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I'm part of that original generation that came up playing video games, that pumped a lot of our allowance into video games. We financed the rise of video games. I started playing them in the Straw Hat Pizza Palace at the Carriage Square Mall in Oxnard, CA.

When I was young, I was on a real hot streak with 'Crazy Climber.' There was a good three-week span where I couldn't get that game out of my head. I could not get back to the arcade fast enough to try and climb up there and not get kicked by a potted plant this time. That one got under my skin.

I spent a lot of money and time at pizza places. Golf and Stuff in Ventura, right off the 101, was my hangout. Skating Plus, right behind it, always had a good selection of games. That was the place to be when you were from Oxnard back in the '80s.

I remember the N64 coming out. That was a beautiful day.

The best games came from great characters.

I loved 'The Secret of NIMH.' When that came out, it felt like, 'Wow, this is something really, really new.' It looked like a Disney film, but it felt very cutting edge to me. To a twelve-year-old kid, it seemed very inspiring.

You know how they say that old people with Alzheimer's, they kind of go back, and they revert to the most emotional part of their life, what they did when they were younger... I think I am going to be cursed with reliving 'Star Wars: Episode IV - A New Hope' in my mind. And playing 'Dragon's Layer' when I enter Alzheimer's.

To me, I love being able to see some of John C. Reilly's face in Ralph, and some of Sarah Silverman in Vanellope. That there are hints of them there. In the broad strokes, they are there.

I loved the Scarecrow and the Tin Man and the Lion and you could kind of see the actors' faces in them. It wasn't an entirely new face sculpted around them. What made those characters so human and appealing to me was seeing those great actors underneath there. They weren't lost behind a bunch of appliances.

'The Critic' was so absurd, and I loved that. I loved working with Jon Lovitz, I think he's got a great, great voice for animation.

I think that 'Family Guy' and 'The Critic' come from some of the same kind of seed. I don't know what it is.

This new generation of animators was trained in CG. They know all the fundamentals of any 2D animator, but a lot of them learned on these CG rigs. You give them a good rig, and they can make that thing sing.

Between 'Futurama' and 'Simpsons,' I'm able to work with the voices of Michael Jackson, Dustin Hoffman, and the cast of 'Star Trek.' It's great, you know; it's great to work with such talented people.

I think it would be impossible to make a movie about video games if there wasn't some violence that we know from video games.

It feels like there's something for everyone in video games. It's not just a toy for a certain age group. It's steeped in the culture now.

I fell in love with this idea of an old school game character, like Donkey Kong, who looks like a very simple guy but is really wrestling with this very profound struggle: 'What's the meaning of life? What if I don't like this job I've been programmed to do?'

Rather than just making a movie about video games, I wanted to start with the character and what the character was going through.

My first movie I saw when I was a kid was 'The Jungle Book.' I was 5 years old, and I saw it in a movie theater. Seeing that movie really lit the fuse and ignited my passion for animation.

I remember as a kid seeing Pong in a pizza place where I grew up in Oxnard, California, and having my mind blown by it. I thought it was a TV. I thought it was just something playing on a television. But then to be able to manipulate the paddle, and the ball with the knob was, in those days, pretty huge to a little kid! It was a simpler time.

I never saw a Laurel & Hardy movie in a theater when they first ran, when I was a kid. But as a child, I knew who they were, and knew the culture of it, what they meant.

Judy Hopps truly believes in something. We're not just giving her the run of the story, where we give her everything. Through her actions, she has to prove what she believes in. Personally speaking, I think that's cool.

I think when, like, things like 'The Wizard' and even like 'Tron,' when it first came out, I was a teenager, and, man, I really wanted to kind of just kind of disappear into it.

I went to Cal Arts. I went to art school.

As an artist, it feels good that we've created something that is connecting with the audience, which is what we always strive to do.

There was a moment with 'Zootopia' where we said, 'This is the experiment: let's try Judy in the role of the protagonist. Let her character introduce us to the city and this world.' And suddenly, all that struggling and trying to make traction into this story was done.

We can't put up a movie that looks beautiful but doesn't have substance.

The challenge is, how do you take someone who's supposed to be a villain and make that appealing and lovable? You have to empathize with him and put yourself in his shoes and root for him and want him to have the things he wants.

Being able to make a comedy at Disney was really appealing.

The hallmark of a good comedy is that it can make you laugh, but it can also take you to the point where you're in love with these characters, and you want to see them be happy, and you want to feel that emotion for them.

I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.

I always thought that Mario was kind of the bad guy - because if you knew about the game, there was supposed to be a back story where Mario was teasing the ape, and the ape stole his girlfriend, and this was kind of karma for Mario, you know?

It seemed like, when I was a teenager, there was a video game everywhere: they were in 7-Elevens, movie theatres, pizza shops; they were everywhere.

I like giving the audience a lot of stuff to look at, and rewards for repeated viewings and paying attention.

Arcade-game characters have no free will. They're programmed to do one thing day in and day out - they don't have a choice in the matter.

A good movie makes the audience feel like they've journeyed with the characters.

We try lots of stuff. We throw it against the wall, and the stuff that sticks stays in the movie.

I love that fans feel comfortable enough to send us their artwork.

For artists, we're always looking for approval. We're putting our artwork out there and saying, 'What do you think?'

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