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John Lasseter, the head of Disney’s animation division, announced Tuesday that he would take a six-month sabbatical from Disney and the Pixar studio he has led for decades following reports of sexual misconduct.

The Oscar-winning animator also apologized for what he called “missteps” in his interactions with staffers that he said made some “feel disrespected or uncomfortable.”

“It’s never easy to face your missteps, but it’s the only way to learn from them,” Lasseter said in a memo sent to staff on Tuesday. “As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be.

“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,” he continued. “I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.”

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Lasseter announced that his leave of absence would provide an opportunity for him to take “better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.”

The announcement follows a Hollywood Reporter story published Tuesday in which an undisclosed number of “former Pixar insiders” alleged that Lasseter had frequently made a habit of “grabbing, kissing, making comments about physical attributes” of women at the company.

Lasseter is best known as one of the founders of Pixar and directed films such as “Toy Story,” “A Bug’s Life,” “Toy Story 2,” “Cars” and “Cars 2.” After Disney purchased Pixar in 2006, Lasseter was named the chief creative officer of both Pixar and Walt Disney Animation Studios, where he oversees all the media giant’s animated films and projects as executive producer.

Lasseter has won two Academy Awards — one for Best Animated Short Film (“Tin Toy”) and one Special Achievement Award for “Toy Story.” Pixar itself has won eight Academy Awards and the films have grossed over $6 billion at the box office, domestically.

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Pixar will next release “Coco” on Thanksgiving Day, and is working on the sequel to “The Incredibles” as well as a fourth “Toy Story” film.

A spokesperson for Disney told TheWrap, “We are committed to maintaining an environment in which all employees are respected and empowered to do their best work. We appreciate John’s candor and sincere apology and fully support his sabbatical.”

See the full memo below.

I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.

I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. 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. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.

In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.

I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.

John

All 22 Pixar Movies Ranked, Worst to Best (Photos)

TheWrap’s film critic Alonso Duralde rates all of Pixar's features.

Also Read: Top 40 Pixar Characters, From ‘Toy Story’ to ‘Finding Dory’
22. "Cars 2" (2011)

"They should let people see the movie for free," one pundit opined, "since Disney will make all their money back on the bedsheets." Some of Pixar's best movies are sequels, but this follow-up to an already inferior studio entry seemed like nothing but a craven bid for more merchandising money. The results were good for shareholders but middling for moviegoers.
Pixar
21. "Cars" (2006)

Never underestimate little boys and their love for automobiles. This brightly colored but dramatically flat tale is most enjoyed by a) male moviegoers who b) saw it before they turned 10 and c) have no idea that it tells virtually the same story as the Michael J. Fox comedy "Doc Hollywood."
Pixar
20. "Cars 3" (2017)

It's a movie about middle age and the fear of obsolescence -- you know, for kids! While Lightning (Owen Wilson) tries to soup himself up to take on young, faster rival Jackson Storm (Armie Hammer), the veteran racer mentors Cruz (Cristela Alonzo), a trainer who gave up her racing dreams. It's visually sumptuous and has a few good ideas, but the "Cars" series remains Pixar's blandest.
Pixar
19. "A Bug's Life" (1998)

Back in 1998, the second Pixar feature was racing to the big screen against the thematically similar "Antz." Neither has achieved iconic status, notwithstanding the "Bug's"-themed kiddie area of Disneyland. The film does provide memorable voice roles for "The Ref" co-stars Denis Leary (as a manly-man ladybug) and Kevin Spacey (scaring the little ones as an ant-exploiting grasshopper).
Pixar
18. "Monsters, Inc." (2001)

The things that go bump in the night are just doing their jobs, collecting the screams of boys and girls to power their monstrous alternate dimension. Leave it to Pixar to turn childhood terror into something fuzzy and huggable while also sneaking in a metaphor about over-reliance on fossil fuels.
Pixar
17. "Onward" (2020)

Pixar sticks the landing with another memorable you-WILL-cry ending, but most of the movie that leads up to that denouement doesn't really merit that level of investment. Two elvish brothers have 24 hours to find a stone to bring their dead dad momentarily back to life, and while the gags and the action are fun, the character-building and world-building are both a little sketchy.
Pixar
16. "Monsters University" (2013)

This colorful prequel, featuring Mike (voiced by Billy Crystal) and Sully (John Goodman) as college freshmen, plays like a G-rated "Revenge of the Nerds," and that's mostly a good thing. Is this the first kids' movie to suggest that higher education isn't necessarily for everyone?
Pixar
15. "Up" (2009)

Like "WALL-E," this movie opens with a chunk of filmmaking perfection as we get to know the life, and losses, of our elderly hero. But while there's nowhere for his balloon-festooned house to go but up, there's nowhere for the movie to go but down after such an auspicious beginning.
Pixar
14. "Ratatouille" (2007)

Follow your bliss, says this entry, even if you're a sewer rat who wants to be a gourmet chef. It's lovely, and its ending will be forever cited by critics of every medium, but some screenwriting contrivances make it good-but-not-great Pixar.
Pixar
13. "The Good Dinosaur" (2015)

Frightened, awkward dino Arlo (Raymond Ochoa) travels home through a savage landscape with the helpful accompaniment of a feral boy named Spot (Jack Bright), who generally behaves like a dog, in a movie where the stakes are slighter but the character bonds are nonetheless rich.
Pixar
12. "WALL-E" (2008)

The first half or so of this ecological fable -- a silent comedy about the titular robot tidying up an abandoned earth and longing for love -- is Pixar's greatest achievement. Unfortunately, it gets dragged down by a lot of loud chasing in the second half.
Pixar
11. "Brave" (2012)

Despite a rough production, this saga offers us Merida, one of U.S. animation's most self-assured characters, who refuses to be married off by her father as though she were your run-of-the-mill princess. Merida's skill with a bow and arrow made archery look even more appealing than Jennifer Lawrence does in the "Hunger Games" movies.
Pixar
10. "Finding Dory" (2016)

What this follow-up lacks in The Feels, it more than makes up for with The Laughs and The Thrills. Ellen DeGeneres returns as the famously forgetful fish who sets off to find the family she forgot she had. Witty, bright, and exciting, even if that tissue in your pocket winds up going unused.
Pixar
9. "Inside Out" (2015)

An 11-year-old girl's brain becomes the backdrop for another hair-raising adventure, as her emotions fight to find balance during a rough patch in her life. No shortage of jokes and excitement, and early screenings have seen crusty film critics openly weeping in their seats.
Pixar
8. "Coco" (2017)

The Mexican Day of the Dead celebration brings a young boy face-to-face with his ancestors, teaching him the importance of family and allowing him to settle a generations-old misunderstanding. Colorful, poignant, and loaded with great songs and cultural specificity.
Pixar
7. "Incredibles 2" (2018)

Picking up right where the excellent original leaves off, this boisterous sequel sees the super-powered Parrs still dealing with the outlaw status of costumed heroes while Mr. Incredible (Craig T. Nelson) becomes a stay-at-home dad as Elastigirl (Holly Hunter) shoulders most of the derring-do. And villain Screenslaver is a perfect commentary both for the film's 1960s aesthetic and for the internet age.
6. "Toy Story 4" (2019)

The world didn't necessarily need a follow-up to the sublime "Toy Story 3," but this sequel is as funny, moving and eye-popping as its predecessors. And with the introduction of the hand-crafted Forky, a "Toy Story" star is born.
5. "Toy Story" (1995)

The one that started it all and kick-started a whole new way of making cartoons. Its characters became instant icons while its gleaming surfaces changed animation more than any other single movie since "Snow White and the Seven Dwarfs."
Pixar
4. "Finding Nemo" (2003)

Albert Brooks and Ellen DeGeneres have the precision timing of a vaudeville comedy duo as two tiny fish who brave the big, wide ocean to rescue a missing youngster. This parable about the push and pull of parent-child dependency offers some of Pixar's finest blending of adventure and comedy.
Pixar
3. "Toy Story 2" (1999)

Wherein we learn that toys need to be taken out of their mint packaging and loved if they're to be truly happy. And that a Sarah McLachlan song about a doll who misses being cared for by her owner can reduce grown men to sobbing.
Pixar
2. "The Incredibles" (2004)

Probably the greatest superhero movie ever made that's not based on pre-existing characters from another medium, and better than almost every other superhero movie, period. Brad Bird's attention to character detail and freedom with gravity would serve him well later as the director of the live-action film "Mission: Impossible - Ghost Protocol."
Pixar
1. "Toy Story 3" (2010)

Andy goes off to college and must leave childhood, and its playthings, behind. An exciting and funny meditation on death and growing up and I'm going to need a handkerchief now.
Pixar