I can't look at 'WALL-E' or 'Finding Nemo' or 'Up' and look at in the same way as people outside of the company would look at it. Each one of them had angst.

The need to challenge the status quo is just more obvious when you're failing than when you're succeeding. But it's no less urgent.

Creative ideas aren't like Jenga blocks, where they fall apart and you've got to start from scratch, though it can feel that way.

We need to remember we're always a lot more wrong than we think.

One of Pixar's key mechanisms is the Braintrust, which we rely on to push us toward excellence and to root out mediocrity. It is our primary delivery system for straight talk.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

I apply the term 'creativity' broadly... it's problem solving. We are all faced with problems, and we have to address them and think of something new, and that's where creativity comes in.

Communication needs to be between anybody at any time, which means it needs to happen out of the structure and out of order.

I've really thought a lot about why other companies fail or succeed. I had to be a student of failure and find out why things went off the rails. I did that at a fairly deep level, and it's still something I do.

The desire to avoid meltdowns actually is one of the things that screws up live-action films.

It doesn't even matter how successful a movie like 'Up' is: you'll never sell a lot of toy walkers. But that's the way we spread out the risk.

My best advice came by examples. A supportive environment at home, school, and grad school. Support at the New York Institute of Technology, then George Lucas, Steve Jobs, and Bob Iger. The examples meant that I should support other people, even when things aren't going well. It will pay off.

I've always been surprised at the number of people who think we've got it all figured out. It's incorrect, and it's a real problem.

I use a progressive alarm that makes a soft sound at first and then progressively gets louder. But I usually wake on the first sound, so it doesn't disturb my wife. When I used a loud alarm clock, I was more likely to hit it on the head and go back to sleep.

I have received a great deal of benefit from the simple yet difficult practice of learning to stop the internal voice in my head. I learned that the voice isn't me, and I don't need to keep rethinking events of the past nor overthink plans for the future. This skill has helped me both to focus and to pause before responding to unexpected events.

I exercise in the gym about three times a week. I vary the workout every time, but I'll always do some type of circuit work with weights. It gets my heart rate up without putting too much stress on my knees, which for some reason seem to be older than the rest of my body.

I eagerly await the day when there is a replacement for the meniscus.

While problems in a film are fairly easy to identify, the sources of those problems are often extraordinarily difficult to assess. A mystifying plot twist or a less-than-credible change of heart in our main character is often caused by subtle underlying issues elsewhere in the story.

Beware of being blinded by your own success.

One of the effects Pixar University has on the culture is that it makes people less self-conscious about their work and gets them comfortable with being publicly reviewed.

If you want people to be let loose, you can't over-control them.

When you take a director off a project, that makes a person feel humiliated because everyone knows it. But we're responsible because we put them in that position.

What I've learned running Pixar applies to all businesses.

For me, the work we did to turn around 'Toy Story 2' was the defining moment in Pixar's history.

People say they want to be in risky environments and do all kinds of exciting stuff. But they don't actually know what risk means: that risk actually does bring failure and mistakes.

Part of being the successful Pixar is that we will take risks on teams and ideas, and some of them won't work out. We only lose from this if we don't respond to the failures. If we respond, and we think it through and figure out how to move ahead, then we're learning from it. That's what Pixar is.

Every new idea in any field needs protection.

With certain ideas, you can predict commercial success. So with a 'Toy Story 3' or a 'Cars 2,' you know the idea is more likely to have financial success. But if you go down that path too far, you become creatively bankrupt because you're just trying to repeat yourself.

You hope to bring your 'A Game' to any game, and of course you do in a final. You hope to bring experience, fitness, communication skills, motivational skills.

I went to Fulham for the project they explained to me - but it didn't really work out. I might have been playing at a high level for the national team, but I was starting to miss those European nights and challenging for titles.

Every flaw you have or lapse of concentration can cost you a goal, so you have to be on your toes every minute of the game.

I've been the captain at Ajax and once for the national team - it's nice and makes you an important player.

Running a marathon is unlike anything I have done. You can recall all those bad weights sessions or the work you had to do in pre-season, but marathon running is worse than any of it, probably the hardest thing I have had to do in my entire life.

If you win, everyone asks what's your secret, when most of the time you did exactly the same in the ones you lost.

As a goalkeeper, I needed good players around me. I needed Nemanja Vidic, Cristiano Ronaldo, and Wayne Rooney. It's the same as a CEO.

All things evolve, and European football needs to evolve as well.

You don't need only your strikers. You need your defenders to be on top of their game. You need a midfield to work hard and track back, and I suppose you need a goalkeeper who makes saves once in a while.

If you are in the Premier League or at Barcelona, Real Madrid, or Bayern Munich, you are at an end station.

The Dutch league is not one of the strongest five leagues in the world, or even Europe, and that's why it is difficult to maintain.

At Ajax, we have a certain philosophy that is sometimes more important than winning - the development of players.

We need a solution for European football. You need to help smaller clubs in European competitions get the right distribution of money so they can invest in coaches and attract talent for the level they can play at.

For us at Ajax, it is all about football.

I share a special bond with Ajax. I think we are a special club. And we're known for our philosophy around the world.

A lot of the guys who played in the 1995 final for Ajax had been there since the age of 12 or 13. Patrick Kluivert and Edgar Davids had been there from age seven or eight, so I had a lot of catching up to do.

Personally, I don't think about the things I have won but the things I have lost.

If you have a love for sport, everybody knows the success of Madrid in the '60s, Ajax in the '70s, Bayern Munich, and so on.

As a striker, all you want to do is score.

I'm just not very rock n' roll.

You have to get your motivation from within, and it doesn't matter if you lose in the quarters, the semis, or the final. You must want to have another chance of winning the trophy.

Ajax has always been about homegrown players developed in a small country.