One of the first things I did when I came on, I said, “I do not want this Kong to be a quadruped. I want him to stand upright, I want a throwback to the 1933 film where he is a biped, because he is a monster. He’s not just a big silverback gorilla, he’s a movie monster.” So I wanted to stand him upright, I wanted to make him tall, and part of that is because I wanted him to feel like this fusion between a god, a man, and a beast. I wanted to make him big enough that, if any of us stood at this table and we looked up at this thing, towered over us, how big does that thing have to be for the first thing that your brain says is, “That’s a god. I’m looking at a god.”

It has always been difficult to get Big Bird to be very pretty. Big Bird in England is much more gorgeous.

Our most important aim is to develop definite personalities in our cartoon characters. We don't want them to be just shadows, for merely as moving figures they provoke no emotional response from the public. We invest them with life a caricature of life.

We tried to make our characters as human and empathetic as possible. Instead of merely emphasizing their super feats, we attempted to make their personal life and personal problems as realistic and as interesting as possible. We wanted to make them seem like real people whom the reader would like to spend time with and want to know better.

The core idea was to be as realistic as possible and we wanted people to identify with the characters.

I wanted to create a character who didn’t routinely resort to violence and wasn’t courageous by virtue of wielding a gun. I wanted to show someone who was powerful and incisive who could face down the bad guys without becoming a bad guy himself. I wanted a hero who was ethical, thoughtful, and just.

He had the kind of personality that makes you think a boy will grow up to be a public torturer.

Just because an animal is large, it doesn't mean he doesn't want kindness; however big Tigger seems to be, remember that he wants as much kindness as Roo.

Adults must remember that they look like insane giants to children.

We felt that the public, and especially the children, like animals that are cute and little. I think we are rather indebted to Charlie Chaplin for the idea. We wanted something appealing, and we thought of a tiny bit of a mouse that would have something of the wistfulness of Chaplin — a little fellow trying to do the best he could.

"I wish I had been born a bird instead," he said.
"I wish we had all been born birds instead."

I approach every character with the intention of making them as complicated as we all are.

The creation of Bridget as a boy happened at the very last second; during development I was drawing him as purely a girl. It’s just that when there is a need to give a worldly backbone (to the game), in order for me to try to not forget each character, and in order to revive the character, I give them my very heart. As a result, the creation of Bridget as actually a boy instead of a girl was because I thought he could become my alter ego. Well, if there was a need for it the reverse— a girl that looks like a boy— that would be okay too, but it doesn’t look pretty game-wise. It’s also somewhat calculated (laughs).

All we ever intended for him or expected of him was that he should continue to make people everywhere chuckle with him and at him. We didn't burden him with any social symbolism, we made him no mouthpiece for frustrations or harsh satire. Mickey was simply a little personality assigned to the purposes of laughter.
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I do not make films primarily for children. I make them for the child in all of us, whether we be six or sixty. Call the child "innocence". The worst of us is not without innocence, although buried deeply it might be. In my work I try to reach and speak to that innocence, showing it the fun and joy of living; showing it that laughter is healthy; showing it that the human species, although happily ridiculous at times, is still reaching for the stars.