Best Animated Feature Academy Award Winners

"Amy Poehler as Joy"

"I'm not actually sure if guilt is an emotion. In fact, that was - at the very beginning of this process, we realized, man, we really don't know very much about the subject. So, we better do some research, and we started looking around online. We found some scientists think that there are basically three emotions. Others went up to 27. Others had 16. Some were in the middle. So, we were kind of left with no definitive answer to our basic question - how many are there? Dr. Paul Ekman, who worked in San Francisco - still does - which is where Pixar Animation Studios is - he had, early in his career, identified six. That felt like a nice, manageable number of guys to design and write for. It was anger, fear, sadness, disgust, joy and surprise. And as I was sort of doodling, I was thinking, surprise and fear - probably fairly similar, so let's just lose surprise. And that left us with five."

"Phyllis Smith as Sadness"

"Paula Poundstone as Forgetter Paula"

"Kaitlyn Dias as Riley Andersen"

"Dave Goelz as Subconscious Guard Frank"

"Bobby Moynihan as Forgetter Bobby"

"A Major Emotion Picture"

"Do you ever look at someone, and wonder: What is going on inside their head? Well, I know. Well, I know Riley’s head."

"Mindy Kaling as Disgust"

"Bill Hader as Fear"

"Richard Kind as Bing Bong"

"Don't let them in, don't let them see Be the good girl you always have to be. Conceal, don't feel, don't let them know … Well now they know!"

"The wind is howling like this swirling storm inside Couldn't keep it in — Heaven knows I've tried."

"It's funny how some distance Makes everything seem small And the fears that once controlled me Can't get to me at allǃ"

"You won't get away with this."

"It is not nice to throw people!"

"The snow glows white on the mountain tonight Not a footprint to be seen. A kingdom of isolation, and it looks like I'm the Queen."

"It's time to see what I can do To test the limits and break throughǃ No right, no wrong, no rules for me, I'm free!"

"This is amazing"

"[Walking in the freezing snow in her gown; Disappointed] Snow. It had to be snow! She couldn't have had tropical magic that covered the f-fjords in white sand and warm... [Sees smoke; happily] Fire!"

"Let it goǃ Let it go! I am one with the wind and sky! Let it goǃ Let it go! You'll never see me cry!"

"Look I know how to stop this winter."

"Here, I stand In the light of dayǃ Let the storm rage onǃ My power flurries through the air into the ground"

"- The Duke of Weselton"

"- Prince Hans of the Southern Isles"

"- Pabbie the Troll King"

"Well, our art director knew it would be a Scandinavian area. He was just going through books, and, he’d seen a lot of internet stuff too. He was posting all these pages on Scandinavia you know, beautiful scenery and architecture, and almost all the post-its were Norway. So he said okay. Well, you know, we needed our trip to Norway. Now we say that it’s set in Norway. But it helps to have something specific to kind of draw from. So it makes the world very believable. And there are ideas in Norway, we’d never have come up with on our own, the, the stave church, which was very beautiful."

"It’s been overwhelming, the year. We still get YouTube sent to us. I mean, I got one just yesterday…It’s actually very funny. Um, so I just, It’s been overwhelming. It really has. Starting with the Reddit… Round table. Reddit round table is where a woman wrote in saying, um, that she was, uh, in a bad place and was gonna commit suicide, and saw Frozen and inspired by Elsa and, and her journey, and she said, and I’m still here. Thank you. So, you know, we’re overwhelmed by that."

"- Kristoff"

"Chris Williams - Oaken"

"Hi, everyone. I'm Olaf, and I like warm hugs."

"[sounding like he's about to cry] Anna?"

"Knock. Just knock. Why isn't she knocking? Do you think she knows how to knock?"

"Stop it, Sven! I'm trying to focus here."

"[While alone, Elsa stressfully attempts to control her powers, reverting her father's mantra] Get it together. Control it. Don't feel, don't feel, don't feel. Don't feel. [gasps]"

"It was six years ago and you look at the scope of your film and we knew it would be about rats and we knew we needed the rats to be able to move in certain ways. Pixar’s never really done a film with four-legged critters in it to any great extent, so I was excited because some of Disney’s great classical animated films have critters running around like this. We threw down to the tools group, who writes our code because it’s all proprietary software, that we need this to be phenomenal so we actually experimented for about a year in sort of a dead end, but it was always going to be promising and something special. Brad Bird made several things work that weren’t working. We figured that once we got them outfitted correctly with the right technical setup so that they could squash and stretch beyond what’s been done before in animation, that in the hands of a director like Brad who knows animation inside and out, that it would be phenomenal. As far as the food looking great, we hoped we would pull it off and I think we did. I think appetizing food in a film like this is a surprise and if people come out hungry, which I’ve heard has happened, then that’s a testament to that"

"I think our goal is to get the impression of something rather than perfect photographic reality. It’s to get the feeling of something so I think that our challenge was the computer wants to do things that are clean and perfect and don’t have any history to them. If you want to do something that’s different than that you have to put that information in there and the computer kind of fights you. It really doesn’t want to do that and Paris is a very rich city that has a lot of history to it and it’s lived in. Everything’s beautiful but it’s lived in. It has history to it, so it has imperfections and it’s part of why it’s beautiful is you can feel the history in every little nook and cranny. For us every single bit of that has to be put in there. We can’t go somewhere and film something. If there’s a crack in there, we have to design the crack and if you noticed the tiles on the floor of the restaurant, they’re not perfectly flat, they’re like slightly angled differently, and they catch light differently. Somebody has to sit there and angle them all separately so we had to focus on that a lot. And it was a movie about good food and the food had to look delicious and its data. How do you define what makes food look good. It’s actually a bunch of really subtle little complicated things and everybody worked really hard on it."

"Dan Lee (1969—2005)"

"I entered this movie as director kind of late. I was asked to come on the project a little less than a year and a half ago, so several characters had been cast before I got there. Famous people like Ian Holm, Brian Dennehy, and Brad Garrett were already on board and some Pixar people happened to have perfect voices, like Lou Romano who did Linguini. He was a production designer on The Incredibles. And Pete Sohn is a young, very gifted story guide and animator who worked on Iron Giant and Incredibles and he did the voice of Emile, who is Remy’s brother. So those guys are in-house and they were already involved in the project and I didn’t see any reason to change what was perfect. I re-cast a couple characters and there was a lot of difficulty in casting Remy and I heard Patton Oswalt on the radio and I thought he’d be perfect. I brought Peter O’Toole on and when I was first writing the character of Anton Ego that was the voice I heard in my mind and I was just hoping that he would say yes and he did. But Janeane Garofalo we cast after I came on and she does Colette and a lot of people can’t even recognize her because she so completely disappears into this role, which is a testament to how great an actress she is, and I’m really happy with the voice track on this film because it put the challenge to the animators to come up to the quality and be inspired by the voices – and I think they did."

"Brad Bird — Ambrister Minion"

"Jake Steinfeld — Git"

"Stéphane Roux — the narrator of the cooking channel"

"Teddy Newton — Talon Labarthe"

"John Ratzenberger — Mustafa"

"Tony Fucile — Pompidou & Health Inspector"

"Thomas Keller — the male dining patron who asks what's new"

"Will Arnett — Horst"

"Peter O'Toole — Anton Ego"

"Julius Callahan — Lalo & Francois"