inc. where the monsters realise that their entire world is founded on hurting children -look at that for a change! Two galumphing cartoon characters making a shattering realisation about their world and their role in sustaining it. A truly epic moment. It's stunning.

Nothing is more important than our friendship.

Being true to yourself is always the right thing to do." "Is it? Even if you're a monster?

She looked like Mike Wasoswki from Monsters Inc.

Ja, het is best een leuk bedrijf, al zitten er hier en daar een paar lijken in de kast." Ik kreeg het angstige voorgevoel dat ze dit letterlijk bedoelde. "En welk bedrijf heeft er nu niet een paar monsters in dienst?" Dat bedoelde ze waarschijnlijk ook letterlijk, maar ik had voor Mimi gewerkt, dus ik was wel wat gewend.

Whatever, hermano. The point is, I’ll duck in, grab her, duck out, and make for the Thai border before they even know she’s gone. It’s only fifty miles away. I…uh…liberated a Ducati Monster 1200 off the street in KL, and this bad boy”—he patted the seat of the Italian-made motorcycle affectionately—“will make the trip in no time.

But, you see, the water-going dinosaur likes to eat people. It’s envisioned that it might swim through the newly acquired waterways, due to the ice melting and find its way to warmer waters and make its way to our civilization. Then, much like an old Japanese monster movie, start tearing down cities and eating fleeing citizens, stomping pedestrians, and receiving an air strike.

After years of fighting, the war was a complete stalemate and would have ended almost immediately in a negotiated settlement (as had most other European conflicts) had not the U.S. declared war on Germany.   As soon as Wilson's re-election had been engineered through the "he kept us out of war" slogan, a complete reversal of propaganda was instituted. In those days before radio and television, public opinion was controlled almost exclusively by newspapers. Many of the major newspapers were controlled by the Federal Reserve crowd. Now they began beating the drums over the "inevitability of war." Arthur Ponsonby, a memebr of the British parliament, admitted in his book Falsehood In War Time (E. P. Dutton & Co., Inc., New York, 1928): "There must have been more deliberate lying in the world from 1914 to 1918 than in any other period of the world's history." Propaganda concerning the war was heavily one-sided. Although after the war many historians admitted that one side was as guilty as the other in starting the war, Germany was pictured as a militaristic monster which wanted to rule the world. Remember, this picture was painted by Britain which had its soldiers in more countries around the world than all other nations put together. So-called "Prussian militarism" did exist, but it was no threat to conquer the world. Meanwhile, the sun never set on the British Empire! Actually, the Germans were proving to be tough business competitors in the world's markets and the British did not approve.

Democrats and Republicans spent a year writing themselves a pork-packed Christmas list on the scale of the Iraq invasion, full of monster expenditures, including money for dangerous new forms of nukes. Yet the headline when Trump signed the freaking thing was that he forgot to mention the senator whose name was attached to the legislation.

Democrats and Republicans spent a year writing themselves a pork-packed Christmas list on the scale of the Iraq invasion, full of monster expenditures, including money for dangerous new forms of nukes. Yet the headline when Trump signed the freaking thing was that he forgot to mention the senator whose name was attached to the legislation. This is the trick. The schism is the conventional wisdom. Making the culture war the center of everyone’s universe is job one. A better way to think about it is that there are two sets of conventional wisdom: one for one “side,” one for the other.

There’s a great Pixar video about telling stories. The video—“Pixar in a Box”—featured Pete Docter, director of the films Inside Out, Up, and Monsters, Inc. According to Docter, the power of story is that “it has an ability to connect with people on an emotional level.” He gives a bit of advice that I think is worth keeping in mind when you create a compelling story: Write what you know. Says Docter, even though you may be writing a story about explosions or monsters or car chases, “put something into it that talks about your own life—how you feel…. Something from your own life will make that story come alive.” Every good story has three elements: Characters. In a work situation, that might be you, your teammates, your customers or clients, and your boss. Who is in the story? Get your audience to feel an emotional investment in the characters. Plot. This could be, for example, the process of digitally transforming your business. A good plot keeps your audience engaged, wondering what’s coming up next. Story arc. This is the movement of the story from beginning to middle to end. You’ve got a problem and, through much trial and tribulation, you find a solution and become the hero of your team. Every story you tell—even if you’re writing about a technical problem, or starting your own business, or whatever it might be—needs to have these three elements. If you do this right, then people will care about your story. They don’t care about features, they care about the benefits of your idea—how what you’re pitching makes them better, smarter, more successful, happier, more fulfilled, more respected, and so on. They want to feel like a hero. And if you can make your audience feel like heroes, they will be engaged in your story and deeply connect with it on an emotional level.

When Craig Newmark launched what would become Craigslist back in 1995, not only did he not have outside funding, he did not even have a business plan. I do not recommend that, but he succeeded by creating something he cared about — an email distribution list in and around San Francisco — and posted it online. When it grew into a classified ad monster, investors pressured him to take their money. The company refused, waiting until 2004 to sell a 28.4 percent share to eBay. Craigslist Inc. has since bought back that share and continued to do things their way.9 As far back as 2006, the company’s president and chief executive Jim Buckmaster told reporters he was not interested in selling out, preferring to focus on helping users find apartments, jobs, and dates rather than on maximizing profit.10 When you only answer to yourself, you can concentrate on building value your way.

Rae Ripple is a Texas welder and artist and has been featured on the Down to Business podcast, Monster Garage on Discovery Channel, and has been published in Welder magazine. She is partnered with AlumaReel, Hypertherm, Lincoln Electric, FastCut CNC, Flame Technologies Inc., and Benchmark Abrasives. She has painted murals all over Texas and has installed metal work all over the world. She currently lives in Big Spring, Texas, with her fiancé and two children.

So they crafted a clever solution… one that already existed, actually. Counterintuitively, it was actually the legal mandate to maximize shareholder value. To protect against corporations becoming behemoth monsters, corporations needed to be restricted to their purposes.

1) A “Ladies Who Lunch Party” thrown at the country club. Waiters carried hors d’oeuvres around, kneeling on the ground so that the little girls could reach them. The lunch was nicer than Jane’s wedding shower, possibly nicer than her wedding. 2) A “Movie Premiere Party” where the entire theater was rented out and the kids were allowed as much popcorn and candy as they wanted while watching a double feature of Moana and Monsters, Inc. (Lauren threw up in her bed that night.) 3) A “Camping Party” where each child received a sleeping bag personalized with her name and the backyard was set up with mini pink tents and paper lanterns. Someone was hired to grill the hot dogs and make the s’mores. 4) A “Spa Party” at the Four Seasons downtown where the girls got facials and fluffy pink robes and slippers. (Because what first grader wouldn’t appreciate getting rid of clogged pores?)

Well that's something because I don't ever want a Cyclops in my head again.” “Yeah and I don't wanna watch that again either. Her boggly eye was freaking me out.” “How boggly was it exactly?” I started laughing. “The boggliest eye I've ever seen. She looked like Mike Wasoswki from Monsters Inc.

Clearly, something in our process had broken—the desire for quality had gone well beyond rationality. But because of the way production unfolded, our people had to work on scenes without knowing the context for them—so they overbuilt them just to be safe. To make things worse, our standards of excellence are extremely high, leading them to conclude that more is always more. How, then, do you fix the “beautifully shaded penny” problem without telling people, in effect, to care less or to be less excellent? I knew that none of these people on Monster’s, Inc. thought that detail was so important that they should waste time to achieve it. And of course they knew that there were limits—they just couldn’t see them. This was a failure on management’s part; the truth is, we have consistently struggled with how we set useful limits and also how we make them visible.

In Monsters, Inc., all of our very different plots shared a common feeling—the bittersweet goodbye you feel once a problem”—in this case, Sulley’s quest to return Boo to her own world—“has been solved. You suffer through it as you struggle to solve it, but by the end you’ve developed a sort of fondness for it, and you miss it when it is gone.

It wasn’t until I finished directing Monsters, Inc. that I realized failure is a healthy part of the process,” he told me. “Throughout the making of that film, I took it personally—I believed my mistakes were personal shortcomings, and if I were only a better director I wouldn’t make them.” To this day, he says, “I tend to flood and freeze up if I’m feeling overwhelmed. When this happens, it’s usually because I feel like the world is crashing down and all is lost. One trick I’ve learned is to force myself to make a list of what’s actually wrong. Usually, soon into making the list, I find I can group most of the issues into two or three larger all-encompassing problems. So it’s really not all that bad. Having a finite list of problems is much better than having an illogical feeling that everything is wrong.

I doubt it, Collette usually is the problem." Zoe insisted as she glanced up at the screen upon the wall directly in front of her. "She's like a monster on heat.