The first professional training I received of any kind was when I was 14 years old and we were in Kansas City, Missouri. I attended the Kansas City Art Institute for one summer.

I joined Walt Disney, went to work, December 2nd 1935, so obviously, I'm not too young!

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

Animation had been done before, but stories were never told.

Before I got through high school I had attended 22 different schools. In the time before I was well acquainted with the latest school, I would amuse myself by drawing and found that I was pretty good at it.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

Some of these sketches were done at the very beginning of the Pirates project, when I was trying to find a direction for myself. That was the early sixties... maybe 61 or 62.

What we were in on, really, was the invention of animation.

Disney had made such a great deal of money on Snow White that the banks gave him the go-ahead on the next three films. But he was heavily dependent on the foreign market.

Drawing is giving a performance; an artist is an actor who is not limited by the body, only by his ability and, perhaps, experience.

My father was something of a rainbow-chaser.

It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.

His feeling was the name Walt Disney represented all of us. Walt was hanging by his teeth financially and really I think he was for most of his career. Not at all like today.

There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.

The first professional training I received of any kind was when I was 14 years old and we were in Kansas City, Missouri. I attended the Kansas City Art Institute for one summer.

Later, my father died up in Marysville. So, my mother and I got in the car and came down to Hollywood.

I had some connections from the newspapers that I did work with up there, so there was a newspaper publisher in Hollywood, and they promised me work and so on.

At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.

Drawing is giving a performance an artist is an actor who is not limited by the body only by his ability and perhaps experience.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.

A great thing happening now in art is that artists are using the figure, the body, clothing, life.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I always feel like the art's there and I just see it, so it's not really a lot of work.

I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation.

And, moreover, it is art in its most general and comprehensive form that is here discussed, for the dialogue embraces everything connected with it, from its greatest object, the state, to its least, the embellishment of sensuous existence.

A blind man can make art if what is in his mind can be passed to another mind in some tangible form.

I regard it as a waste of time to think only of selling: one forgets one's art and exaggerates one's value.

A frenzied passion for art is a canker that devours everything else.