John Alan Lasseter, usually named John Lasseter, is a well known personality in the entertainment industry. John Lasseter has been accumulating his net worth since 1978, and it has been estimated that his net worth is as high as 100 million dollars. John has earned his net worth as a film and television director, producer and screenwriter. Lasseter has added a significant amount to his net worth as a CEO of Disney Toon Studios, Walt Disney Animation Studios and Pixar. In addition to this, he has been working as an animator and actor. He is the winner of two Academy Awards.
John Lasseter Net Worth $100 Million
John Alan Lasseter was born on January 12, 1957 in Hollywood, Los Angeles, California, United States. He is a graduate of Pepperdine University, California Institute of the Arts. It has been stated that John was influenced by Preston Sturges, Frank Capra, Chuck Jones and Walt Disney.
John began his career in Walt Disney Feature Animation where he worked as the animator. Later, he has been working on CGI animation in Lucasfilm. Since 1991, John added much to his net worth working as an executive producer. His works include the following films: ‘Beauty and the Beast’ (1991), ‘Monsters, Inc.’ (2001), ‘Spirited Away’ (2002), ‘Finding Nemo’ (2003), ‘The Incredibles’ (2004), ‘Howl’s Moving Castle’ (2005), ‘Tales from Earthsea’ (2006), ‘Meet the Robinsons’ (2007), ‘Ratatouille’ (2007), ‘WALL-E’ (2008), ‘Tinker Bell’ (2008), ‘Bolt’ (2008), ‘Up’ (2009), ‘Ponyo’ (2009), ‘Tinker Bell and the Lost Treasure’ (2009), ‘The Princess and the Frog’ (2009), ‘Toy Story 3’ (2010), ‘Tinker Bell and the Great Fairy Rescue’ (2010), ‘Tangled’ (2010), ‘Winnie the Pooh’ (2011), ‘Secret of the Wings’ (2012), ‘Brave’ (2012), ‘Wreck-It Ralph’ (2012), ‘Planes’ (2013), ‘Monsters University’ (2013), ‘Frozen’ (2013), ‘The Pirate Fairy’ (2014) and ‘Planes: Fire & Rescue’ (2014).
Most of the films were commercially very successful and have significantly increased the total amount of Lasseter’s net worth and wealth. Currently, he is working as an executive producer on the following upcoming films: ‘Big Hero 6’ (2014), ‘Legend of the NeverBeast’ (2015), ‘Inside Out’ (2015), ‘The Good Dinosaur’ (2015), ‘Zootopia’ (2016) and ‘Finding Dory’ (2016). As a director and story creator he worked on the animated films ‘A Bug’s Life’ (1998), ‘Toy Story 2’ (1999), ‘Cars’ (2006), ‘Toy Story 3’ (2010) and ‘Cars 2’ (2011). Since 1983, John Lasseter has been working on short films, too. At the very beginning of his career he worked as a creative talent, later, he pursued a career as a writer, director, producer and animator. Since 1997, he has mostly been working as an executive producer of the short films.
John Lasseter is married to Nancy Lasseter since 1988. He met his wife at a conference of computer graphics. John’s wife has been working at Apple Computer as a computer graphics engineer. The family has five sons Sam Lasseter, Bennett Lasseter, Joey Lasseter, Jackson Lasseter and Paul James Lasseter. The family currently resides in Glen Ellen, California, United States where they also have the Lasseter Family Winery.
He loves spy movies, especially the Jason Bourne trilogy. His favorite movie is Dumbo (1941).
Five days after Toy Story (1995) opened in theaters, he was on a trip with his family and upon getting off a plane, he saw a little boy with a Woody doll, which was enough to convince Lasseter how successful the film was.
While at Lucasfilm, he worked with Sam Leffler, who was the author/editor of "The Unix System Manager's Manual". At Leffler's request, Lasseter created a cartoon version of "Beastie", the daemon mascot of BSD Unix, to appear on the book cover; Lasseter would reprise the character for two later books. Although Lasseter did not create Beastie, and several other artists have interpreted the character over the years, his rendering has proven to be one of the most popular and endearing versions.
Admitted that whenever Pixar has encountered a creative problem, they look to Miyazaki's films for inspiration.
Ranked #1 on Premiere magazine's 2006 "Power 50" list with Pixar/Disney executive Steve Jobs. They had ranked #3 in 2005 and #1 in 2004.
Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Short Films and Feature Animation Branch) since 2005.
Ranked #3 on Premiere magazine's 2005 Power 50 List with Pixar founder Steve Jobs. They had ranked #1 in 2004.
He was a member of the Computer Division of Lucasfilm Ltd. (which was later sold and became Pixar), where he designed and animated the computer-generated Stained Glass Knight character in the Steven Spielberg-produced film Young Sherlock Holmes (1985).
In 2004, he was honored by the Art Directors Guild with its prestigious "Outstanding Contribution to Cinematic Imagery" award, and received an honorary degree from the American Film Institute.
While attending California Institute of the Arts, he produced two animated films, both winners of the Student Academy Award for Animation, Lady and the Lamp in 1979 and Nitemare in 1980.
He won his first award at the age of five when he won $15.00 from the Model Grocery Market in Whittier, California, for a crayon drawing of the Headless Horseman.
Ranked #1 in Premiere magazine's 2004 annual Power 100 list with Pixar CEO Steve Jobs. They had ranked #23 in 2003 and #31 in 2002.
Nearly all of his films have hidden visual in-jokes with regards to Pixar, Disney, etc. Examples include: Toy Story (1995), A Bug's Life (1998), Toy Story 2 (1999) and Cars (2006).
[on new directions in animated storytelling] You've got to tell them for today's audiences, You can't have a female character sitting around for a guy to come save her. There's not one woman I know - my mom, my wife - who is waiting around for guy to save them. For Tangled (2010), the story had to have a little something extra. This was a challenging story that involves child abduction and a poor girl raised in one room for her whole life. But her decision not to wait for someone to save her was what ended up driving the story. We switched Rapunzel from a damsel to an aspirational character.
The previous [Disney] regime had decided that their audience didn't want to look at hand-drawn art anymore and that they wanted computer animation. They didn't care about the artists, the history, the art form. They thought the world had grown too cynical for traditional fairy tales, but I was sitting at Pixar thinking, "No! Hollywood's grown too cynical for them! the rest of the world loves them!".
Everything I do in my life is because of Walt Disney, and how he entertained me as a child and as a young adult growing up.
[on Snow White and the Seven Dwarfs (1937)] The animation of the dwarfs themselves is something pretty much impossible to achieve in computer animation. That fluidity, that squash and stretch, that kind of stuff - it just works in hand-drawn animation.
[on Hayao Miyazaki] Miyazaki is one of the greatest filmmakers of our time and he has been a tremendous inspiration to generations of animators at Pixar, when we have a problem and we can't seem to solve it, we often look at one of his films in our screening room. Toy Story (1995) owes a huge debt of gratitude to the films of Mr. Miyazaki.
Let me tell you a funny story. I took the family to see this film one weekend - I'll go to see almost any film that's good for the whole family. And so we're sitting there watching this film, which I won't name, and there are long stretches that are just not very entertaining. My little son - he was probably six at the time - was sitting next to me, and right in the middle of this dull section, he turns to me and says, "Dad? How many letters are in my name?" I must have laughed for five minutes. I thought, "Oh, man, this movie has lost this little boy." His mind has been wandering, trying to figure out how many letters there are in his name. So I told my wife, Nancy, what he said, and she started laughing, and then the story went down the row through my whole family, our four other sons, and we're sitting there as a family giggling and laughing. And I thought to myself, If ever a child anywhere in the world leans over to their daddy during one of my movies and asks, "How many letters are in my name?" I'll quit.
Andrew Stanton always said that 2-D animation became the scapegoat for bad storytelling. But you can make just as bad of a movie in 3-D.
From the beginning, I kept saying it's not the technology that's going to entertain audiences, it's the story. When you go and see a really great live-action film, you don't walk out and say "That new Panavision camera was staggering, it made the film so good." The computer is a tool, and it's in the service of the story.
We make the kind of movies we want to see, we love to laugh, but I also believe what Walt Disney said "For every laugh there should be a tear." I love movies that make me cry, because they're tapping into a real emotion in me, and I always think afterwards "How did they do that?".
When I was in high school, I read this book called "The Art of Animation" by Bob Thomas. It's all about the Walt Disney studio and the making of Sleeping Beauty (1959). I read this and it dawned on me - wait a minute, people do animation for a living?