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These are the user uploaded subtitles that are being translated: 1 00:00:05,130 --> 00:00:06,381 Hi, I'm Jim Capobianco. 2 00:00:06,465 --> 00:00:08,591 I wrote and directed Your Friend the Rat. 3 00:00:09,885 --> 00:00:11,100 And I'm Nate Wragg. 4 00:00:11,950 --> 00:00:13,930 I'm the production designer of Your Friend the Rat. 5 00:00:18,102 --> 00:00:21,896 So the idea of the film came while I was working on the feature, 6 00:00:21,980 --> 00:00:24,691 way back in 2000. 7 00:00:24,775 --> 00:00:27,193 'Cause we always do all this tons of research on our films, 8 00:00:27,277 --> 00:00:29,278 and I thought, "Wow, wouldn't it be neat 9 00:00:29,363 --> 00:00:32,115 "to actually use some of this in the short?" 10 00:00:33,617 --> 00:00:35,952 You know, a lot of people at Pixar have come from 2D, 11 00:00:36,360 --> 00:00:39,622 myself included, and love the form. 12 00:00:39,707 --> 00:00:45,169 And it was a great opportunity for a lot of animators to do 2D again. 13 00:00:45,254 --> 00:00:48,381 And so many people just embraced it. 14 00:00:48,465 --> 00:00:53,177 And, unfortunately, we couldn't utilize all the animators at Pixar who do 2D, 15 00:00:53,262 --> 00:00:54,721 or even wanted to try it, 16 00:00:54,805 --> 00:00:58,725 but we were able to get a good group together to handle it, 17 00:00:58,809 --> 00:01:00,852 and they all just had a blast, 18 00:01:00,936 --> 00:01:03,200 and I had a blast working with them to do this. 19 00:01:06,775 --> 00:01:10,945 And some of them had never even animated in this style of 2D before. 20 00:01:11,864 --> 00:01:16,284 The look of it came out of the old Disney '50s educational films 21 00:01:16,368 --> 00:01:20,413 that were done by Ward Kimball and others at the studio, 22 00:01:20,497 --> 00:01:25,752 and one of the driving forces behind it to emulate those films a little bit. 23 00:01:25,836 --> 00:01:29,547 But it was really economical to do, 24 00:01:29,631 --> 00:01:33,176 and I thought that would be neat to do the short in that style. 25 00:01:33,260 --> 00:01:37,430 I think we were really trying to find our own voice within that, 26 00:01:37,514 --> 00:01:39,599 using that as a jumping-off point. 27 00:01:42,519 --> 00:01:45,605 And, actually, the thing I found working on this 28 00:01:45,689 --> 00:01:48,274 was how do you make these sort of dry. . . 29 00:01:48,358 --> 00:01:49,609 Some of these facts can be kind of dry, 30 00:01:49,693 --> 00:01:51,861 how do you make them entertaining and fun? 31 00:01:51,945 --> 00:01:55,198 And one of the challenges of putting the film together 32 00:01:55,282 --> 00:01:59,160 was trying to think of what is a funny way 33 00:01:59,244 --> 00:02:01,621 to get this information across, 34 00:02:01,705 --> 00:02:04,290 and in a succinct amount of time as well. 35 00:02:07,920 --> 00:02:09,754 But always add that little flourish to it, 36 00:02:09,838 --> 00:02:12,799 'cause that's actually what was wonderful about the Ward Kimball stuff, 37 00:02:12,883 --> 00:02:17,261 is that no matter how limited it was, or stylized, 38 00:02:17,346 --> 00:02:22,160 he would always add this little touch of full animation on ones, 39 00:02:22,684 --> 00:02:26,562 little flourish and it would just bring that much life to it. 40 00:02:30,400 --> 00:02:35,321 Yeah, in a lot of ways, the animation. . . You're spending just as much time on it. 41 00:02:35,405 --> 00:02:39,742 You're just pinpointing what areas you want to animate. 42 00:02:39,827 --> 00:02:44,800 And I think probably the best example of it in the cartoon is 43 00:02:44,665 --> 00:02:46,541 in this section, right here, with the Black Death. 44 00:02:46,625 --> 00:02:52,400 We have just a simple drawing of Linguini, looking kind of funny, 45 00:02:52,890 --> 00:02:55,883 he falls over, and just his legs do this crazy little bit of animation. 46 00:02:55,968 --> 00:03:01,138 But just having those legs be in there and doing that fun little bit of animation 47 00:03:01,223 --> 00:03:04,475 really sells the whole idea that he's dead, 48 00:03:04,560 --> 00:03:07,687 but his legs are still kicking around a little bit. 49 00:03:07,771 --> 00:03:09,397 That little final bug kick. 50 00:03:10,232 --> 00:03:13,670 That's one thing that was kind of exciting about this short, 51 00:03:13,151 --> 00:03:18,364 was all the history and everything that goes into this cartoon 52 00:03:18,448 --> 00:03:21,576 is handled in a really funny way, and isn't really taken that serious. 53 00:03:25,455 --> 00:03:28,332 You're really trying to find, "What's the caricature of the moment? 54 00:03:28,417 --> 00:03:32,128 "What's the gag you're trying to get across, 55 00:03:32,212 --> 00:03:34,463 "and how do you caricature it the best way?" 56 00:03:35,424 --> 00:03:39,260 Awesome styling of the Chinese zodiac 57 00:03:39,845 --> 00:03:43,598 by Teddy Newton, Nate and Scott Morse. 58 00:03:44,641 --> 00:03:48,644 One thing that was exciting, for me, coming onto this project, 59 00:03:48,729 --> 00:03:50,620 was with all the. . . 60 00:03:50,147 --> 00:03:52,523 The short is basically broken down into three sections, 61 00:03:52,608 --> 00:03:54,984 and the first section is the history section, 62 00:03:55,680 --> 00:03:59,906 and Jim really wanted to capture each time period 63 00:03:59,990 --> 00:04:02,617 in the shot that we had. 64 00:04:02,701 --> 00:04:07,288 So, for example, if we have a shot that dates back into the Roman era, 65 00:04:07,372 --> 00:04:10,917 or in the black plague era, 66 00:04:11,100 --> 00:04:13,753 I was asked to start referencing artwork, 67 00:04:13,837 --> 00:04:16,631 and basically the way people created art back in those times, 68 00:04:18,800 --> 00:04:20,301 and try and style it up a little bit. 69 00:04:20,385 --> 00:04:23,346 So that it had a neat, sort of, funny flair to it, 70 00:04:23,430 --> 00:04:27,725 but it also felt true to how they designed stuff back then. 71 00:04:27,809 --> 00:04:30,227 Right, like the Revolution section, 72 00:04:30,312 --> 00:04:33,522 we wanted to get a real woodblock look for it, 73 00:04:33,607 --> 00:04:35,441 and even the way the animation was styled 74 00:04:35,525 --> 00:04:38,903 was to have a very staccato kind of feel to it. 75 00:04:39,363 --> 00:04:43,115 And, actually, if you went frame by frame, 76 00:04:43,200 --> 00:04:45,159 through that section where the rat hits the other rat, 77 00:04:45,243 --> 00:04:47,203 you'd see this one gigantic hand. 78 00:04:47,829 --> 00:04:50,790 Yeah, that's one thing that's really exciting about the 2D animation. 79 00:04:50,874 --> 00:04:52,708 There's different ways that you do it. 80 00:04:52,793 --> 00:04:55,336 You would handle it differently than in CG. 81 00:04:55,420 --> 00:04:58,339 You know, CG, everything is kind of spelled out for you 82 00:04:58,423 --> 00:05:01,258 in the way you have to do it with the computer programs, 83 00:05:01,343 --> 00:05:04,345 but in 2D, it's really more artistically free. 84 00:05:04,429 --> 00:05:06,347 The stop-motion shot, 85 00:05:06,431 --> 00:05:11,394 I just went, "What if we did that globe shot in stop-motion?" 86 00:05:11,478 --> 00:05:13,896 And then it just felt like it would fit 87 00:05:13,981 --> 00:05:17,149 the sort of educational aspect of the film. 88 00:05:17,234 --> 00:05:19,402 One of the things about stop-motion, though, 89 00:05:19,486 --> 00:05:21,195 is it's just. . . You have one shot at it, 90 00:05:21,279 --> 00:05:24,740 -unlike everything else. -Well, just like they used to. 91 00:05:25,534 --> 00:05:30,913 The video game section that we had, we could have tried to draw something 92 00:05:30,998 --> 00:05:32,540 that felt like Canada, 93 00:05:32,624 --> 00:05:35,418 but, instead, Jim had this great idea that it would be a video game, 94 00:05:35,502 --> 00:05:38,879 so we handled it like an 8-bit video game, 95 00:05:38,964 --> 00:05:41,507 and it still felt like Canada, 96 00:05:41,591 --> 00:05:44,100 but it was really cheesy and silly at the same time. 97 00:05:44,761 --> 00:05:48,264 I want to talk about the music a little bit. The music incorporates really well. 98 00:05:48,348 --> 00:05:51,642 One of the things I wanted to do, like in the old '50s animation, 99 00:05:51,727 --> 00:05:54,937 was to have the music written early enough 100 00:05:55,220 --> 00:05:56,605 that we could actually animate to it, 101 00:05:56,690 --> 00:06:00,693 and it could actually inspire us and be really integrated within the story, 102 00:06:00,777 --> 00:06:04,530 and so having Alex Mandel do that, it really, I think, accomplished that. 103 00:06:07,659 --> 00:06:12,163 This is wonderful collage art from Teddy Newton for this section. 104 00:06:12,914 --> 00:06:16,709 Just bits and pieces from everywhere. I don't know where he gets it all. 105 00:06:16,793 --> 00:06:18,544 Different magazines and photographs and stuff, 106 00:06:18,628 --> 00:06:20,588 and he just puts it all together. 107 00:06:21,298 --> 00:06:25,593 Yeah, it sort of makes you really believe each one of the materials 108 00:06:25,677 --> 00:06:27,887 that Emile's chewing through. 109 00:06:27,971 --> 00:06:30,890 It definitely feels like there's a door, there's a pipe, 110 00:06:30,974 --> 00:06:33,590 there's some cinder blocks. 111 00:06:34,352 --> 00:06:37,563 And people should just step through this animation, this 2D animation, 112 00:06:37,647 --> 00:06:41,358 it's just some really funny drawings within this. 113 00:06:41,443 --> 00:06:43,736 And you don't really see it going by, you just feel it, 114 00:06:43,820 --> 00:06:46,238 but the guys did such an amazing job. 115 00:06:49,451 --> 00:06:51,869 I think with this style of 2D, too, you get this. . . 116 00:06:51,953 --> 00:06:54,121 It's really based on the design. 117 00:06:54,206 --> 00:06:58,459 The look of it is what speaks more than, say, the acting, 118 00:06:58,543 --> 00:07:02,797 or you're not really trying to incorporate the illusion of life. 119 00:07:03,882 --> 00:07:09,845 I think this shot coming up here, right after the atomic explosion, 120 00:07:09,930 --> 00:07:12,980 was one of the first bits of animation, 121 00:07:12,182 --> 00:07:15,726 and I think Bob Scott did it, and it really set the tone. . . 122 00:07:15,852 --> 00:07:16,894 It did, yeah. 123 00:07:16,978 --> 00:07:18,646 . . .for how everything was going to be animated. 124 00:07:18,730 --> 00:07:21,107 Actually, he did both of these, one after the other, didn't he? 125 00:07:21,191 --> 00:07:23,670 Yeah, I think he did them both in, like, a week, 126 00:07:23,151 --> 00:07:25,903 and I remember we showed it at dailies, 127 00:07:25,987 --> 00:07:29,323 and everyone was just like, "I get it!" 128 00:07:31,284 --> 00:07:33,369 Yeah, one of the difficulties we had with the animators 129 00:07:33,453 --> 00:07:35,830 was trying to get them to not do so much animation. 130 00:07:35,914 --> 00:07:42,211 To pull them back and to do a little less with this stylized way. 131 00:07:44,214 --> 00:07:47,341 I couldn't even believe how fast they animated a lot of this stuff. 132 00:07:47,425 --> 00:07:49,468 -I know, it went really quickly. -They just were, like. . . 133 00:07:49,553 --> 00:07:56,580 We just passed our very scientific-looking illustrations there. 134 00:07:56,685 --> 00:07:58,727 They're not labeled, I thought I should tell everybody, 135 00:07:58,812 --> 00:08:03,732 it's Louis Pasteur, Gertrude Elion and Jonas Salk. 136 00:08:04,234 --> 00:08:05,901 The three scientists there. 137 00:08:08,947 --> 00:08:11,240 And here we come. This is the one shot in the whole film 138 00:08:11,324 --> 00:08:14,326 that's integrated all our styles of animation. 139 00:08:14,411 --> 00:08:20,583 We have after effects, we have 2D, stop-motion, 140 00:08:21,418 --> 00:08:24,628 all within the same. . . And computer, CG, all in the same shot. 141 00:08:24,713 --> 00:08:27,470 This was all done by Nate Wragg. 142 00:08:27,841 --> 00:08:30,217 He cleaned up the animation that was done in 2D, 143 00:08:30,302 --> 00:08:32,636 and we projected it on a chalkboard. 144 00:08:32,721 --> 00:08:37,141 Yeah, that was really cool because Sarah animated everything by hand, 145 00:08:37,225 --> 00:08:41,687 and then we, frame by frame, projected it onto a large chalkboard, 146 00:08:41,771 --> 00:08:46,250 and I spent the day tracing it, drawing by drawing, with chalk. 147 00:08:46,109 --> 00:08:50,290 And it goes by really quick. 148 00:08:50,113 --> 00:08:54,366 It's probably about six seconds, but it took about six hours, I think. 149 00:09:00,165 --> 00:09:03,420 The song came out of. . . 150 00:09:03,126 --> 00:09:06,795 When I was developing this, I was like, "Well, it's an educational film," 151 00:09:06,922 --> 00:09:09,340 I want it to have a song in it. 152 00:09:09,424 --> 00:09:11,467 Kind of like Schoolhouse Rock. 153 00:09:12,552 --> 00:09:15,596 That was done in the '70s, that we grew up on. 154 00:09:17,474 --> 00:09:20,643 My good friend, James Dashe, I asked him. . . 155 00:09:21,269 --> 00:09:26,398 James is a Mac administrator here at Pixar, but a piano composer, 156 00:09:26,483 --> 00:09:31,403 and I said, "Hey, let's do a song. I don't know if they'll go for it, 157 00:09:31,488 --> 00:09:35,324 "but let's just try it." And we sat down and both wrote this song, 158 00:09:35,408 --> 00:09:38,285 and we wanted it to have a rough feel, 159 00:09:38,370 --> 00:09:41,413 and neither of us having written an actual song before, 160 00:09:41,498 --> 00:09:42,706 it sort of has that. 161 00:09:42,791 --> 00:09:48,870 And also Patton and Pete, not really being professional singers, 162 00:09:48,171 --> 00:09:52,675 it also has that feel of two guys coming together to sing a song. 163 00:09:55,720 --> 00:09:57,179 And it kind of all came together. 164 00:09:57,264 --> 00:09:58,597 It was one of those Hail Mary shots 165 00:09:59,182 --> 00:10:00,975 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 00:10:04,729 --> 00:10:07,523 The ending, 168 00:10:07,857 --> 00:10:12,111 I love this sort of integration of CG and the 2D playing. 169 00:10:12,195 --> 00:10:16,282 It kind of pulls together the two ideas we're playing with a lot in the film, 170 00:10:16,366 --> 00:10:19,368 with the three-dimensional and two-dimensional. 171 00:10:19,452 --> 00:10:23,539 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 00:10:37,887 --> 00:10:40,639 So, well, that's the end, and I hope everybody enjoyed the commentary. 176 00:10:42,434 --> 00:10:44,143 And it was a joy to make this short, 177 00:10:44,227 --> 00:10:47,730 and I had so much fun working with all these people you see right here, 178 00:10:47,814 --> 00:10:53,152 and the truly talented group, and I hope to work with all of them again someday. 179 00:10:53,236 --> 00:10:54,778 Especially this guy sitting next to me. 180 00:10:54,863 --> 00:10:56,989 Yeah, I mean, hopefully we'll get to do this again. 181 00:10:57,730 --> 00:10:58,949 It was a blast for me. 182 00:10:59,701 --> 00:11:04,163 A great opportunity to just really get to explore all the fun ideas 183 00:11:04,247 --> 00:11:07,916 in the cartoon and try and put some art to them. 184 00:11:10,211 --> 00:11:11,545 All right, thank you. 15742

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