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Hi, I'm Jim Capobianco.
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I wrote and directed
Your Friend the Rat.
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And I'm Nate Wragg.
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I'm the production designer
of Your Friend the Rat.
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So the idea of the film came
while I was working on the feature,
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way back in 2000.
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'Cause we always do all this
tons of research on our films,
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and I thought, "Wow, wouldn't it be neat
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"to actually use some of this
in the short?"
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You know, a lot of people at Pixar
have come from 2D,
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myself included, and love the form.
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And it was a great opportunity
for a lot of animators to do 2D again.
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And so many people just embraced it.
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And, unfortunately, we couldn't utilize
all the animators at Pixar who do 2D,
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or even wanted to try it,
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but we were able to get a good group
together to handle it,
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and they all just had a blast,
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and I had a blast working with them
to do this.
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And some of them had never even
animated in this style of 2D before.
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The look of it came out
of the old Disney '50s educational films
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that were done by Ward Kimball
and others at the studio,
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and one of the driving forces behind it
to emulate those films a little bit.
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But it was really economical to do,
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and I thought that would be neat
to do the short in that style.
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I think we were really trying
to find our own voice within that,
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using that as a jumping-off point.
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And, actually, the thing I found
working on this
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was how do you
make these sort of dry. . .
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Some of these facts can be kind of dry,
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how do you make them entertaining
and fun?
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And one of the challenges
of putting the film together
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was trying to think of
what is a funny way
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to get this information across,
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and in a succinct amount
of time as well.
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But always add that little flourish to it,
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'cause that's actually what was
wonderful about the Ward Kimball stuff,
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is that no matter how limited it was,
or stylized,
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he would always add this little touch
of full animation on ones,
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little flourish and it would
just bring that much life to it.
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Yeah, in a lot of ways, the animation. . .
You're spending just as much time on it.
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You're just pinpointing what areas
you want to animate.
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And I think probably the best example
of it in the cartoon is
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in this section, right here,
with the Black Death.
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We have just a simple drawing
of Linguini, looking kind of funny,
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he falls over, and just his legs
do this crazy little bit of animation.
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But just having those legs be in there
and doing that fun little bit of animation
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really sells the whole idea
that he's dead,
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but his legs are still
kicking around a little bit.
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That little final bug kick.
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That's one thing that was kind
of exciting about this short,
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was all the history and everything
that goes into this cartoon
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is handled in a really funny way,
and isn't really taken that serious.
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You're really trying to find, "What's
the caricature of the moment?
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"What's the gag
you're trying to get across,
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"and how do you caricature it
the best way?"
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Awesome styling of the Chinese zodiac
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by Teddy Newton, Nate
and Scott Morse.
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One thing that was exciting, for me,
coming onto this project,
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was with all the. . .
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The short is basically broken down
into three sections,
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and the first section
is the history section,
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and Jim really wanted to capture
each time period
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in the shot that we had.
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So, for example, if we have a shot
that dates back into the Roman era,
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or in the black plague era,
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I was asked to start referencing artwork,
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and basically the way people created
art back in those times,
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and try and style it up a little bit.
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So that it had a neat,
sort of, funny flair to it,
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but it also felt true to how
they designed stuff back then.
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Right, like the Revolution section,
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we wanted to get a real woodblock
look for it,
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and even the way the animation
was styled
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was to have a very staccato
kind of feel to it.
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And, actually,
if you went frame by frame,
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through that section where
the rat hits the other rat,
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you'd see this one gigantic hand.
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Yeah, that's one thing that's really
exciting about the 2D animation.
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There's different ways that you do it.
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You would handle it differently
than in CG.
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You know, CG, everything is
kind of spelled out for you
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in the way you have to do it
with the computer programs,
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but in 2D,
it's really more artistically free.
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The stop-motion shot,
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I just went, "What if we did that
globe shot in stop-motion?"
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And then it just felt like it would fit
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the sort of educational aspect
of the film.
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One of the things about
stop-motion, though,
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is it's just. . . You have one shot at it,
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-unlike everything else.
-Well, just like they used to.
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The video game section that we had,
we could have tried to draw something
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that felt like Canada,
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but, instead, Jim had this great idea
that it would be a video game,
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so we handled it
like an 8-bit video game,
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and it still felt like Canada,
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but it was really cheesy
and silly at the same time.
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I want to talk about the music a little bit.
The music incorporates really well.
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One of the things I wanted to do,
like in the old '50s animation,
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was to have the music written
early enough
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that we could actually animate to it,
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and it could actually inspire us
and be really integrated within the story,
102
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and so having Alex Mandel do that,
it really, I think, accomplished that.
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This is wonderful collage art
from Teddy Newton for this section.
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Just bits and pieces from everywhere.
I don't know where he gets it all.
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Different magazines
and photographs and stuff,
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and he just puts it all together.
107
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Yeah, it sort of makes you really
believe each one of the materials
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that Emile's chewing through.
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It definitely feels like
there's a door, there's a pipe,
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there's some cinder blocks.
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And people should just step through
this animation, this 2D animation,
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it's just some really funny drawings
within this.
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And you don't really see it going by,
you just feel it,
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but the guys did such an amazing job.
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I think with this style of 2D, too,
you get this. . .
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It's really based on the design.
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The look of it is what speaks more
than, say, the acting,
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or you're not really trying to incorporate
the illusion of life.
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I think this shot coming up here,
right after the atomic explosion,
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was one of the first bits of animation,
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and I think Bob Scott did it,
and it really set the tone. . .
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It did, yeah.
123
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. . .for how everything was going
to be animated.
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Actually, he did both of these,
one after the other, didn't he?
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Yeah, I think he did them both in,
like, a week,
126
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and I remember we showed it at dailies,
127
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and everyone was just like, "I get it!"
128
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Yeah, one of the difficulties we had
with the animators
129
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was trying to get them
to not do so much animation.
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To pull them back and to do a little less
with this stylized way.
131
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I couldn't even believe how fast
they animated a lot of this stuff.
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-I know, it went really quickly.
-They just were, like. . .
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We just passed our very
scientific-looking illustrations there.
134
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They're not labeled,
I thought I should tell everybody,
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it's Louis Pasteur, Gertrude Elion
and Jonas Salk.
136
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The three scientists there.
137
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And here we come.
This is the one shot in the whole film
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that's integrated
all our styles of animation.
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We have after effects,
we have 2D, stop-motion,
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all within the same. . .
And computer, CG, all in the same shot.
141
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This was all done by Nate Wragg.
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He cleaned up the animation
that was done in 2D,
143
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and we projected it on a chalkboard.
144
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Yeah, that was really cool because
Sarah animated everything by hand,
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and then we, frame by frame,
projected it onto a large chalkboard,
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and I spent the day tracing it,
drawing by drawing, with chalk.
147
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And it goes by really quick.
148
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It's probably about six seconds,
but it took about six hours, I think.
149
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The song came out of. . .
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When I was developing this, I was like,
"Well, it's an educational film,"
151
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I want it to have a song in it.
152
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Kind of like Schoolhouse Rock.
153
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That was done in the '70s,
that we grew up on.
154
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My good friend, James Dashe,
I asked him. . .
155
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James is a Mac administrator here
at Pixar, but a piano composer,
156
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and I said, "Hey, let's do a song.
I don't know if they'll go for it,
157
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"but let's just try it." And we sat down
and both wrote this song,
158
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and we wanted it to have a rough feel,
159
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and neither of us having written
an actual song before,
160
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it sort of has that.
161
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And also Patton and Pete,
not really being professional singers,
162
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it also has that feel of two guys
coming together to sing a song.
163
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And it kind of all came together.
164
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It was one of those Hail Mary shots
165
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where I was like, "I don't know
if this is going to work,
166
00:10:01,590 --> 00:10:03,727
"but let's just try it. Let's just go for it."
And it did.
167
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The ending,
168
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I love this sort of integration
of CG and the 2D playing.
169
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It kind of pulls together the two ideas
we're playing with a lot in the film,
170
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with the three-dimensional
and two-dimensional.
171
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And then the idea to play with text,
that graphic, everything,
172
00:10:23,623 --> 00:10:26,125
and it's just something I don't think
we've ever done here at the studio,
173
00:10:26,209 --> 00:10:29,837
where we've integrated this way and
kind of went with this very broad humor,
174
00:10:29,921 --> 00:10:35,968
the Tex Avery kind of style
of cartooning.
175
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So, well, that's the end, and I hope
everybody enjoyed the commentary.
176
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And it was a joy to make this short,
177
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and I had so much fun working with
all these people you see right here,
178
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and the truly talented group, and I hope
to work with all of them again someday.
179
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Especially this guy sitting next to me.
180
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Yeah, I mean,
hopefully we'll get to do this again.
181
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It was a blast for me.
182
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A great opportunity to just really get
to explore all the fun ideas
183
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in the cartoon
and try and put some art to them.
184
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All right, thank you.
15742
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