We've got to fight against bigness. If a school gets too large, you lose an intimacy with the students; they begin to feel they're just part of a big complex. I don't think you can create too well in a big plant. That's why I always tried to avoid bigness in the studio.
A good ending is vital to a picture, the single most important element, because it is what the audience takes with them out of the theater.
There is nothing wrong with good schmaltz, nothing wrong with good heart... The critics think I'm kind of corny. Well, I am corny. As long as people respond to it, I'm okay.
When we opened Disneyland, a lot of people got the impressions that it was a get-rich-quick thing, but they didn't realize that behind Disneyland was this great organization that I built here at the Studio, and they all got into it and we were doing it because we loved to do it.
I don't want the public to see the world they live in while they're in the Park (Disneyland). I want to feel they're in another world.
Biggest problem? Well, I'd say it's been my biggest problem all my life. MONEY. It takes a lot of money to make these dreams come true. From the very start it was a problem. Getting the money to open Disneyland. About seventeen million it took. And we had everything mortgaged including my personal insurance.
If watching is all you're going to do, then you're going to watch your life go by without you.
There are fashions in reading, even in thinking. You don't have to follow them unless you want to. On the other hand, watch out. Don't stick too closely to your favorite subject. That would keep you from adventuring into other fields. It's silly to build a wall around your interests.
Well I come from a land, from a far away place, where the caravan camels roam. They will cut of your ear if they don't like your face, it's babaric, but hey, it's home.
I resent the limitations of my own imagination.
I have long felt that the way to keep children out of trouble is to keep them interested in things.
Disneyland is a work of love.
Disneyland is dedicated to the ideals, the dreams, and the hard facts that have created America...
Money-or rather the lack of it to carry out my ideas-may worry me, but it does not excite me.
The life and ventures of Mickey Mouse have been closely bound up with my own personal and professional life.
Now when we opened Disneyland, outer space was Buck Rogers.
Perhaps Bach and Beethoven are strange bedfellows for Mickey Mouse, but it's all been a lot of fun.
I've always had a feeling that any time you can experiment, you ought to do it. Because you never know what will happen.
In my work I try to reach and speak to that innocence, showing it the fun and joy of living; showing it that laughter is healthy; showing it that the human species, although happily ridiculous at times, is still reaching for the stars.
There is a natural hootchy-kootchy motion to a goldfish.
I have never been interested in personal gain or profit. This business and this studio have been my entire life.
I just want it to look like nothing else in the world. And it should be surrounded by a train.
Why would I want to be president? I'm the king of Disneyland.
When you go to bat as many times as I do, you're bound to get a good average. That's why I keep my projects diversified.
I wanted to retain my individuality. I was afraid of being hampered by studio policies. I knew if someone else got control, I would be restrained.
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