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Disney Quotes

Browse 104 quotes about Disney.

Disney Quotes

“El precio de una camiseta con la imagen de la princesa Pocahontas, vendida por la casa Disney, equivale al salario de toda una semana del obrero que ha cosido esa camiseta en Haití, a un ritmo de 375 camisetas por hora. Haití fue el primer país en el mundo que abolió la esclavitud; y dos siglos después de aquella hazaña, que muchos muertos costó, el país padece la esclavitud asalariada. La cadena McDonald's regala juguetes a sus clientes infantiles. Esos juguetes se fabrican en Vietnam, donde las obreras trabajan diez horas seguidas, en galpones cerrados a cal y canto, a cambio de ochenta centavos. Vietnam había derrotado la invasión militar de los Estados Unidos; y un cuarto de siglo después de aquella hazaña, que muchos muertos costó, el país padece la humillación globalizada.”

“I couldn't bear being this suburban mom who was alternating between screaming at her kids and being the heartfelt, privileged witness to their joy. But the people around us - the haranguing mothers and sexless fathers - I kept trying to find ways that I was better than these people, but all I kept landing on was the fact that the common denominator was me.”

“Un rato é unha cousa que se move, unha cousa que vive nos sobrados e ten un corazón pequerrechiño e dous ollos de vidro sempre acesos. Unha cousa que vai furando as tebras, xurde correndo, pasa, fuxe, líscase. Un rato é unha cousa que está viva un intre só, despois non é nada, sombra nas sombras mestas dos buratos. A noite é un burato sen orelas pra os homes, tristes ratos sin acougo. Un home é unha cousa que cavila, cismando sempre, sempre amargurado, fuxindo de outras cousas que rebulen, revolvendo papeis, decote rebulindo, sempre con presas, atafegado sempre, camiña, chouta, avanta nos buratos, nos sobrados do mundo, nas estradas da vida, nas pedras, no vento, nas rúas, nos seos das mulleres. Un rato é unha cousa que se move. Escóitame Walt Disney ¿Onde estabas que os meus soños de pombas non te viron cando o meu corazón inda era neno e había carabeles nos meus ollos?”

“In a large sense, Main Street is the American origin story. It's an evocation of the American creation tale, and the kick is that the American origin story is a never-ending one, a perpetual tale of creation and re-creation, an eternal now.”

“Lo que Disney decidió hacer, y es parte de la forma única de Disney de hacer las cosas, fue hacer que todos estos trabajadores se sintieran parte de la familia Disney: hacerlos que se identificaran con Epcot, aun cuando en realidad no formaran parte de la organización Disney. Esto no se había hecho nunca antes. Así es como lo hicieron. Cerraron la obra un domingo al mes durante un año. Hay que tener en mente que se trataba del proyecto de construcción más grande del mundo y que se acercaba una fecha de entrega inamovible, por lo que cerrar la obra un día al mes era muy importante. Disney trajo varias carpas de circo y las colocó en lo que a la larga sería el estacionamiento de Epcot. El servicio de alimentación se encontraba en una de las tiendas. Cocinábamos hot dogs y hamburguesas, y servíamos Coca - Cola, papas fritas, todo eso. En otras palabras, celebrábamos un día de campo.”

“Far from representing a benign cultural force, Disney's theme parks offer prepackaged, sanitized versions of America's past, place a strong emphasis on the virtues of the individual as an essentially consuming subject, trans- form the work of production into the production of play, and ignore the exclusionary dynamics of class and race that permeate Disney culture.”

“Disney's theme parks function like the suburban mall, offering middle-class families an escape from crime, pollution, immigrants, the homeless, transportation problems, and work. Managed exoticism, safety, the packaged tour, and the fantasy of consumption cancel out diversity, innovation, imagination, and the uncharted excursion.”

“Walt quería una casa embrujada, pero que no fuera un edificio que luciera en ruinas. Para el aspecto apropiado, se decidió por una mansión del sur. Dijo, "Nosotros cuidaremos el terreno y las cosas exteriores; los fantasmas pueden dedicarse al interior". Para ayudar a los fantasmas a mantener el aspecto arruinado de la Mansión Embrujada, Disney World compra un "polvo" especial a granel, y lo esparce con un irrigador de fertilizante. Desde que abrió el parque, han esparcido suficiente polvo para enterrar la mansión en su totalidad. (...) hay un grupo de tumbas fuera de la mansión. Los nombres que aparecen en las tumbas son los de los imagineros que ayudaron a crear la atracción.”

“...clearly Michael Eisner’s most glaring defect, the one quality more than any other that has caused him to leave behind a trail of deeply embittered former colleagues: his dishonesty. Considering the importance Eisner places on honesty in others—dating at least to the childhood incident in which he believes his mother lied about his bedtime—it is extraordinary that Eisner himself has been so reckless with the truth, in ways both large and small, to a degree that suggests he is at times incapable of distinguishing one from the other. Far more than just a personality quirk, Eisner’s tendency to distort, embellish, or forget the truth had direct and costly business consequences for Disney. More than any other single factor, what Steve Jobs and the Weinstein brothers considered Eisner’s dishonesty accounts for the failure of the important Pixar and Miramax relationships. Katzenberg was so angry and bitter—and willing to sue—because he believed he was lied to and felt betrayed.”

“According to Zagat Disneyland Insider's Guide (2010), the Candy Palace is the fifth most popular store in the entire resort, and the third most popular in the park. Perhaps one reason is the shop's intoxicating candy scent; it vents onto Main Street, an elixir of vanilla and molten chocolate that entices Guests to enter the premises and then entices then to remain. pouring over the bins, shelves, and racks of traditional and unique candies.”

“Disneyland was one perfect answer. It provided, an almost sacred space where it is permissible and safe to let one's guard down, take a risk, rediscover imagination, have fun, express emotion, play and deepen family ties. This is powerful stuff even today, in our nation of workaholics and two-working-parent households, and it was certainly powerful in the anxious 1950's.”

“It's not a real place, or a place that you can stay for long; it's a somewhere-over-the-rainbow archetype but rooted in genuine emotions. No matter what Guests' care might be, when they step onto Main Street they enter an evocation of the ideal home town. This is, in a sense, the 'home' to which Dorothy Gale wanted to return. Main Street welcomes all Guests with warmth as comforting today as it was to the post-war society of the 1950's for which it was originally created.”

“Walt also had a humorous sign posted outside the mansion, recruiting ghosts who wanted to enjoy 'active retirement' in the "country club atmosphere' of this 'fashionable address'. Interested ghosts were to write to the 'Ghost Relations Dept. Disneyland,' and were told,'Do not apply in person.”

“No child has ever been kidnapped from Disneyland. This is one of many Disneyland urban legends that don't have a basis in fact. The kidnap stories-- urban legends.”

“I was afraid of anyone in a costume. A trip to see Santa might as well have been a trip to sit on Hitler's lap for all the trauma it would cause me. Once, when I was four, my mother and I were in a Sears and someone wearing an enormous Easter Bunny costume headed my way to present me with a chocolate Easter egg. I was petrified by this nightmarish six-foot-tall bipedal pink fake-fur monster with human-sized arms and legs and a soulless, impassive face heading toward me. It waved halfheartedly as it held a piece of candy out in an evil attempt to lure me into its clutches. Fearing for my life, I pulled open the bottom drawer of a display case and stuck my head inside, the same way an ostrich buries its head in the sand. This caused much hilarity among the surrounding adults, and the chorus of grown-up laughter I heard echoing from within that drawer only added to the horror of the moment. Over the next several years, I would run away in terror from a guy in a gorilla suit whose job it was to wave customers into a car wash, a giant Uncle Sam on stilts, a midget dressed like a leprechaun, an astronaut, the Detroit Tigers mascot, Ronald McDonald, Big Bird, Bozo the Clown, and every Mickey Mouse, Minnie Mouse, Donald Duck, Pluto, Chip and Dale, Uncle Scrooge, and Goofy who walked the streets at Disneyland. Add to this an irrational fear of small dogs that saw me on more than one occasion fleeing in terror from our neighbor's four-inch-high miniature dachschund as if I were being chased by the Hound of the Baskervilles and a chronic case of germ phobia, and it's pretty apparent that I was--what some of the less politically correct among us might call--a first-class pussy.”

“Michael Eisner observes that “Hollywood is a microcosm of the world. There’s a group of ethical people, serious, eager to work. Then there’s the underbelly, and the seedy part of that group, the people who supply the underbelly. There are the struggling runaways, the prostitutes—male and female—the dregs of the earth. The vultures. They take the low road. They may wear suits, be articulate…” He trails off.”

“The Sixth Sense was ultimately nominated for six Academy Awards. Completed at a cost of $35 million, it earned just under $300 million in the United States alone, the most successful live-action film in Disney’s history. David Vogel, Disney’s President of Production (recently dismissed by Michael Eisner after purchasing The Sixth Sense without permission) had been right when he told Eisner that he’d left Disney with one of its biggest pictures. Vogel hadn’t found another job and had pretty much stopped looking. He had decided he no longer wanted to rely on the Machiavellian instincts he found necessary to continue as a movie executive. A few studio people called to congratulate him on the film’s enormous success, but he heard nothing from any of the top Disney executives, including Eisner, Roth, and Schneider. Of course, Vogel was one of the few people who knew that Disney had sold off both the foreign and domestic profits to Spyglass, and would earn only a 12.5 percent distribution fee. He wondered what Eisner thought now.”

“The Executive Leadership Assessment (results) quickly devolved into arguments about the ways in which Disney management did or did not function as a team, which pretty much proved the consultant’s point: that Disney’s top-tier executives, under Michael Eisner’s governance, does not make a good team; They don’t qualify as "a team," much less a group. Later, Eisner dismissed the whole experiment as a waste of time. Away from Eisner, several of the participants later conceded the issue. ‘What Michael likes is to put six pit bulls together and see which five die,’ one said.”