John Lasseter
Template:Short description Template:Use American English Template:Use mdy dates Template:Infobox person
John Alan Lasseter (Template:IPAc-en Template:Respell; born January 12, 1957)<ref name=britannica>Template:Cite encyclopedia</ref> is an American film director, producer, screenwriter, and animator. He was previously the chief creative officer of Pixar Animation Studios, Walt Disney Animation Studios, and Disneytoon Studios, as well as the Principal Creative Advisor for Walt Disney Imagineering,<ref>Template:Cite news</ref> and has served as the head of animation at Skydance Animation since 2019.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Lasseter began his career as an animator with The Walt Disney Company. After being fired from Disney for promoting computer animation, he joined Lucasfilm, where he collaborated on the then-groundbreaking usage of CGI animation. The Graphics Group of the Computer Division of Lucasfilm was sold to Steve Jobs and became Pixar in 1986. Lasseter oversaw all of Pixar's films and associated projects. He personally directed Toy Story (1995), A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011), and executive-produced all other Pixar films through 2018. From 2006 to 2018, Lasseter also oversaw all of Walt Disney Animation Studios' (and its division Disneytoon Studios') films and associated projects as executive producer.
His works have grossed more than Template:US$19 billion, making him one of the most financially successful filmmakers of all time. Of the ten animated films that have grossed over US$1 billion, five of them were executive produced by Lasseter: Toy Story 3 (2010)—the first animated film to surpass $1 billion—and Frozen (2013)—the third-highest-grossing animated film of all time—as well as Zootopia (2016), Finding Dory (2016), and Incredibles 2 (2018). Frozen also held the title of the highest-grossing animated film of all time until 2019, and was the fifth-highest-grossing film of all time at the end of its theatrical run. He has won two Academy Awards, for Best Animated Short Film (for Tin Toy), as well as a Special Achievement Award (for Toy Story).<ref name="imdb-awards">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
In November 2017, Lasseter took a six-month sabbatical from Pixar and Disney Animation when uncomfortable interactions with employees were made public, behaviors that he apologized for and recognized as unintentional "missteps".<ref name="hollywoodreporter_20171121B">Template:Cite news</ref> According to various news outlets, Lasseter had a history of alleged sexual misconduct toward employees.<ref name="hollywoodreporter_20171121A" /><ref name="washingtonpost_20171121A" /> In June 2018, it was announced that he would be leaving the company at the end of the year when his contract expired; he took on a consulting role until then.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Barnes" /> Following his departure from Disney and Pixar, Lasseter was later hired by Skydance founder and CEO David Ellison to run the animation division Skydance Animation.<ref name="SkyDAnim" />
Early life
John Alan Lasseter was born on January 12, 1957, in Hollywood, California.<ref name=britannica /> His mother, Jewell Mae (née Risley; 1918–2005), was an art teacher at Bell Gardens High School, and his father, Paul Eual Lasseter (1924–2011), was a parts manager at a Chevrolet dealership.<ref>Template:Cite news</ref><ref name="Graduating Class" /><ref name="ref1">Template:Cite news</ref>
Lasseter is a fraternal twin; his sister Johanna Lasseter-Curtis, who became a baker based in the Lake Tahoe area, is six minutes older.<ref name="Schlender" /><ref>Template:Cite news</ref>
Lasseter grew up in Whittier, California. His mother's profession contributed to his growing preoccupation with animation. He often drew cartoons during services at the Church of ChristTemplate:Clarify church his family regularly attended. As a child, Lasseter would race home from school to watch Chuck Jones cartoons on television. While in high school, he read The Art of Animation by Bob Thomas. The book covered the history of Disney animation and explored the making of Disney's 1959 film Sleeping Beauty, which made Lasseter realize he wanted to do animation himself. When he saw a screening of Disney's 1963 film The Sword in the Stone at the Wardman Theater, he knew early in his youth that he wanted to become an animator.<ref>Template:Cite news</ref> He then read Preston Blair's book about animation, and made flipbooks based on Blair's walk cycles. One of his friends had a Super 8 camera that shot single frames, which was used to shoot some of his earlier animation efforts.<ref>On Animation: The Director's Perspective Vol 1</ref>
Lasseter heard of a new character animation program at the California Institute of the Arts (often abbreviated as 'CalArts') and decided to follow his dream of becoming an animator. His mother further encouraged him to take up a career in animation, and, after graduating from Whittier High School in 1975, he enrolled as the second student (Jerry Rees was the first)<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> in the CalArts Character Animation program created by Disney animators Jack Hannah and T. Hee. Lasseter was taught by three members of Disney's Nine Old Men team of veteran animators—Eric Larson, Frank Thomas and Ollie Johnston—and his classmates included future animators and directors like Brad Bird, John Musker, Henry Selick, Tim Burton, and Chris Buck.<ref name=ft>Template:Cite news</ref><ref name="Day">Template:Cite news</ref><ref>Template:Cite news</ref> During his time there, he produced two animated shorts—Lady and the Lamp (1979) and Nitemare (1980)—which each won the student Academy Award for Animation.<ref>Template:Cite news</ref>
While at CalArts, Lasseter first started working for the Walt Disney Company at Disneyland in Anaheim during summer breaks and got a job as a Jungle Cruise skipper, where he learned the basics of comedy and comic timing to entertain captive audiences on the ride.<ref name="Schlender" /><ref>Template:Cite news</ref>
Career
First years at Disney
Upon graduating in 1979, Lasseter immediately obtained a job as an animator at Walt Disney Productions mostly due to his success with his student project, Lady and the Lamp.<ref name="Getlin">Template:Cite news (Available through ProQuest Historical Newsstand.)</ref> The studio had reviewed approximately 10,000 portfolios in the late 1970s in search of talent, then selected only about 150 candidates as apprentices, of which only about 45 were kept on permanently.<ref name="Getlin" /> In the fall of 1979, Disney animator Mel Shaw told the Los Angeles Times that "John's got an instinctive feel for character and movement and shows every indication of blossoming here at our studios ... In time, he'll make a fine contribution."<ref name="Getlin" /> At that same time, Lasseter worked on a sequence titled "The Emperor and the Nightingale" (based on The Nightingale by Hans Christian Andersen) for a Disney project called Musicana. Musicana was never released but eventually led to the development of Fantasia 2000 (1999).<ref>Template:Cite AV media notes</ref>
However, after One Hundred and One Dalmatians (1961), which in Lasseter's opinion was the film where Disney had reached its highest plateau, he felt that the studio had lost momentum and was often repeating itself.<ref name="awm-lasseter">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> Between 1980 and 1981, he coincidentally came across some video tapes from one of the then new computer-graphics conferences, who showed some of the very beginnings of computer animation, primarily floating spheres and such, which he experienced as a revelation.<ref name="Schlender" /> But it was not until shortly after, when he was invited by his friends Jerry Rees and Bill Kroyer, while working on Mickey's Christmas Carol (1983), to come and see the first light cycle sequences for an upcoming film entitled Tron (1982), featuring state-of-the-art computer-generated imagery (CGI), that he saw the huge potential of this new technology in animation. Up to that time, the studio had used a multiplane camera to add depth to its animation. Lasseter realized that computers could be used to make films with three-dimensional backgrounds where traditionally animated characters could interact to add a new level of visually stunning depth that had not been possible before. He knew adding dimension to animation had been a longtime dream of animators, going back to Walt Disney.<ref name="Schlender" />
Later, he and Glen Keane talked about how great it would be to make an animated feature where the background was computer-generated, and then showed Keane the book The Brave Little Toaster by Thomas Disch, which he thought would be a good candidate for the film. Keane agreed, but first, they decided to do a short test film to see how it worked out and chose Where the Wild Things Are, a decision based on the fact that Disney had considered producing a feature based on the works of Maurice Sendak. Satisfied with the result, Lasseter, Keane and executive Thomas L. Wilhite went on with the project, especially Lasseter who dedicated himself to it, while Keane eventually went on to work with The Great Mouse Detective (1986).<ref>Template:Cite news</ref>
Lasseter and his colleagues unknowingly stepped on some of their direct superiors' toes by circumventing them in their enthusiasm to get the Where the Wild Things Are project into motion. The project was canceled while being pitched to two of Lasseter's supervisors, animation administrator Ed Hansen, and head of Disney studios, Ron W. Miller, due to lack of perceived cost benefits for the mix of traditional and computer animation.<ref>Template:Cite news</ref> A few minutes after the meeting, Lasseter was summoned by Hansen to his office. As Lasseter recalled, Hansen told him, "Well, John, your project is now complete, so your employment with the Disney Studios is now terminated."<ref name="Paik">Template:Cite book</ref>Template:Rp Wilhite, who was part of Disney's live-action group and therefore had no obligations to the animation studio, was able to arrange to keep Lasseter around temporarily until the Wild Things test project was complete in January 1984, but with the understanding there would be no further work for Lasseter at Disney Animation.<ref name="Paik" />Template:Rp<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Brave Little Toaster would later become a 2D animated feature film directed by one of Lasseter's friends, Jerry Rees, and co-produced by Wilhite (who had, by then, left to start Hyperion Pictures), and some of the staff of Pixar would be involved in the film alongside Lasseter.
Lucasfilm and Pixar
While putting together a crew for the planned feature, Lasseter had made some contacts in the computer industry, among them Alvy Ray Smith and Ed Catmull at Lucasfilm Computer Graphics Group. After being fired, and feeling glum knowing his employment with Disney was to end shortly,<ref name="Paik" />Template:Rp Lasseter visited a computer graphics conference in November 1983 at the Queen Mary in Long Beach, where he met and talked to Catmull again.<ref name="Price">Template:Cite book</ref>Template:Rp Catmull inquired about The Brave Little Toaster, which Lasseter explained had been shelved.<ref name="Schlender" /><ref name="Paik" />Template:Rp From his experience at Lucasfilm, Catmull assumed Lasseter was simply between projects since Hollywood studios have traditionally laid off employees when they lack enough productions to keep them busy.<ref name="Price" />Template:Rp Still devastated at being forced out of the only company he had ever wanted to work for, Lasseter could not find the strength to tell Catmull that he had been fired.<ref name="Schlender" /><ref name="Price" />Template:Rp
Catmull later telephoned Smith that day and mentioned that Lasseter was not working at Disney. Smith told Catmull to put down the phone and hire Lasseter right away.<ref name="Price" />Template:Rp Lasseter agreed instantly to work freelance with Catmull and his colleagues and joined them for a week of December 1983 on a project that resulted in their first computer-animated short: The Adventures of André & Wally B., meant to prove it was possible to do character animation on a computer. After his work on the Where the Wild Things Are-test, Lasseter assumed hand-drawn characters in a CGI environment was the only way, but Catmull insisted it could be done, it was just that nobody had given it an attempt before. Because Catmull was not allowed to hire animators, he was given the title "Interface Designer";<ref>Template:Cite book</ref><ref name="Schlender" /><ref>Template:Cite interview</ref> "Nobody knew what that was but they didn't question it in budget meetings".<ref name="Day" /> Lasseter spent a lot of time at Lucasfilm in the San Francisco Bay Area in the spring of 1984, where he worked together closely with Catmull and his team of computer science researchers.<ref name="Paik" />Template:Rp Lasseter learned how to use some of their software, and in turn, he taught the computer scientists about filmmaking, animation, and art.<ref name="Paik" />Template:Rp The short turned out to be more revolutionary than Lasseter first had visualized before he came to Lucasfilm. His original idea had been to create only the backgrounds on computers, but in the final short everything was computer-animated, including the characters.<ref name="Schlender">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
After the short CGI film was presented at SIGGRAPH in the summer of 1984, Lasseter returned to Los Angeles with the hope of directing The Brave Little Toaster at Hyperion Pictures.<ref name="Paik" />Template:Rp He soon learned that funding had fallen through and called Catmull with the bad news.<ref name="Paik" />Template:Rp Catmull called back with a job offer, and Lasseter joined Lucasfilm as a full-time employee in October 1984 and moved to the Bay Area.<ref name="Paik" />Template:Rp After that, he worked with ILM on the special effects on Young Sherlock Holmes,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> where he made the first fully computer-generated photorealistic animated character, a knight composed of elements from a stained glass window.<ref name="milestones">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This effect was the first CGI character to be scanned and painted directly onto film using a laser.<ref name="milestones"/> Lasseter and Catmull's collaboration, which has since lasted over thirty years, would ultimately result in Toy Story (1995), which was the first-ever computer-animated feature film. Additionally, Lasseter created THX's robot mascot Tex. He made his first appearance in 1996 with the original theatrical release of Independence Day. Since then, Tex has appeared in some THX trailers.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Due to George Lucas's financially crippling divorce, he was forced to sell off Lucasfilm Computer Graphics, by this time renamed the Pixar Graphics Group, founded by Smith and Catmull, with Lasseter as one of the founding employees.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was spun off as a separate corporation with Apple co-founder Steve Jobs as its majority shareholder in 1986. Over the next 10 years, Pixar evolved from a computer company that did animation work on the side into an animation studio. Lasseter oversaw all of Pixar's films and associated projects as executive producer. As well as Toy Story, he also personally directed A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011).
He has won two Academy Awards, for Animated Short Film (Tin Toy), as well as a Special Achievement Award (Toy Story).<ref name="imdb-awards"/> Lasseter has been nominated on four other occasions—in the category of Animated Feature, for both Monsters, Inc. (2001) and Cars, in the Original Screenplay category for Toy Story and in the Animated Short category for Luxo, Jr. (1986)—while the short Knick Knack (1989) was selected by Terry Gilliam as one of the ten best animated films of all time.<ref name="The Guardian">Template:Cite news</ref> In 2008, he was honored with the Winsor McCay Award, the lifetime achievement award for animators.
Return to Disney
.jpg){kind=link}
Disney announced that it would be purchasing Pixar in January 2006, and Lasseter was named the chief creative officer of both Pixar and Walt Disney Feature Animation, the latter of which he renamed Walt Disney Animation Studios.<ref name="Day" /> Lasseter was also named principal creative adviser at Walt Disney Imagineering, where he helped design attractions for Disney Parks. He oversaw all of Walt Disney Animation Studios' films and associated projects as executive producer. He reported directly to Disney Chairman and CEO Bob Iger, bypassing Disney's studio and theme park executives. He also received green-light power on films with Roy E. Disney's consent.
In December 2006, Lasseter announced that Disney Animation would start producing animated shorts – 2D, CGI, or a combination of both – that would be released theatrically. Lasseter said he sees this medium as an excellent way to train and discover new talent in the company as well as a testing ground for new techniques and ideas.<ref>Template:Cite news</ref>
In June 2007, Catmull and Lasseter were given control of Disneytoon Studios, a division of Walt Disney Animation Studios housed in a separate facility in Glendale. As president and chief creative officer, respectively, they have supervised three separate studios for Disney, each with its own production pipeline: Pixar, Disney Animation, and Disneytoon. While Disney Animation and Disneytoon are located in the Los Angeles area, Pixar is located over 350 miles (563 kilometers) northwest in the Bay Area, where Catmull and Lasseter both live. Accordingly, they appointed a general manager for each studio to manage day-to-day business affairs, then established a routine of spending at least two days per week (usually Tuesdays and Wednesdays) in Southern California.<ref>Template:Cite news</ref>
Lasseter is a close friend and admirer of Japanese animator Hayao Miyazaki, whom he first met when TMS Entertainment sent a delegation of animators to the Disney studio in 1981 and showed a clip from Miyazaki's first feature film, The Castle of Cagliostro (1979).<ref name="Brzeski">Template:Cite news</ref> Lasseter was so deeply moved that in 1985 he insisted on showing that clip and other examples of Miyazaki's work after dinner to a woman he had just met (who would become his wife).<ref name="Brzeski" /> He visited Miyazaki during his first trip to Japan in 1987 and saw drawings for My Neighbor Totoro (1988).<ref name="Brzeski" /> After Lasseter became a successful director and producer at Pixar, he went on to serve as executive producer on several of Miyazaki's films for their release in the United States and oversaw the translation and dubbing of their English language soundtracks.<ref name="Brzeski" /> In addition, the forest spirit Totoro from My Neighbor Totoro makes an appearance as a plush toy in Toy Story 3 (2010).
Lasseter is a member of the Academy of Motion Picture Arts and Sciences and served nine consecutive years on its board of governors from 2005 to 2014 when he had to relinquish his seat due to term limits.<ref name="Kilday">Template:Cite news</ref> His last position on the board was as first vice president.<ref name="Kilday" />
Lasseter received a star on the Hollywood Walk of Fame in Hollywood in 2011, located at 6834 Hollywood Boulevard.<ref>Template:Cite news</ref>
Allegations of sexual misconduct and exit from Disney and Pixar
Template:See also In November 2017, Lasseter took a six-month leave of absence when allegations surfaced that he had made interactions with employees that made them uncomfortable, which he apologized for and acknowledged as "missteps". In a memo to staff, Lasseter stated, "It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down."<ref name="hollywoodreporter_20171121B" /> Lasseter went on in the memo to emphasize his commitment to fixing his missteps and his hope to return to working with them in the new year.<ref name="hollywoodreporter_20171121B" /> The alleged sexual misconduct toward multiple employees over a number of years included "grabbing, kissing, [and] making comments about physical attributes".<ref name="hollywoodreporter_20171121A">Template:Cite news</ref><ref name="washingtonpost_20171121A">Template:Cite news</ref> The behavior was alleged to have been so well-known that, according to Variety, at various times, Pixar had "minders who were tasked with reining in his impulses".<ref name="ExitDisney">Template:Cite news</ref>
In June 2018, Disney and Lasseter announced that he would be leaving the company at the end of the year, taking a consulting role until then.<ref name="Barnes">Template:Cite news</ref><ref>Template:Cite news</ref>
Skydance Animation
On January 9, 2019, Lasseter was hired to head Skydance Animation, a new animation division of Skydance Media formed in 2017.<ref name="SkyDAnim">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite news</ref> In a statement, Lasseter said "I have spent the last year away from the industry in deep reflection, learning how my actions unintentionally made colleagues uncomfortable, which I deeply regret and apologize for. It has been humbling, but I believe it will make me a better leader."<ref name="SkyDAnim" /> An investigation conducted prior to his hiring found that no previous claims of sexual assault, propositioning or harassment had been filed against Lasseter,<ref name="SkydanceMeeting">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and "[...] there were no findings of secret settlements by Disney or Lasseter to any parties asking for a settlement."<ref name="SkydanceMeeting" /> In his role at Skydance, Lasseter serves as producer on all feature films and executive producer on all series, along with Skydance Media CEO David Ellison.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
Personal life
Lasseter lives in Glen Ellen, California, with his wife Nancy, a graduate of Carnegie Mellon University, whom he met at a computer graphics conference in San Francisco in 1985.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Nancy majored in computer graphics applications, and previously worked as a computer graphics engineer at Apple Computer.<ref name=SATrustees /> They married in 1988,<ref name="Guardian3D"/> and have four sons together in addition to Nancy's son from a previous relationship,<ref name=SATrustees>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name=SKDayLife>Template:Cite news</ref> born between Template:Birth based on age as of date and 1997.<ref name=SFGateGeneration>Template:Cite news</ref>
The Lasseters own Lasseter Family Winery in Glen Ellen, California.<ref>Template:Cite news</ref> The property includes a narrow gauge railroad named the Justi Creek Railway, which is approximately Template:Convert long, including a train station and water tower Lasseter purchased from former Disney animator Ward Kimball.<ref name=SFC-160810>Template:Cite news</ref> Their residence has a swimming pool with a lazy river that runs through a cave.<ref name="Roper">Template:Cite magazine</ref> Lasseter owns a collection of more than 1,000 Hawaiian shirts and wears one every day.<ref name="Roper" /> Lasseter also collects classic cars, such as a black 1952 Jaguar XK120.<ref>Template:Cite news</ref>
On May 2, 2009, Lasseter received an honorary doctorate from Pepperdine University,<ref name="Graduating Class">Template:Cite news</ref> where he delivered the commencement address.
His influences include Walt Disney, Chuck Jones, Frank Capra, Hayao Miyazaki, and Preston Sturges.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Lasseter's favorite film is Walt Disney's Dumbo (1941).<ref>Template:Cite news</ref>
Filmography
Films
Shorts
TV specials
| Year | Title | Executive Producer |
Premiered on |
|---|---|---|---|
| 2009 | Prep & Landing | Template:Yes | ABC |
| 2011 | Pixie Hollow Games | Template:Yes | Disney Channel |
| Prep & Landing: Naughty vs. Nice | Template:Yes | ABC | |
| 2013 | Toy Story of Terror! | Template:Yes | |
| 2014 | Toy Story That Time Forgot | Template:Yes |
Long-form limited streaming series
| Year | Season | Title | Executive Producer |
Network | Ref |
|---|---|---|---|---|---|
| 2024 | 1 | WondLa | Template:Yes | Apple TV+ | |
| 2025 | 2 | Template:Yes | |||
| 3 | Template:Yes | citation | CitationClass=web
}}</ref> |
Documentaries
| Year | Title | Role | Notes |
|---|---|---|---|
| 1999 | The Hand Behind the Mouse: The Ub Iwerks Story<ref>Template:Cite news</ref> | Himself | |
| 2001 | Walt: The Man Behind the Myth | Grateful Acknowledgement | |
| 2007 | Fog City Mavericks | Special Thanks | |
| The Pixar Story | Very Special Thanks | ||
| Mr. Warmth: The Don Rickles Project | Special Thanks | ||
| 2009 | The Boys: The Sherman Brothers' Story | ||
| Waking Sleeping Beauty | |||
| 2010 | America: The Story of Us | Television Docuseries | |
| citation | CitationClass=web
}}</ref> |
Television Special | |
| 2011 | These Amazing Shadows | ||
| Ray Harryhausen: Special Effects Titan | |||
| 2013 | citation | CitationClass=web
}}</ref> |
Television Special |
| 2014 | The Story of Frozen: Making a Disney Animated Classic | Television Special | |
| 2015 | Winning: The Racing Life of Paul Newman | ||
| A Grand Night In: The Story of Aardman | |||
| 2016 | Imagining Zootopia<ref>Template:Cite news</ref> | Special Thanks | |
| 2019 | Making Waves: The Art of Cinematic Sound | ||
| The Imagineering Story | Disney+ Original Docuseries |
Music video
| Year | Title | Role | Note | ||
|---|---|---|---|---|---|
| 2005 | "When I Get Where I'm Going"<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref><ref>{{#invoke:citation/CS1|citation |
CitationClass=web
}}</ref> |
Himself (uncredited) | Music video by Brad Paisley |
Other credits
| Year | Title | Credit |
|---|---|---|
| 1996 | La Salla | Special Thanks |
| 2009 | Calendar Confloption<ref>Template:Cite news</ref> | |
| 2012 | John Carter | Thanks |
| citation | CitationClass=web
}}</ref> |
Special Thanks |
| 2015 | Stealth<ref>Template:Cite news</ref> | Special Thanks (with Nancy Lasseter) |
| 2017 | Ventana<ref>Template:Cite news</ref> | Special Thanks |
| 2021 | The Ultimate Playlist of Noise | Special Thanks (with Nancy Lasseter) |
| 2022 | Lightyear | Additional Thanks |
Reception
Critical, public and commercial reception to films Lasseter has directed as of August 9, 2022.
| Film | Rotten Tomatoes | Metacritic | CinemaScore | Budget | Box office |
|---|---|---|---|---|---|
| Toy Story | 100% (96 reviews) | 95 (26 reviews) | Template:Sort grade | $30 million | $374.4 million |
| A Bug's Life | 92% (90 reviews) | 77 (23 reviews) | Template:Sort grade | $120 million | $363.3 million |
| Toy Story 2 | 100% (171 reviews) | 88 (34 reviews) | Template:Sort grade | $90 million | $511.3 million |
| Cars | 74% (202 reviews) | 73 (39 reviews) | Template:Sort grade | $120 million | $461.9 million |
| Cars 2 | 40% (220 reviews) | 57 (38 reviews) | Template:Sort grade | $200 million | $559.8 million |
See also
References
External links
- [https://www.imdb.com/{{#if: 5124
| name/{{#if:{{#invoke:ustring|match|1=5124|2=^nm}}
| Template:Trim/
| nm0005124/
}}
| {{#if: {{#property:P345}}
| name/Template:First word/
| find?q=%7B%7B%23if%3A+%0A++++++%7C+%7B%7B%7Bname%7D%7D%7D%0A++++++%7C+%5B%5B%3ATemplate%3APAGENAMEBASE%5D%5D%0A++++++%7D%7D&s=nm
}}
}}{{#if: 5124 {{#property:P345}} | {{#switch:
| award | awards = awards Awards for | biography | bio = bio Biography for
}}}} {{#if:
| {{{name}}}
| Template:PAGENAMEBASE
}}] at IMDb{{#if: 5124{{#property:P345}}
| Template:EditAtWikidata
| Template:Main other
}}{{#switch:{{#invoke:string2|matchAny|^nm.........|^nm.......|nm|.........|source=5124|plain=false}}
| 1 | 3 = Template:Main otherTemplate:Preview warning | 4 = Template:Main otherTemplate:Preview warning
}}{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:IMDb name with unknown parameter "_VALUE_"|showblankpositional=1| 1 | 2 | id | name | section }}
- Template:Tcmdb name
- Richard Verrier and Dawn C. Chmielewski, Fabled Film Company May Get a Reanimator Template:Webarchive, Los Angeles Times, January 25, 2006
- Fortune Magazine interview with John Lasseter – includes biographic information
- KCRW's The Treatment: John Lasseter and Andrew Stanton (02/04) Template:Webarchive
- KCRW's The Treatment: John Lasseter (06/06) Template:Webarchive
Template:John Lasseter Template:Navboxes Template:Pixar Animation Studios Template:Walt Disney Animation Studios Template:Skydance Media
- Pages with broken file links
- 1957 births
- Living people
- 20th-century American artists
- 20th-century American male writers
- 20th-century American screenwriters
- 21st-century American artists
- 21st-century American male writers
- 21st-century American screenwriters
- American animated film directors
- American animated film producers
- American chief executives in the mass media industry
- American male screenwriters
- American storyboard artists
- Animation screenwriters
- Animators from California
- Annie Award winners
- California Institute of the Arts alumni
- People in the computer animation industry
- Directors of Best Animated Short Academy Award winners
- Disney executives
- Film directors from Los Angeles
- Film producers from California
- Inkpot Award winners
- Lucasfilm people
- People from Glen Ellen, California
- People from Whittier, California
- Pixar people
- Primetime Emmy Award winners
- Screenwriters from California
- Special Achievement Academy Award winners
- Skydance Media people
- Student Academy Award winners
- Toy collectors
- Walt Disney Animation Studios people
- Walt Disney Parks and Resorts people
- Golden Lion for Lifetime Achievement recipients
- Whittier High School alumni
- American character designers