The Ledger, every show

“Steve had such a powerful voice that it didn't matter when he spoke, Ed Catmull: He was going to have this extremely strong effect on the dynamics of the room, and he understood that. Ed Catmull: So, it was the reason he didn't come. Ed Catmull: I said, you…”

“There was nothing that Steve ever said that had not been said by some of the, somebody else before in one of those meetings.”

“I would say from 91 to 95 was a dramatic change in him as a person. He became more empathetic and caring. He paid attention to people. You actually begin to see him having a sense of humor.”

“In that 10 year period, Steve fired two members of the board of directors at Pixar. The reason he fired them was that they never disagreed, and he said, if they don't disagree with me, then they aren't bringing any value to the company.”

“We had to get another outside force, and the outside force was Steve Jobs.”

“Michael Eisner was testifying against without knowing what the term actually meant. So it was upsetting to Steve.”

“Steve walked away feeling like it was one of the worst deal he's ever struck.”

“Michael Eisner was still the CEO, and he would not have continued with Michael Eisner. So, since we were getting into the contract, he started discussions with other studios which would mean, you know, them doing the distribution.”

“Bob Iger starts the conversation by saying, I've got a crappy hand, can we talk? And for him, it's like, that's a show of honesty that's unusual. David Senra: Usually you don't start a negotiation by saying, hey, other party, you have all the leverage here. …”

“No. I think some people think he did, and I, that was interesting there, but no, he didn't. He was very, we talked about this. He was very clear about it. Like any project, you know, when you work on something, there are a lot of people around that are working…”

“Which was that when the film comes out, then Michael Eisner will realize he's just created his worst nightmare, because with two more films, you know, the deal's over with, but now we're a free and independent company, and so we then become a competitor. So St…”

“Our contract with Disney, an initial contract, was to make three movies. And at the time it was signed Disney perceived that Pixar was going to produce boutique films, their word, much as they would consider A Nightmare Before Christmas, a stop motion animated…”

“It's actually when he showed us the first iPhone when it was a secret. And we're on this bridge between the one building and there's a bridge over that goes between another tall building next to it. And the secret lab is where they're designing it. And he told…”

“That contract gave them the right To look at everything we did and all of our processes. As we started to become successful, nobody from Disney ever came and said, what are you guys doing?”

“Before I left, we completed 21 of the 22 films we started. So, but it's just bizarre in that world, and at Disney we completed, by the time I left, 10 of the 11 that we'd started.”

“George was the first person with credibility in the industry who thought this was going to be important, and he was willing to fund it.”

“The film focused on toys because toys are all on flat surfaces and they're made of plastic. So it's easier to do. So some of what drove the topic was the limitations of what could even be done with computers at the time.”

“And once or twice per film, then magic happens. By magic, I mean that ego has left the room. You have these intense discussions, and somebody can say something, and it doesn't work, and they're not thinking about, my idea wasn't there. They're always back on t…”

“It is the first motion picture where every frame went through the computer. Was using the paint system that we had developed under contract for Disney.”

“Bob, Decided to come up as soon as, you know, he was made the CEO. He came up to Pixar, and, ah, the idea was to spend a day with us, ah, seeing what we were doing, how we thought about things, and what we had in the works. And when he came, he walked up our w…”

“Roy, when he, when now he came in, because he's part of the rescue of Disney as this possible takeover, He's the one who said we need to bring some technology into the studio because we're stayed. He's the one that initiated the contact with us at Pixar.”

“But he also wanted to share it. So the fact that we would say this is how we're doing editing or there are graphics techniques or audio. Was what he wanted. He was trying to affect the industry as well as build tools for himself.”

“There were three times in the history of Pixar in which a group arose that felt like they were second class and we missed it and we were looking for it.”

“No studio was interested at all in anything that computers might do. I mean, there was zero interest. They didn't even think it was relevant.”

“Steve Jobs did believe that the potential for graphics was going to become important in the future. Steve wasn't saying, I know how to make a business out of this right now. This is going to be of value in the future, so let's figure out what we do to get ther…”

“Now the truth was they did a financial analysis and the financial analysis says there's no benefit to using computers.”

“So at this point, Steve, recognizing the advantage that was there, came in and negotiated with Pixar to do a three-picture deal with Disney.”

“At Disney, all the films should be musicals with five to seven musical numbers and a funny sidekick.”

“And we were the only two that stayed in computer graphics. Because we were the ones that rejected what was already in place and said, we need something new.”

“Roy said he knew that Walt Disney believed that changing technology of filmmaking brought energy Into the creative process. It wasn't in the rest of the company.”

“So sure enough, when the film came out, it was a big success. One week later, we went public.”