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(WHISTLING)
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(THUNDER CLAPPING)
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(WIND HOWLING)
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And make a wish. . .
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But you'll be hurt. You'll be killed !
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John Henry's dead !
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(TRAIN WHISTLE BLOWING)
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ELMER FUDD: That was the wabbit.
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Fifteen puppies!
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To infinity and beyond !
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NARRATOR: For the last 20 years,
a group of artists and scientists
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have transformed
two-dimensional drawings
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into their own
three-dimensional worlds.
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BOO: Kitty!
SULLEY: Boo!
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CELIA: Oh, Googly Bear.
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SYNDROME: lt's Syndrome.
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MR. lNCREDlBLE: Show time!
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DORY: Just keep swimming.
Just keep swimming. Whee!
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MARLlN: Dory!
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DORY: Gotta go faster
if you wanna win!
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JESSlE: Yee-haw!
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WOODY: (GASPS) Ride like the wind,
Bullseye!
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(HORSE GALLOPlNG)
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JOHN LASSETER: The art challenges
technology,
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technology inspires the art.
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STEVE JOBS: The best scientists
and engineers
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are just as creative
as the best storytellers.
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ED CATMULL: We've got characters
that we want to come alive.
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NARRATOR: Transforming the
hand-drawn line
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into a new art form was no easy task.
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Over the last 20 years,
these artists faced struggles
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and the risk of failure
every step of the way.
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This marriage of art and science was
the combined dream of three men,
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a creative scientist, Ed Catmull,
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a visionary entrepreneur, Steve Jobs,
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and a talented artist, John Lasseter.
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Together they have
revolutionized an industry
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and blazed an unprecedented record
in Hollywood history.
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This is The Pixar Story.
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LASSETER: Ford's has a bullet nose.
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NARRATOR: The creative force
behind Pixar Studios
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and the director
of Toy Story , John Lasseter,
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helped pioneer this new art form
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from an early love
of bringing drawings to life.
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LASSETER: When l was growing up,
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l loved cartoons
more than anything else.
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And when l was in high school,
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00:04:03,910 --> 00:04:07,996
l found this book, this old, ratty book,
called The Art of Animation.
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And it was about the Disney Studios
and how they made animated films.
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And it was one of those things,
that it just dawned on me,
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people make cartoons for a living.
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They actually get paid
to make cartoons.
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And l thought,
"That's what l wanna do."
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Right then, right there, it was like
l knew that's what l wanted to do.
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NARRATOR: ln 1 975, John applied
to CalArts,
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an art college founded
by Walt Disney in 1 961 .
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John was accepted
into the first program
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that taught Disney-style
character animation.
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LASSETER: What they were doing
is bringing out of retirement
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all of these amazing Disney artists
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to teach this class,
to get this program started.
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lt dawned on me pretty quickly
how special this was.
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NARRATOR: Among John's classmates
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were future
directors Tim Burton, John Musker
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and Brad Bird.
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00:05:06,681 --> 00:05:09,099
Everyone was kind of
on fire about animation.
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00:05:09,183 --> 00:05:10,976
We didn't wanna leave it
at the end of the day.
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And none of us had cars,
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so, we were kind of stuck there.
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When the teachers went home,
we taught ourselves.
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MUSKER: lt was a very collaborative
spirit at CalArts.
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Everybody showed everybody their film
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and everybody
was kind of their own director.
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But it was totally supportive
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and you'd get creative ideas
from the other people.
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And we all learned as much
from each other
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as we did from the instructors.
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NARRATOR: The teachers at CalArts
were none other
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than Disney's legendary collaborators
from the1 930s,
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known as the "Nine Cld Men,"
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who taught the essence
of great character animation.
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FRANK THOMAS:
We call it the warmth.
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We call it
the inner feelings of the character.
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lt all comes back to their heart,
and then how they think about it.
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And all those things.
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How does a character feel,
and why does he feel that way?
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BlRD: The Nine Cld Men,
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these guys were unbelievable masters
of this art form,
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and yet every single one of them
had the attitude of a student.
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NARRATCR: As a student, John
immersed himself in everything Disney,
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getting a summer job
as a sweeper in Tomorrowland.
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ANNOUNCER: Tomorrowland Station!
All out for the Magic Kingdom.
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LASSETER: Disneyland was
a fantastic place to work.
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Everybody was young working there
and it was just. . .
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We had a blast. lt was really, really fun.
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NARRATOR: And he was soon
promoted
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to a ride operator
on Disneyland Jungle Cruise,
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00:06:42,068 --> 00:06:44,903
before returning to studies at CalArts.
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LASSETER: There's a few times
in my life
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l feel like l'm in the right place
at the right time.
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And definitely when we were at CalArts,
that was it.
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Okay, everybody. Wake up, wake up.
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Come on, everybody. Wake up!
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NARRATOR: John animated
two short films at CalArts.
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Lady and the Lamp
is about a lamp in a lamp store
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00:07:03,506 --> 00:07:07,676
who accidentally replaces
its broken bulb with a bottle of gin.
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00:07:07,760 --> 00:07:09,511
(SPUTTERlNG)
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Oh, no.
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00:07:11,305 --> 00:07:12,305
(STAMMERS)
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My lamps! My shop!
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(SOBS)
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My gin !
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(HlCCUPS)
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NARRATOR: John's second
short film, Nitemare,
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is about a boy who sees monsters
when he turns out the lights.
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00:07:27,363 --> 00:07:31,032
Both films received back-to-back
Student Academy Awards,
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00:07:31,117 --> 00:07:32,617
an unprecedented record
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00:07:32,702 --> 00:07:36,288
that instantly propelled John
into the animation spotlight.
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JOHN DAVlDSON: This is your
second year winning?
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LASSETER: Yeah.
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00:07:38,499 --> 00:07:42,627
ls there a knack to making an
award-winning short film for a contest,
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or is this the real world,
could this film make it commercially?
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l think it could make it commercially,
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because l think
the knack that you're talking about
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is basically entertainment.
l think that's what. . .
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People pay money
to go see a film that's entertaining.
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NARRATOR: John's success
landed him his dream job
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00:08:00,771 --> 00:08:02,731
at the Walt Disney Studios.
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00:08:04,525 --> 00:08:05,984
Hello.
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00:08:06,068 --> 00:08:07,569
l'm Randy Cartwright.
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-And this is Ron Miller!
-Randy, how are you?
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00:08:11,073 --> 00:08:12,657
-How are you?
-Good to see you. This is Randy.
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00:08:12,742 --> 00:08:14,034
Great way to start the film!
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00:08:15,203 --> 00:08:17,329
Well, we're off to a good start.
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00:08:17,413 --> 00:08:19,998
Here it is, April 9, 1 980.
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00:08:20,583 --> 00:08:23,210
This is the past
to all you folks out there,
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00:08:23,586 --> 00:08:26,630
and we're gonna go inside
and see what it's like.
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Come on. Come on!
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GLEN KEANE: Walking into
the animation building
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00:08:32,678 --> 00:08:35,514
that was built with the money from
Snow White and the Seven Dwarves,
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00:08:35,765 --> 00:08:37,766
when l came in there in the '70s,
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00:08:38,559 --> 00:08:41,019
l just sensed this history around.
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00:08:41,103 --> 00:08:43,355
All of the experience
that had gone on before
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00:08:43,439 --> 00:08:46,483
was somehow impermeated
into the walls.
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00:08:46,567 --> 00:08:47,859
LASSETER: Hi, Glen. How are you?
This is...
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00:08:47,944 --> 00:08:48,944
CARTWRlGHT: Glen. Glen Keane.
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00:08:49,028 --> 00:08:50,070
-Thanks, John.
-LASSETER: ...Glen Keane.
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00:08:50,154 --> 00:08:51,947
He is our directing animator.
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00:08:52,031 --> 00:08:54,157
CARTWRlGHT: Cur cameraman,
John Lasseter.
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00:08:54,242 --> 00:08:56,034
KEANE: lt was so great to meet John.
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00:08:56,118 --> 00:08:58,537
There was this immediate
sharing of information
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00:08:58,621 --> 00:09:00,747
of your passion
and excitement for animation,
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00:09:00,831 --> 00:09:03,708
and he knew a lot about the history
and the past.
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00:09:03,793 --> 00:09:05,752
NARRATOR: As his first animation
at Disney,
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00:09:05,836 --> 00:09:07,879
John handled
the introduction of a lead character
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00:09:07,964 --> 00:09:11,299
in the 1 981
teature The Fox and the Hound.
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00:09:11,384 --> 00:09:15,428
Together, John and Glen collaborated
on the climactic fight scene.
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00:09:15,513 --> 00:09:17,055
But increasing budget cutbacks
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00:09:17,139 --> 00:09:20,267
had severely limited
the multi-plane dimensional look
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00:09:20,351 --> 00:09:23,144
Walt Disney had achieved
decades earlier.
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00:09:23,229 --> 00:09:25,772
KEANE: Animation was really at a point
164
00:09:25,856 --> 00:09:28,483
where it seemed like it was
a dying art form.
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00:09:28,568 --> 00:09:31,152
All of the richness and the atmosphere
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00:09:31,237 --> 00:09:34,864
was budgeted out of our films,
and it was so frustrating.
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00:09:35,992 --> 00:09:37,367
(BUZZlNG)
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00:09:38,286 --> 00:09:40,996
NARRATOR: While the animation
department felt stagnant,
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00:09:41,080 --> 00:09:45,417
Tron, a live-action foature
using the latest computer technology,
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00:09:45,501 --> 00:09:48,295
was screened for employees
at the studio.
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00:09:49,839 --> 00:09:51,464
(ENGlNES REWlNG)
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00:09:51,549 --> 00:09:54,134
Watch it, watch it! Auuughhh!
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There Tron was, these light-cycles. . .
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00:09:58,180 --> 00:10:00,765
Moving in and out of the scene
and it's. . .
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00:10:00,850 --> 00:10:03,643
And we came back to my room
and just sat there
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00:10:03,728 --> 00:10:07,272
and the depression
started to turn towards a frustration,
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00:10:07,356 --> 00:10:09,107
like, "Well, why can't we?"
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00:10:09,191 --> 00:10:12,652
"Why can't we do that?
Wouldn't it be cool, if?"
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00:10:12,737 --> 00:10:15,030
LASSETER: Computer animation
excited me so much,
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00:10:15,114 --> 00:10:16,448
and not excited
about what l was seeing,
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00:10:16,532 --> 00:10:17,741
but the potential l saw in all this.
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00:10:17,825 --> 00:10:19,242
l was just amazed by it.
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00:10:19,327 --> 00:10:21,494
And we started thinking,
"Wouldn't it be cool if
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00:10:21,579 --> 00:10:24,581
"we had a background
that was moving like Tron did,
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00:10:24,665 --> 00:10:27,208
"but we animated
the character by hand."
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00:10:27,293 --> 00:10:29,085
lt had never been done before,
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00:10:29,170 --> 00:10:30,503
but there's something about John
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that you kind of get the feeling
that that doesn't matter
189
00:10:32,632 --> 00:10:33,923
l mean,
if it had never been done before,
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00:10:34,008 --> 00:10:35,675
doesn't mean it can't be done.
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00:10:35,760 --> 00:10:37,510
NARRATOR: John and Glen
soon got approval
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00:10:37,595 --> 00:10:41,139
to experiment with animation
and computerized backgrounds.
193
00:10:41,223 --> 00:10:43,433
But at the studio
there was a growing fear
194
00:10:43,517 --> 00:10:46,811
that the computer was
going to make animators obsolete.
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00:10:46,896 --> 00:10:50,565
THOMAS: l'd say 95% of the fellas
at the studio were saying,
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00:10:50,650 --> 00:10:55,445
"You'd never get me to do anything
like that, they're ruining everything !"
197
00:10:55,529 --> 00:10:59,240
And l talked to John Lasseter
about the things he was doing,
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00:10:59,325 --> 00:11:01,743
l said,
"'Gee, if you get that much imagination
199
00:11:01,827 --> 00:11:04,746
"and new types of movement
done on a computer,
200
00:11:04,830 --> 00:11:07,874
"but not by the pencil,
you'll be ahead of the game."
201
00:11:07,958 --> 00:11:10,168
The potential was there at that time,
202
00:11:10,252 --> 00:11:13,838
but no one wanted to do it
except for Lasseter.
203
00:11:14,674 --> 00:11:16,007
NARRATOR: John and his story team
204
00:11:16,092 --> 00:11:18,134
were given the approval
to develop a script
205
00:11:18,219 --> 00:11:21,262
based on the short story,
The Brave Little Toaster.
206
00:11:21,347 --> 00:11:24,182
lt would mark
John's foature directorial debut,
207
00:11:24,266 --> 00:11:25,809
and his own opportunity
208
00:11:25,893 --> 00:11:30,522
to further explore the blending
of computer and traditional animation.
209
00:11:30,606 --> 00:11:31,856
After eight months of development,
210
00:11:31,941 --> 00:11:35,694
John was finally asked to present
the story to the head of the studio.
211
00:11:35,778 --> 00:11:37,237
LASSETER: They'd said,
"Okay, it's time to show
212
00:11:37,321 --> 00:11:39,948
"the head of the studio at the time
Brave Little Toaster."
213
00:11:40,032 --> 00:11:43,034
So we got the presentation together,
he walks in with Ed Hansen,
214
00:11:43,119 --> 00:11:46,246
and he had this scowl on his face
from the beginning, no laugh,
215
00:11:46,330 --> 00:11:47,706
we pitched the whole thing
216
00:11:47,790 --> 00:11:50,834
and he stood up and he asked,
"Well, how much is this gonna cost?"
217
00:11:50,918 --> 00:11:54,045
And l said,
"Well, it's with computer animation,
218
00:11:54,130 --> 00:11:59,342
"it's gonna be, you know, no more than
the regular budget of a film."
219
00:11:59,427 --> 00:12:02,220
And he went, "The only reason
to do computer animation
220
00:12:02,304 --> 00:12:05,932
"is if we could do it faster or cheaper."
221
00:12:06,016 --> 00:12:08,226
And he walked up and he walked out.
222
00:12:08,310 --> 00:12:11,146
And it was like, "What?" You know?
223
00:12:11,230 --> 00:12:15,567
And so about five minutes later
l get this call,
224
00:12:15,651 --> 00:12:18,820
and Ed Hansen
calls me down to his office.
225
00:12:18,904 --> 00:12:22,866
And l come down, and he said,
226
00:12:22,950 --> 00:12:25,744
"Well, John,
your project is now complete,
227
00:12:25,828 --> 00:12:29,831
"so your employment with
the Disney Studios is now terminated."
228
00:12:34,628 --> 00:12:36,254
DON HAHN: He got let go, he got fired,
229
00:12:36,338 --> 00:12:39,090
because, honestly, the studio
didn't know what to do with him.
230
00:12:39,175 --> 00:12:40,759
Even at that early day,
231
00:12:40,843 --> 00:12:43,094
this Disney Studio
that he dreamed about working at,
232
00:12:44,138 --> 00:12:47,265
turned out to be a really
dysfunctional place, in reality.
233
00:12:47,349 --> 00:12:49,976
And he was a born director,
he was a born leader,
234
00:12:50,060 --> 00:12:51,603
and his expectation and passion
235
00:12:51,687 --> 00:12:54,439
excelled what the studio
was doing then.
236
00:12:55,858 --> 00:12:59,444
During a lot of the early days,
artists were frightened of the computer,
237
00:12:59,528 --> 00:13:01,279
because they were
under the impression
238
00:13:01,363 --> 00:13:03,364
that it somehow
was gonna take their jobs away.
239
00:13:03,449 --> 00:13:05,408
And we spent a lot of time
telling people,
240
00:13:05,493 --> 00:13:07,452
"No, it's just a tool, it doesn't take. . .
241
00:13:07,536 --> 00:13:09,621
"lt doesn't do the creativity,
that's a misconception."
242
00:13:09,705 --> 00:13:13,124
But there was this fear,
and it was everywhere.
243
00:13:14,376 --> 00:13:15,418
ANNOUNCER: We interrupt
this program
244
00:13:15,503 --> 00:13:16,878
for an important announcement.
245
00:13:16,962 --> 00:13:18,546
A state of emergency
has been declared
246
00:13:18,631 --> 00:13:20,340
and the entire police force
put on 24-hour duty,
247
00:13:20,424 --> 00:13:21,758
(CROWD SCREAMlNG)
248
00:13:21,842 --> 00:13:23,718
in an effert to stop
the mounting hysteria.
249
00:13:25,554 --> 00:13:28,556
ANNOUNCER 2: There is no
reasonable cause for alarm.
250
00:13:28,641 --> 00:13:31,059
These rumors are absolutely false!
251
00:13:38,234 --> 00:13:39,234
(BEEPlNG)
252
00:13:39,902 --> 00:13:43,822
NARRATOR: The reality of technology
was very different from the fear.
253
00:13:43,906 --> 00:13:47,492
lt was the computer
that would take us to new frontiers.
254
00:13:47,576 --> 00:13:51,371
JOHN F. KENNEDY: l believe that
this nation should commit itself
255
00:13:51,455 --> 00:13:55,333
to achieving the goal,
before this decade is out,
256
00:13:55,417 --> 00:13:59,504
of landing a man on the moon
and returning him safely to the Earth.
257
00:13:59,588 --> 00:14:01,548
ASTRONAUT: Lift off on Apollo 1 1 .
258
00:14:02,633 --> 00:14:05,385
NARRATOR: The space race
ignited funding in computer research
259
00:14:05,469 --> 00:14:08,596
for a select number of universities
around the country.
260
00:14:08,681 --> 00:14:10,181
ln the 1 960s,
261
00:14:10,266 --> 00:14:14,686
the University of Utah set up one
of the first labs in computer graphics,
262
00:14:14,770 --> 00:14:17,230
headed by the top scientists
in the field.
263
00:14:17,314 --> 00:14:19,524
Ed Catmull, an aspiring artist,
264
00:14:19,608 --> 00:14:23,444
was among the few drawn
to the potential in computer graphics.
265
00:14:23,529 --> 00:14:25,905
CATMULL: l drew a lot,
l wanted to be an animator.
266
00:14:25,990 --> 00:14:27,115
l wanted to be an artist.
267
00:14:27,199 --> 00:14:29,534
But at the same time, l believed that
268
00:14:29,618 --> 00:14:32,537
l wasn't good enough
to be an animator,
269
00:14:32,621 --> 00:14:36,040
so l switched over
to physics and computer science.
270
00:14:36,125 --> 00:14:38,710
As soon as l took the first class,
l just fell in love with it,
271
00:14:38,794 --> 00:14:40,003
it just blew everything else away.
272
00:14:40,087 --> 00:14:45,049
'Cause here was a program in which
there was art, science, programming,
273
00:14:45,134 --> 00:14:49,387
all together in one place, in a new field,
and it was wide open.
274
00:14:49,471 --> 00:14:52,181
You could just go out
and discover things and explore,
275
00:14:52,266 --> 00:14:54,142
you were right at the frontier.
276
00:14:55,978 --> 00:14:59,230
NARRATOR: Ed's computer-animated
film of his own left hand
277
00:14:59,315 --> 00:15:03,276
was the first step in the development
of creating curved surfaces,
278
00:15:03,360 --> 00:15:05,820
wrapping texture
around those surfaces,
279
00:15:05,905 --> 00:15:07,989
and eliminating jagged edges.
280
00:15:09,408 --> 00:15:13,745
The footage debuted years later
in the science-fiction film Futureworld,
281
00:15:13,829 --> 00:15:17,999
which became the first use
of 3-D animation in a live-action film.
282
00:15:18,417 --> 00:15:22,670
Ed graduated with a PhD
in a new technology ahead of its time.
283
00:15:23,088 --> 00:15:25,423
There was only one institution
in the country
284
00:15:25,507 --> 00:15:28,927
willing to put millions of dollars
into its further development.
285
00:15:29,053 --> 00:15:31,930
The word of any center of activity
spread rapidly,
286
00:15:32,014 --> 00:15:36,517
and it quickly became known
that the place was New York Tech.
287
00:15:36,852 --> 00:15:38,227
CATMULL: There the charter was
288
00:15:38,312 --> 00:15:42,273
"Let's make computer graphics
usable in filmmaking."
289
00:15:42,358 --> 00:15:44,567
That's exactly what l wanted to do.
290
00:15:44,693 --> 00:15:47,445
NARRATCR: Alex Schure,
the president of New York Tech,
291
00:15:47,529 --> 00:15:50,531
hired Ed to spearhead the new
computer graphics department
292
00:15:50,616 --> 00:15:52,867
to develop paint programs
and other tools
293
00:15:52,952 --> 00:15:56,663
to create art and animation
using the computer.
294
00:15:56,747 --> 00:15:59,499
Ed himself developed software
called "Tween"
295
00:15:59,583 --> 00:16:03,795
that transformed hand-drawn
animation into a digital medium.
296
00:16:03,879 --> 00:16:07,757
Artists could now draw and paint
directly into the computer.
297
00:16:09,551 --> 00:16:11,886
We were creating a revolution
298
00:16:11,971 --> 00:16:16,474
and the older techniques
were really gonna be passé.
299
00:16:17,059 --> 00:16:20,687
NARRATOR: These developments led
Ed to the far-reaching goal of someday
300
00:16:20,771 --> 00:16:25,149
creating the first feature-length,
computer-animated film.
301
00:16:25,234 --> 00:16:28,236
SCHURE: We were impacting
the conventional industry
302
00:16:28,570 --> 00:16:29,946
and it was gonna be tremendous
303
00:16:30,030 --> 00:16:32,782
because of the applications
that it would have.
304
00:16:35,911 --> 00:16:37,704
NARRATOR: The applications
of Ed's developments
305
00:16:37,788 --> 00:16:40,164
led Stor Wars director, George Lucas,
306
00:16:40,249 --> 00:16:43,167
to see their potential
in live-action filmmaking.
307
00:16:43,252 --> 00:16:44,752
LUCAS: After l did Stor Wars,
308
00:16:44,837 --> 00:16:48,840
l decided that l would begin to move
into the world of computer animation.
309
00:16:48,924 --> 00:16:52,218
We had made this computer controlled,
motion-control camera,
310
00:16:52,302 --> 00:16:54,303
but l really wanted
to get to the next level.
311
00:16:54,388 --> 00:16:55,680
l had a lot of ideas
312
00:16:55,764 --> 00:17:00,143
that couldn't be conquered
in the traditional film technology.
313
00:17:00,227 --> 00:17:02,520
NARRATOR: George Lucas brought
Ed Catmull aboard
314
00:17:02,604 --> 00:17:05,314
to form a new computer division
at Lucasfilm
315
00:17:05,399 --> 00:17:07,316
to invent digital production tools,
316
00:17:07,401 --> 00:17:11,404
including a new digital-editing system
called EditDroid,
317
00:17:11,488 --> 00:17:14,198
a digital sound system,
a laser scanner
318
00:17:14,283 --> 00:17:16,868
and a powerful graphics computer.
319
00:17:19,288 --> 00:17:22,665
Ed recruited the most talented team
of computer scientists
320
00:17:22,750 --> 00:17:25,626
to create the futuristic tools for Lucas.
321
00:17:27,254 --> 00:17:29,922
ROB COOK: Everybody who did it
got there in some really odd way.
322
00:17:30,007 --> 00:17:32,633
People came from architecture,
from physics,
323
00:17:32,718 --> 00:17:35,344
from art, from computer science,
from everywhere,
324
00:17:35,429 --> 00:17:38,222
and somehow ended up
in this new area.
325
00:17:38,307 --> 00:17:40,224
At that time
there was almost no graphics,
326
00:17:40,309 --> 00:17:42,143
it was a pretty small thing.
327
00:17:42,561 --> 00:17:46,397
And we were inventing
the techniques we were using.
328
00:17:46,482 --> 00:17:47,857
We had no computers.
329
00:17:47,941 --> 00:17:51,694
My wife remembers those days
because l came home at night, right?
330
00:17:51,779 --> 00:17:52,945
You know? l didn't have any computer
331
00:17:53,030 --> 00:17:55,031
to stay and hack on
or anything like that,
332
00:17:55,115 --> 00:17:57,575
so l'd come home at regular hours
333
00:17:57,659 --> 00:17:59,702
and she woes the days
when we started getting computers
334
00:17:59,787 --> 00:18:01,662
and l would get carried away.
335
00:18:03,165 --> 00:18:06,459
LUCAS: They really were kind of
the outlaw outfit, the rebel group,
336
00:18:06,543 --> 00:18:07,710
and so that was kind of fun
337
00:18:07,795 --> 00:18:10,755
because, you know,
we were doing all these things
338
00:18:10,839 --> 00:18:12,965
that nobody really
understood the value of.
339
00:18:16,804 --> 00:18:18,429
COOK: There was a big
breakthrough to start
340
00:18:18,514 --> 00:18:20,598
doing things that were more artistic.
341
00:18:20,682 --> 00:18:25,186
VoI Llbre, Loren Carpenter's film
in 1 980, was a huge deal,
342
00:18:25,270 --> 00:18:28,523
and not just because
it illustrated his academic technique,
343
00:18:28,774 --> 00:18:31,359
but it was a huge deal
because it was a work of art.
344
00:18:33,362 --> 00:18:35,029
CARPENTER: l've always been
interested in what's possible,
345
00:18:35,114 --> 00:18:38,324
and, what's beyond
the boundary of what's known.
346
00:18:38,408 --> 00:18:41,536
When l came to Lucasfilm,
these people were all very good,
347
00:18:41,829 --> 00:18:44,789
and it was refreshing and exhilarating.
348
00:18:44,873 --> 00:18:46,791
COOK: Even in those days,
everybody's dream
349
00:18:46,875 --> 00:18:49,460
was to make a feature-length movie
with computers.
350
00:18:49,545 --> 00:18:52,130
At least all of us,
that was what we wanted to do.
351
00:18:52,214 --> 00:18:54,048
Even though it seemed impossible
at the time.
352
00:18:57,553 --> 00:18:59,804
lf you wanna make
a picture of the world,
353
00:18:59,888 --> 00:19:02,807
you somehow have to get
all that data in the computer.
354
00:19:02,891 --> 00:19:06,477
All the geometry, no matter what,
whether it's hairs or skin or whatever,
355
00:19:06,562 --> 00:19:09,480
is broken down
into millions of little triangles
356
00:19:09,565 --> 00:19:13,860
that are so small they would just be
a speck on the screen.
357
00:19:13,944 --> 00:19:16,821
NARRATOR: The group soon realized
it would take not thousands,
358
00:19:16,905 --> 00:19:20,366
but millions of triangles
to create the photo-realistic images
359
00:19:20,450 --> 00:19:23,202
that compose
the animated films we see today.
360
00:19:23,287 --> 00:19:25,037
CATMULL: lt was an absurd number.
361
00:19:25,122 --> 00:19:26,414
But it was meant to be
an absurd number,
362
00:19:26,498 --> 00:19:29,375
because if you throw
some big numbers at something
363
00:19:29,459 --> 00:19:31,377
and then you have to be able
to handle them,
364
00:19:31,461 --> 00:19:34,297
then it makes you think
about the problem in different ways.
365
00:19:34,840 --> 00:19:39,343
Right then and there, that changed
our whole, you know, kind of mindset
366
00:19:39,428 --> 00:19:43,014
about the sort of problem
that we were trying to solve.
367
00:19:44,433 --> 00:19:46,767
NARRATOR: The group got the chance
to prove their abilities
368
00:19:46,852 --> 00:19:50,229
when Lucas' special-effects division,
lndustrial Light and Magic,
369
00:19:50,314 --> 00:19:52,523
could not achieve a shot
using conventional film means.
370
00:19:52,608 --> 00:19:53,566
Summary, please.
STAR TREK ll THE WRATH OF KHAN
371
00:19:53,650 --> 00:19:57,361
Alvy Ray Smith led the group
to create a spectacular sequence
372
00:19:57,446 --> 00:20:00,698
using all their talents
and advanced techniques.
373
00:20:00,782 --> 00:20:03,784
The camera's spinning and spiraling
and jerking and panning.
374
00:20:03,869 --> 00:20:05,786
lt's going through amazing motions,
375
00:20:05,871 --> 00:20:09,332
completely impossible
for a gravity-bound, real camera.
376
00:20:11,293 --> 00:20:14,795
PORTER: l think Ed and Alvy realized,
in order to get in the game,
377
00:20:14,880 --> 00:20:17,548
we've got to put characters up
on the screen,
378
00:20:17,633 --> 00:20:19,383
and that meant character animation,
379
00:20:19,468 --> 00:20:20,426
and that changed everything
right there.
380
00:20:28,310 --> 00:20:32,271
l had gone to this computer graphics
conference at the Queen Mary.
381
00:20:32,356 --> 00:20:35,191
l'll never forget it. We walk in
and l was just so depressed,
382
00:20:35,275 --> 00:20:38,194
'cause, like, all these dreams
for the last two or three years
383
00:20:38,278 --> 00:20:40,154
kind of were shattered.
384
00:20:40,572 --> 00:20:44,325
And Ed Catmull
was a speaker at this conference,
385
00:20:44,409 --> 00:20:45,952
and he comes up
and he was so excited,
386
00:20:46,036 --> 00:20:48,287
"How's Toaster going?
How's Brave Little Toaster going?"
387
00:20:48,372 --> 00:20:52,667
You know, all that stuff, and l go,
"Well, to be honest, they shelved it."
388
00:20:52,751 --> 00:20:55,586
He told me that he was leaving Disney.
389
00:20:55,671 --> 00:20:59,006
He didn't tell me the circumstances,
but that he was leaving Disney.
390
00:20:59,508 --> 00:21:02,385
And we spent a long time
talking about what we wanted to do,
391
00:21:02,469 --> 00:21:03,928
and what the possibilities were,
392
00:21:04,012 --> 00:21:05,429
because this is the first time
393
00:21:05,514 --> 00:21:08,557
we really had a chance
of getting a real animator.
394
00:21:08,642 --> 00:21:10,810
We couldn't get them at Lucasfilm.
395
00:21:11,853 --> 00:21:13,771
NARRATOR: John was hired
on the spot
396
00:21:13,855 --> 00:21:16,732
into Lucasfilm's
Bay Area computer division,
397
00:21:16,817 --> 00:21:21,320
under the inconspicuous title
of "interface designer."
398
00:21:21,405 --> 00:21:23,531
l came in there and immediately
399
00:21:23,615 --> 00:21:26,450
l was intimidated by all the people
that were around me.
400
00:21:26,535 --> 00:21:29,620
l mean, there were PhDs
everywhere around me.
401
00:21:29,705 --> 00:21:34,125
Our group was in love with animation,
and we knew a lot about animation.
402
00:21:34,209 --> 00:21:37,545
We couldn't animate very well,
but we understood it.
403
00:21:39,089 --> 00:21:41,924
LASSETER: And the first thing they did
is they really challenged me
404
00:21:42,009 --> 00:21:44,468
with the idea of,
"Let's try to do a little film
405
00:21:44,553 --> 00:21:47,638
"with characters that are done
with a computer."
406
00:21:48,515 --> 00:21:52,518
l was inspired looking at the limitations
of what l had to work with,
407
00:21:52,602 --> 00:21:55,980
and then l went back
and looked at the early Mickey Mouse.
408
00:21:56,064 --> 00:21:57,440
lt's geometric shapes.
409
00:21:57,524 --> 00:21:59,692
How more geometric can you get
than Mickey Mouse?
410
00:21:59,776 --> 00:22:02,653
So l just started drawing,
and l created this little character.
411
00:22:02,738 --> 00:22:04,530
His name is "André."
412
00:22:05,365 --> 00:22:06,324
(BUZZlNG)
413
00:22:06,408 --> 00:22:07,408
(SQUEAKlNG)
414
00:22:15,792 --> 00:22:17,084
(LAUGHS)
415
00:22:21,506 --> 00:22:24,508
NARRATOR: John inspired the
technical team to create new software
416
00:22:24,593 --> 00:22:26,052
that would enable him to animate
417
00:22:26,136 --> 00:22:30,348
the squash and stretch movements
he learned from traditional animation.
418
00:22:30,432 --> 00:22:33,517
The results were new flexibility,
motion blur
419
00:22:33,602 --> 00:22:37,229
and character action never before
achieved through the computer.
420
00:22:37,314 --> 00:22:40,399
LASSETER: l loved working with these
guys, and l kept challenging them.
421
00:22:40,484 --> 00:22:43,694
And then l was so inspired
by all the work that they were doing.
422
00:22:43,779 --> 00:22:47,698
So it's become this way of working
that the art challenges technology,
423
00:22:47,783 --> 00:22:49,742
technology inspires the art.
424
00:22:50,452 --> 00:22:52,745
NARRATOR: John and computer
scientist Bill Reeves
425
00:22:52,829 --> 00:22:54,914
put their animation skills to the test
426
00:22:54,998 --> 00:22:58,834
while working with Lucas'
traditional special effects division, lLM,
427
00:22:58,919 --> 00:23:02,546
to bring a stained-glass man to life
through the computer.
428
00:23:06,301 --> 00:23:07,343
lt was really amazing,
429
00:23:07,427 --> 00:23:11,972
the meeting of these two completely
different backgrounds coming together.
430
00:23:23,985 --> 00:23:25,820
(WHlMPERlNG)
431
00:23:27,280 --> 00:23:29,615
MUREN: You could just design
the thing exactly
432
00:23:29,699 --> 00:23:31,283
the way that your mind conceived it,
433
00:23:31,368 --> 00:23:35,996
not only shape-wise
but also lighting-wise, or anything.
434
00:23:37,040 --> 00:23:40,084
NARRATOR: The visual effects were
nominated for an Academy Award,
435
00:23:40,168 --> 00:23:42,336
and many Hollywood
special effects wizards
436
00:23:42,421 --> 00:23:44,797
had no idea how it was done.
437
00:23:44,881 --> 00:23:48,092
LUCAS: There were areas they could
go to that they couldn't even consider
438
00:23:48,176 --> 00:23:49,927
in traditional special effects.
439
00:23:50,011 --> 00:23:53,097
Ed's group really equaled change.
440
00:23:53,181 --> 00:23:55,224
NARRATOR: To improve speed
and resolution,
441
00:23:55,308 --> 00:23:58,185
Ed's team developed
the Pixar lmage Computer,
442
00:23:58,270 --> 00:24:00,938
the most powerful graphics computer
of its day.
443
00:24:01,022 --> 00:24:04,900
lts software transformed
high-resolution imagery into 3-D,
444
00:24:04,985 --> 00:24:08,654
and was used in medical imaging
and satellite photo analysis.
445
00:24:08,738 --> 00:24:10,322
But after years of trying to sell
446
00:24:10,407 --> 00:24:13,451
their high-end computer software
to limited markets,
447
00:24:13,535 --> 00:24:16,537
George Lucas' interest
was growing thin.
448
00:24:16,663 --> 00:24:17,955
l think it was very esoteric
449
00:24:18,039 --> 00:24:19,832
and it was very hard
to make a business out of that.
450
00:24:19,916 --> 00:24:23,294
So once we had the EditDroid
and we had all the things we needed,
451
00:24:23,378 --> 00:24:27,214
then l decided that l didn't want
to run a company that sold software.
452
00:24:28,008 --> 00:24:32,970
And John and Ed were dead set
on making animated films,
453
00:24:33,054 --> 00:24:35,723
and their dream
was to make an animated feature.
454
00:24:35,807 --> 00:24:38,976
And l said, "Great, but, you know,
to do this on a grand scale,
455
00:24:39,060 --> 00:24:43,647
"it's gonna take at least, you know,
$30 , $40 million investment,
456
00:24:43,732 --> 00:24:45,107
"which we don't have."
457
00:24:45,192 --> 00:24:46,192
(LAUGHS)
458
00:24:46,860 --> 00:24:48,235
NARRATOR: To keep the team
together,
459
00:24:48,320 --> 00:24:50,404
Ed and Alvy gained Lucas' support
460
00:24:50,489 --> 00:24:53,240
to spin off the division
and call it "Pixar."
461
00:24:53,867 --> 00:24:56,494
Over the next year
they struggled to find the one investor
462
00:24:56,578 --> 00:24:58,996
who could foresee their potential.
463
00:25:01,333 --> 00:25:05,169
An unexpected visitor to Lucasfilm
was Steve Jobs.
464
00:25:05,253 --> 00:25:08,464
Steve was 21 when he
co-founded Apple Computer,
465
00:25:08,548 --> 00:25:11,008
revolutionizing the concept
of user-friendly
466
00:25:11,092 --> 00:25:14,512
personal computing with
the Apple ll and the Macintosh.
467
00:25:14,596 --> 00:25:17,515
By the age of 30,
he had become a multimillionaire,
468
00:25:17,599 --> 00:25:20,809
selling his innovative computers
all over the world.
469
00:25:20,894 --> 00:25:22,186
l was still at Apple at the time.
470
00:25:22,270 --> 00:25:24,605
l was turned onto it by a guy
named Alan Kay, who l worked with.
471
00:25:25,148 --> 00:25:28,984
And, so Alan and l hopped in a car
and rode up to Lucasfilm.
472
00:25:29,069 --> 00:25:31,028
KAY: So on the limousine ride up there,
473
00:25:31,112 --> 00:25:33,489
l explained to Steve
what these guys were,
474
00:25:33,615 --> 00:25:35,533
what their history was,
what the potential was.
475
00:25:35,617 --> 00:25:36,951
Then a very good thing happened.
476
00:25:37,035 --> 00:25:39,036
JCBS: That was the first time l met Ed,
477
00:25:39,120 --> 00:25:41,038
and he shared with me his dream
478
00:25:41,122 --> 00:25:44,124
to make the world's first
computer-animated film.
479
00:25:44,209 --> 00:25:47,169
And l, in the end,
ended up buying into that dream,
480
00:25:47,254 --> 00:25:49,129
both spiritually and financially.
481
00:25:51,633 --> 00:25:53,133
NARRATOR: Steve Jobs took a chance
482
00:25:53,218 --> 00:25:56,971
and invested $1 0 million
to launch Pixar.
483
00:25:57,055 --> 00:26:00,516
The stuff that Ed and his team
were doing was at the very high end,
484
00:26:00,600 --> 00:26:04,603
and l could see that it was way beyond
what anyone else was doing.
485
00:26:04,854 --> 00:26:07,856
CATMULL: We had the fortune
to have Steve Jobs,
486
00:26:07,941 --> 00:26:10,192
who believes in passion and vision.
487
00:26:10,277 --> 00:26:11,694
He was responding to this passion.
488
00:26:11,861 --> 00:26:16,323
lt was really exciting when Steve
was the one that bought our group.
489
00:26:19,202 --> 00:26:21,996
l remember Ed came to me,
and he says,
490
00:26:22,080 --> 00:26:27,126
"Let's do a little animated film,
something that says who we are."
491
00:26:27,210 --> 00:26:30,421
l wanted something
simple and geometric,
492
00:26:30,505 --> 00:26:32,256
and l was sitting there at the desk
kind of thinking.
493
00:26:32,340 --> 00:26:33,924
And l just kept staring at this lamp,
494
00:26:34,009 --> 00:26:38,762
and it was sort of like
a classic Luxo lamp.
495
00:26:38,847 --> 00:26:41,432
l just started moving it around
like it was alive.
496
00:26:41,516 --> 00:26:44,143
l love bringing
inanimate objects to life,
497
00:26:44,227 --> 00:26:46,937
in maintaining
the integrity of the object,
498
00:26:47,022 --> 00:26:51,317
and pull personality and movement
and physics out of that.
499
00:26:57,073 --> 00:26:58,073
(SQUEAKlNG)
500
00:27:00,201 --> 00:27:02,828
NARRATCR: ln 1 987 , Luxo Jr .
501
00:27:02,912 --> 00:27:06,248
became the first three-dimensional
computer-animated film
502
00:27:06,374 --> 00:27:09,126
nominated for an Academy Award.
503
00:27:09,210 --> 00:27:11,879
CATMULL: Luxo is the one
that changed everything.
504
00:27:11,963 --> 00:27:14,298
lt was a pure little story.
505
00:27:14,382 --> 00:27:17,092
And once we hit it with that,
506
00:27:17,177 --> 00:27:19,887
then it became
a new goal for everybody.
507
00:27:20,388 --> 00:27:21,430
(SQUEAKS)
508
00:27:21,514 --> 00:27:22,514
(AlR ESCAPES)
509
00:27:34,277 --> 00:27:36,320
JOBS: lt was the combination
of the new medium
510
00:27:36,404 --> 00:27:38,864
and John really bringing
a character to life
511
00:27:38,948 --> 00:27:41,200
that made people say, "Oh my God."
512
00:27:41,284 --> 00:27:43,911
You know, and the smart ones say,
"Look at this potential here."
513
00:27:44,788 --> 00:27:46,038
NARRATOR: A hopping Luxo lamp
514
00:27:46,122 --> 00:27:49,875
would become a symbol
of Pixar's optimism and determination.
515
00:27:51,544 --> 00:27:53,170
The image l remember most
516
00:27:53,254 --> 00:27:56,256
is John Lasseter
sitting there in that graphics lab
517
00:27:56,883 --> 00:28:00,969
with deadlines approaching,
struggling with the machine.
518
00:28:01,054 --> 00:28:05,224
Just one man, one machine,
trying to produce this animation.
519
00:28:06,935 --> 00:28:09,603
LASSETER: Early in Pixar,
when we were sitting in a hallway,
520
00:28:09,688 --> 00:28:13,732
sharing one computer,
me and Eben and Bill and Ed,
521
00:28:13,817 --> 00:28:16,527
we'd sit there
and just kind of be sharing time,
522
00:28:16,611 --> 00:28:18,904
and l would always
take the midnight shift.
523
00:28:19,447 --> 00:28:21,740
Got most of my animation done
on all the short films
524
00:28:21,825 --> 00:28:25,077
from about 1 0:30 at night
until 4:00 or 5:00 in the morning.
525
00:28:26,204 --> 00:28:30,207
This evening l am animating a scene
from the dream sequence.
526
00:28:30,291 --> 00:28:32,459
This is a rough level of detail.
527
00:28:33,336 --> 00:28:35,379
MAN: How come your car
has the best parking spot?
528
00:28:35,463 --> 00:28:38,549
'Cause it hasn't moved
in about three days.
529
00:28:38,633 --> 00:28:39,633
(MAN CHUCKLES)
530
00:28:39,718 --> 00:28:41,135
l've been sleeping here.
531
00:28:41,219 --> 00:28:43,220
He'd leave me a note on my desk.
532
00:28:43,304 --> 00:28:47,599
"D.W. , wake me up when you come in,"
and l would go to his common.
533
00:28:47,684 --> 00:28:48,726
Of course, the door would be closed.
534
00:28:48,810 --> 00:28:50,477
l'd have to bang on the door,
and John'd be asleep.
535
00:28:50,562 --> 00:28:52,813
He used to bring in a mattress
or a futon or something
536
00:28:52,897 --> 00:28:54,022
and sleep under his desk.
537
00:28:54,107 --> 00:28:56,775
And then he would get up
and start animating again.
538
00:28:56,860 --> 00:28:58,193
And he did that for weeks.
539
00:29:01,740 --> 00:29:03,449
NARRATCR: Their next short,
Red's Dream,
540
00:29:03,533 --> 00:29:07,745
was the story of a lonely unicycle
longing to perform in the circus.
541
00:29:10,749 --> 00:29:13,417
OSTBY: We could show him
what was easy for us to do
542
00:29:13,501 --> 00:29:15,669
and what was hard for us to do,
and he'd also push us.
543
00:29:15,754 --> 00:29:19,631
We'd say, "Well, you know, John,
it's kind of hard for us to do a human."
544
00:29:19,716 --> 00:29:20,799
Then first thing you'd know,
545
00:29:20,884 --> 00:29:22,926
he'd be thinking about
human stuff he'd wanna do
546
00:29:23,011 --> 00:29:24,720
and he'd encourage us to try to do it.
547
00:29:26,681 --> 00:29:30,142
NARRATOR: Tin Tot , about a wind-up
toy tormented by a baby,
548
00:29:30,226 --> 00:29:32,561
brought children's toys to life
through the computer.
549
00:29:32,645 --> 00:29:33,645
(BABY BABBLES)
550
00:29:34,939 --> 00:29:36,440
And in 1 989,
551
00:29:36,524 --> 00:29:37,983
Bill Reeves and John Lasseter
552
00:29:38,067 --> 00:29:41,695
took home their first Oscars
for Best Animated Short Subject,
553
00:29:41,780 --> 00:29:45,616
and the first ever awarded
to a computer-animated film.
554
00:29:45,700 --> 00:29:49,661
With each subsequent short film,
John got more ambitious
555
00:29:49,746 --> 00:29:52,915
and the team got more experience
and the software got better.
556
00:29:55,668 --> 00:29:59,338
NARRATOR: ln 1 990, Pixar applied
their knowledge of animated shorts
557
00:29:59,422 --> 00:30:00,964
to make commercials.
558
00:30:01,049 --> 00:30:04,134
The new venture soon required
bringing in new animators.
559
00:30:04,219 --> 00:30:07,095
John hired
two recent CalArts graduates.
560
00:30:07,180 --> 00:30:09,890
PETE DOCTER: lt was literally the day
after l graduated l showed up.
561
00:30:10,642 --> 00:30:14,144
John sat down and showed me
the way the animation software worked.
562
00:30:14,229 --> 00:30:15,479
lt was pretty slow.
563
00:30:15,563 --> 00:30:17,815
There was a lot of kind of
noodling and futzing around,
564
00:30:17,899 --> 00:30:19,441
but l loved that stuff.
565
00:30:19,526 --> 00:30:21,401
l didn't care what it was.
l said, "Commercials? Fine.
566
00:30:21,486 --> 00:30:25,656
"l'll do, you know, soap bars,
soda cans, whatever. l don't care."
567
00:30:25,740 --> 00:30:27,658
TRlDENT NARRATOR: lntroducing
new Freshmint Gum!
568
00:30:27,742 --> 00:30:28,742
The freshest mints.
569
00:30:30,078 --> 00:30:31,703
The coolest cool.
570
00:30:31,788 --> 00:30:32,996
For as simple as it was,
571
00:30:33,081 --> 00:30:35,082
it was probably the hardest
learning experience l ever had,
572
00:30:35,166 --> 00:30:36,333
because it was archaic.
573
00:30:36,417 --> 00:30:37,835
l knew nothing about the computer.
574
00:30:37,919 --> 00:30:40,170
l had never touched one,
never word-processed,
575
00:30:40,255 --> 00:30:43,257
never even really looked at one
before l came up there.
576
00:30:43,424 --> 00:30:46,093
So l'm a testament
that anybody can learn the computer.
577
00:30:46,177 --> 00:30:47,177
(LAUGHS)
578
00:30:49,764 --> 00:30:52,432
NARRATCR: At the same time,
Pixar began a collaboration
579
00:30:52,517 --> 00:30:54,601
with the new leadership
at the Walt Disney Studios
580
00:30:54,686 --> 00:30:57,104
headed by Michael Eisner,
Frank Wells,
581
00:30:57,188 --> 00:30:59,857
Jeffrey Katzenberg and Roy Disney.
582
00:30:59,941 --> 00:31:03,277
ln a renewed effert to bridge
hand-drawn animation with computers,
583
00:31:03,778 --> 00:31:05,529
Pixar invented CAPS,
584
00:31:05,905 --> 00:31:07,406
a digital ink-and-paint system
585
00:31:07,490 --> 00:31:10,367
which brought new technical advances
to 2-D animation.
586
00:31:10,994 --> 00:31:14,913
The techniques gained critical notice
in Disney's Beauty and the Beast.
587
00:31:15,456 --> 00:31:18,125
PETER SCHNElDER: Roy Disney was
a great champion of this.
588
00:31:18,209 --> 00:31:20,836
He spent a lot of money
building the CAPS system,
589
00:31:20,920 --> 00:31:23,255
and it was just the basis
of what was to come
590
00:31:23,339 --> 00:31:25,173
in terms of the 3-D animation process.
591
00:31:25,258 --> 00:31:28,010
lt was the engine
that drove everything else forward.
592
00:31:30,471 --> 00:31:32,556
NARRATCR: Pixar's software,
Renderman,
593
00:31:32,640 --> 00:31:34,725
was also getting industry acclaim
594
00:31:34,809 --> 00:31:37,185
for the creation
of photo-realistic special effects
595
00:31:37,270 --> 00:31:39,897
that allowed Hollywood filmmakers
to tell stories
596
00:31:39,981 --> 00:31:41,982
that could not be told any other way.
597
00:31:43,651 --> 00:31:46,904
Renderman had become
the new standard in special effects,
598
00:31:46,988 --> 00:31:48,238
and in 2000,
599
00:31:48,323 --> 00:31:50,657
the technical team
garnered the first Oscar
600
00:31:50,742 --> 00:31:53,744
ever awarded
for computer-animated software.
601
00:31:56,205 --> 00:31:58,999
But the research and development
of all their technology
602
00:31:59,083 --> 00:32:02,294
was costing more money
than the company was bringing in.
603
00:32:02,378 --> 00:32:07,007
Steve Jobs had been losing over
a million dollars a year for five years.
604
00:32:08,092 --> 00:32:12,095
lt was all great stuff to do,
but none of it was a home run.
605
00:32:12,180 --> 00:32:14,181
None of it really. . . lt was a struggle.
606
00:32:14,265 --> 00:32:16,058
Every step of the way,
it was a struggle.
607
00:32:16,142 --> 00:32:20,020
We were trying to pay the bills
and just buy time.
608
00:32:20,104 --> 00:32:24,316
And that strategy
really turned out not to work.
609
00:32:24,400 --> 00:32:29,613
Steve was a very forgiving investor
at that time
610
00:32:29,697 --> 00:32:34,076
and had a much longer term view
than your average venture capitalist
611
00:32:34,160 --> 00:32:36,745
would've had
about our young company.
612
00:32:38,831 --> 00:32:40,832
NARRATOR: With the survival
of Pixar at stake,
613
00:32:40,917 --> 00:32:42,459
John pitched the Disney Company
614
00:32:42,543 --> 00:32:47,547
a half-hour Christmas TV special
based on their short film Tin Tot .
615
00:32:47,632 --> 00:32:48,799
All the while,
616
00:32:48,883 --> 00:32:50,384
Disney executives had been trying
617
00:32:50,468 --> 00:32:53,845
to lure John back to the studio
to direct a feature.
618
00:32:54,806 --> 00:32:56,723
John is being asked this
for a third time,
619
00:32:56,808 --> 00:32:59,601
to come down
and be a director at Disney.
620
00:32:59,686 --> 00:33:01,728
Or he can stay up
in Northern California
621
00:33:01,813 --> 00:33:04,564
with this company
that's bordering on collapse,
622
00:33:04,649 --> 00:33:06,942
because they're losing money.
623
00:33:07,026 --> 00:33:09,653
He stays up here with this company
bordering on collapse, right?
624
00:33:13,616 --> 00:33:18,745
John came up with the idea of doing
this story from a toy's point of view,
625
00:33:18,830 --> 00:33:24,209
done in this 3-D plastic world,
and the idea was sensational.
626
00:33:24,293 --> 00:33:28,005
And they'd gone from commercials
to a short film being six minutes.
627
00:33:28,089 --> 00:33:31,675
They felt they could expand
the system to a 30-minute movie.
628
00:33:31,759 --> 00:33:34,594
And we said, "Oh, forget about that.
Make it a full-length feature."
629
00:33:34,679 --> 00:33:37,014
NARRATOR: From John's initial pitch,
630
00:33:37,098 --> 00:33:41,143
Disney offered the Pixar team
the chance to finally fulfill their dream
631
00:33:41,436 --> 00:33:45,022
of creating the world's first
computer-animated feature film.
632
00:33:47,233 --> 00:33:49,901
LASSETER: l remember Bonnie Arnold,
the producer,
633
00:33:49,986 --> 00:33:51,445
and Ralph Guggenheim, the producer,
634
00:33:51,529 --> 00:33:53,363
came around and they said...
635
00:33:53,448 --> 00:33:54,448
GUGGENHElM: We're making a movie.
636
00:33:54,532 --> 00:33:56,283
-Really?
-GUGGENHElM: Green light.
637
00:33:56,367 --> 00:33:57,367
We got green light?
638
00:33:57,452 --> 00:33:58,410
ARNOLD: We got it.
Just talked to Peter.
639
00:33:58,494 --> 00:33:59,536
LASSETER: lt happened,
and it was like,
640
00:33:59,620 --> 00:34:02,039
"'Oh, my God, we're actually
gonna make this movie."
641
00:34:02,123 --> 00:34:03,790
And l was so excited.
642
00:34:03,875 --> 00:34:07,794
There was so much
positive enthusiasm. lt was great.
643
00:34:07,879 --> 00:34:08,879
(LAUGHlNG)
644
00:34:08,963 --> 00:34:10,338
-GUGGENHElM: All right.
-ls that all right?
645
00:34:10,423 --> 00:34:14,092
lt was an attempt
to take the spirit of John Lasseter
646
00:34:14,802 --> 00:34:17,179
and see if we could make
a full-length motion picture with it.
647
00:34:19,640 --> 00:34:20,640
JOBS: lt was fantastic.
648
00:34:20,725 --> 00:34:23,185
There was no better partner
to do it with than Disney.
649
00:34:23,269 --> 00:34:25,270
There was a lot
we could learn from them,
650
00:34:25,354 --> 00:34:26,772
vast amounts
we could learn from them.
651
00:34:26,856 --> 00:34:29,024
So it was the best thing
that ever happened to the studio.
652
00:34:29,108 --> 00:34:30,150
You heard?
653
00:34:30,234 --> 00:34:32,319
None of us had done
a movie ourselves before,
654
00:34:32,403 --> 00:34:34,404
and a large portion of us
had never worked on a movie at all.
655
00:34:34,489 --> 00:34:35,572
GUGGENHElM: Green light.
656
00:34:35,656 --> 00:34:36,865
LASSETER: lgnorance was bliss.
657
00:34:37,200 --> 00:34:39,242
We did not know what we didn't know.
658
00:34:39,619 --> 00:34:42,496
lt's like the
Mickey Rooney/Judy Garland things,
659
00:34:42,580 --> 00:34:44,956
"Hey, my uncle's got a barn !
Let's put on a show!"
660
00:34:45,041 --> 00:34:47,250
-Unpack. Unpack.
-You mean l can stay?
661
00:34:47,335 --> 00:34:48,835
CATMULL: We were onto
something big
662
00:34:48,920 --> 00:34:52,005
if we could just hold it together
and make it happen.
663
00:34:57,428 --> 00:34:59,679
LASSETER: We did not want to
do a musical.
664
00:34:59,764 --> 00:35:01,598
We did not want to do a fairy tale.
665
00:35:01,682 --> 00:35:03,975
We did not want to do
what Disney was,
666
00:35:04,060 --> 00:35:06,937
from Little Mermaid
and Beauty and the Beast
667
00:35:07,021 --> 00:35:08,063
and all those films. . .
668
00:35:08,147 --> 00:35:11,024
They had their thing going
and we wanted to be different.
669
00:35:12,693 --> 00:35:15,570
NARRATOR: John set his sights
on one particular actor
670
00:35:15,655 --> 00:35:17,531
for the voice of Woody.
671
00:35:17,657 --> 00:35:20,367
They said, "Look, we just wanna
show you this thing,
672
00:35:20,910 --> 00:35:23,203
"'cause it's too hard
to explain what it is."
673
00:35:24,539 --> 00:35:26,081
Oh, no, no, no!
674
00:35:26,165 --> 00:35:28,291
You're eating the car!
675
00:35:28,376 --> 00:35:30,794
Don't eat the car! Not the car!
676
00:35:30,878 --> 00:35:33,713
Oh, you stupid dog !
677
00:35:34,090 --> 00:35:37,092
When l saw this loop,
it was startling, actually.
678
00:35:37,176 --> 00:35:38,927
lt was kind of, like, hypnotic.
679
00:35:39,011 --> 00:35:40,470
"Let's see it again.
Can l see that again?"
680
00:35:40,555 --> 00:35:42,347
l think we must have watched it
three or four times.
681
00:35:42,431 --> 00:35:45,308
lt didn't look like animation.
lt looked like Plasticine come to life.
682
00:35:45,393 --> 00:35:47,894
l couldn't explain it even to friends
what it was like.
683
00:35:47,979 --> 00:35:49,855
l just said, "Well, it's gonna be
this whole new thing.
684
00:35:49,939 --> 00:35:52,858
"They've just invented something
that is a brand new way of doing this."
685
00:35:52,942 --> 00:35:53,942
(BEEPlNG)
686
00:35:54,569 --> 00:35:55,944
Hi, pal. What you doing?
687
00:35:56,028 --> 00:35:57,654
l'm Tempest from Morph !
688
00:35:57,738 --> 00:35:59,239
Yeah, yeah, what's this button?
689
00:35:59,323 --> 00:36:02,117
Say, you weren't thinking of flying,
were you?
690
00:36:02,243 --> 00:36:05,162
You know, Andy loves toys that can fly!
691
00:36:05,246 --> 00:36:09,749
Really? Well, then,
to infinity and beyond !
692
00:36:12,962 --> 00:36:16,423
You know,
Andy loves toys that he can find !
693
00:36:17,675 --> 00:36:22,721
LASSETER: There was this desire
at Disney to make Tot Story edgy.
694
00:36:22,805 --> 00:36:26,141
Make it edgy.
Make it, like, something for adults.
695
00:36:26,267 --> 00:36:29,519
Jeffrey Katzenberg, who at the time
was chairman of the Disney Studios
696
00:36:29,604 --> 00:36:31,605
and had great interest in animation
697
00:36:32,607 --> 00:36:37,194
would always in a story meeting
be pushing for what he called "edge."
698
00:36:37,403 --> 00:36:41,948
Which really was
code for snappy, adult,
699
00:36:42,200 --> 00:36:44,409
the edge of inappropriate,
700
00:36:44,493 --> 00:36:46,786
and not to feel too young.
701
00:36:46,913 --> 00:36:51,833
We were working our butts off
and jumping through every hoop,
702
00:36:51,918 --> 00:36:54,336
addressing every note
that was given to us. . .
703
00:36:54,462 --> 00:36:56,379
And that was the first year.
704
00:36:56,464 --> 00:36:58,757
NARRATOR: By December, 1 993,
705
00:36:58,841 --> 00:37:00,926
John and his crew flew to Burbank
706
00:37:01,010 --> 00:37:03,887
to present their completed storyboards
to Disney.
707
00:37:03,971 --> 00:37:07,307
Their approval would finally
launch Pixar into production.
708
00:37:07,391 --> 00:37:11,228
But what was to come
was a day they would never forget.
709
00:37:15,733 --> 00:37:16,733
SCHNElDER: Nothing of it
was working.
710
00:37:16,817 --> 00:37:19,486
lt wasn't funny, it wasn't emotional,
it wasn't moving.
711
00:37:19,570 --> 00:37:21,446
Characters didn't quite work.
712
00:37:22,698 --> 00:37:26,243
Peter Schneider sent me this video,
which was, like, two cassettes.
713
00:37:26,327 --> 00:37:27,285
lt was so long.
714
00:37:27,370 --> 00:37:32,624
lt was like two hours, and it went on
and on and on and on and on and on
715
00:37:32,708 --> 00:37:34,417
and l was fast-forwarding through it
716
00:37:34,502 --> 00:37:36,920
and thinking,
"Oh, my God. This'll never end."
717
00:37:37,004 --> 00:37:42,968
Which led to this horrible, horrible day
when things came to a crashing halt.
718
00:37:43,970 --> 00:37:46,846
That was our Black Friday.
Black Monday, Black Tuesday. . .
719
00:37:46,931 --> 00:37:49,391
l forget what day of the week it was,
but it was sure black.
720
00:37:50,184 --> 00:37:52,185
WOODY: Hey, you wanna be
Mr. Mashed Potato Head?
721
00:37:52,270 --> 00:37:53,853
You button your lip!
722
00:37:53,938 --> 00:37:55,146
Nobody's getting replaced!
723
00:37:55,231 --> 00:37:57,607
SCHUMACHER: lt resulted in
the Woody character
724
00:37:57,692 --> 00:38:00,110
being one of the most repellent things
you've ever seen on screen.
725
00:38:00,194 --> 00:38:01,611
l mean, you couldn't watch it.
726
00:38:01,696 --> 00:38:06,283
lt was smart-alecky.
lt was like a brand of insult humor.
727
00:38:06,367 --> 00:38:08,243
lt was kind of, like, negative.
728
00:38:08,327 --> 00:38:10,161
WOODY: All right, that's enough!
729
00:38:10,246 --> 00:38:13,123
You're all acting like
you've never seen a new toy before!
730
00:38:13,207 --> 00:38:14,332
Get a grip, okay?
731
00:38:14,417 --> 00:38:16,960
SCHUMACHER: Jeffrey said,
"Well, why is this so terrible?"
732
00:38:17,044 --> 00:38:19,212
l said, "Well, because
it's not their movie anymore.
733
00:38:19,297 --> 00:38:22,048
"lt's completely not the movie
that John set out to make."
734
00:38:22,758 --> 00:38:25,051
LASSETER: Disney forced us
to shut production down.
735
00:38:25,136 --> 00:38:28,054
And they wanted us to lay people off,
and we refused.
736
00:38:29,223 --> 00:38:30,223
(CLANGlNG)
737
00:38:30,391 --> 00:38:33,768
We just said, "All right, screw it.
What do we want to do?
738
00:38:33,853 --> 00:38:35,312
"What would be the funniest thing?"
739
00:38:35,396 --> 00:38:39,149
We were also very brutally honest with
each other about what we thought.
740
00:38:39,233 --> 00:38:40,275
LASSETER: We worked day and night.
741
00:38:40,359 --> 00:38:42,485
STANTON: And we just really
went 1 00% with our gut.
742
00:38:42,570 --> 00:38:45,739
We knew it was sort of our last chance.
We knew time was not on our side.
743
00:38:45,823 --> 00:38:50,243
lt was so refreshing, 'cause we were
making the movie we wanted to make.
744
00:38:50,369 --> 00:38:52,912
RANFT: We'd just sit on our knees,
right on the floor
745
00:38:52,997 --> 00:38:55,123
and draw with Sharpies on pads
and pin it all up.
746
00:38:55,207 --> 00:38:58,168
And then, like, "Oh, this is great!"
We'd get all excited. "This is great."
747
00:38:58,252 --> 00:38:59,336
STANTON: And re-boarded
the whole thing.
748
00:38:59,420 --> 00:39:03,089
We did it much faster, much rougher
than anybody ever thought we could.
749
00:39:03,174 --> 00:39:05,300
LASSETER: And we turned
the reels around
750
00:39:05,384 --> 00:39:07,385
in two weeks or three weeks,
something like that,
751
00:39:07,470 --> 00:39:09,012
unheard of amount of time.
752
00:39:09,096 --> 00:39:10,430
And we showed it to Disney,
753
00:39:10,514 --> 00:39:14,517
and they were all ready to completely
shut production down and call it a day.
754
00:39:14,602 --> 00:39:16,895
And you know what? lt was good.
755
00:39:16,979 --> 00:39:18,271
lt was not great, but it was good.
756
00:39:18,356 --> 00:39:20,648
lt showed the potential
of what Toy Stery would be.
757
00:39:20,733 --> 00:39:21,816
And they said, "Okay."
758
00:39:21,901 --> 00:39:24,736
Then we started production back up
and went from there.
759
00:39:33,996 --> 00:39:37,665
NARRATOR: The first scene animated
was the army men sequence.
760
00:39:37,750 --> 00:39:40,710
lt was an early glimpse
of what was to come.
761
00:39:46,008 --> 00:39:48,134
(CHlLDREN CHATTERlNG)
762
00:39:48,302 --> 00:39:50,470
Go, go.
Go on without me! Just go!
763
00:39:50,554 --> 00:39:53,306
A good soldier
never leaves a man behind !
764
00:40:00,815 --> 00:40:03,358
LEE UNKRlCH: We were so flying
by the seat of our pants. lt was nuts.
765
00:40:03,442 --> 00:40:06,444
We would get all the stuff together
and we would send it off to animation
766
00:40:06,529 --> 00:40:07,529
and let them animate it.
767
00:40:07,863 --> 00:40:09,656
We would then get it back into editorial
768
00:40:09,740 --> 00:40:11,741
and find that
nothing was cutting together at all.
769
00:40:11,826 --> 00:40:13,034
lt was so absolutely Stone Age,
770
00:40:13,119 --> 00:40:15,870
yet at the time we were, like,
on the top of our mountain.
771
00:40:15,955 --> 00:40:17,414
We thought we were being so cool
772
00:40:17,498 --> 00:40:20,125
and no one was doing anything
like what we were doing.
773
00:40:20,209 --> 00:40:21,835
REEVES: l think the biggest challenge
in Tot Story
774
00:40:21,919 --> 00:40:24,754
was just dealing
with the length of the film.
775
00:40:24,839 --> 00:40:27,507
Full of characters, full of sets,
all sorts of stuff.
776
00:40:27,591 --> 00:40:29,717
And the story drove everything.
777
00:40:30,136 --> 00:40:32,512
Every frame of that story
was in my head.
778
00:40:32,596 --> 00:40:35,181
Working with the art department,
working with modeling,
779
00:40:35,266 --> 00:40:38,143
working with layout,
working with the animators.
780
00:40:38,227 --> 00:40:39,519
l would talk about the story
781
00:40:39,603 --> 00:40:43,106
and tell them
how it fit in the framework of that.
782
00:40:43,190 --> 00:40:44,190
CATMULL: And there's something
about having
783
00:40:44,275 --> 00:40:47,277
the artists and the technical crew
working together that is exciting.
784
00:40:47,361 --> 00:40:48,486
Even though we may do some things
785
00:40:48,571 --> 00:40:50,822
that don't always necessarily
make the best sense,
786
00:40:50,906 --> 00:40:52,490
the mix is exciting.
787
00:40:52,575 --> 00:40:53,950
What did l tell you earlier?
788
00:40:54,034 --> 00:40:55,785
No one is getting replaced.
789
00:40:55,870 --> 00:40:59,706
Now, let's all be polite
and give whatever it is up there
790
00:40:59,790 --> 00:41:02,625
a nice, big, Andy's room welcome!
791
00:41:02,710 --> 00:41:04,502
Woody was a pendulum swing
792
00:41:04,587 --> 00:41:06,629
from Woody being comfortable
with his position
793
00:41:06,714 --> 00:41:10,467
to Woody being threatened
by the arrival of Buzz Lightyear.
794
00:41:14,388 --> 00:41:15,430
(WOODY GULPS)
795
00:41:15,514 --> 00:41:16,639
TlM ALLEN: Lasseter called me
and said,
796
00:41:16,724 --> 00:41:18,433
"Would you look at these sketches
of this character?
797
00:41:18,517 --> 00:41:19,976
"We think you're the perfect guy for it."
798
00:41:20,561 --> 00:41:23,688
And the only thing that sold me
was his enthusiasm.
799
00:41:23,772 --> 00:41:25,106
And l said, "What a neat idea."
800
00:41:25,191 --> 00:41:27,275
Had no idea visually
what this would look like.
801
00:41:27,359 --> 00:41:30,195
He let me stretch it a little bit
802
00:41:30,279 --> 00:41:34,407
and really make it this really kind of
a closed-head-injury type of guy.
803
00:41:34,492 --> 00:41:35,492
(BEEPS)
804
00:41:35,576 --> 00:41:36,784
Star Command, come in.
Do you read me?
805
00:41:36,869 --> 00:41:38,411
Why don't they answer?
806
00:41:38,579 --> 00:41:40,246
(GASPS) My ship!
807
00:41:43,250 --> 00:41:44,292
Blast!
808
00:41:44,376 --> 00:41:45,793
This'll take weeks to repair!
809
00:41:45,878 --> 00:41:48,046
ALLEN: He's full of himself,
but in a great way.
810
00:41:48,130 --> 00:41:49,964
l don't think of Buzz
as really obnoxious.
811
00:41:50,049 --> 00:41:52,592
Obviously, 'cause l think
he's the more popular of the toy.
812
00:41:52,676 --> 00:41:53,676
(LAUGHS)
813
00:41:53,761 --> 00:41:55,136
Buzz Lightyear Mission Log.
814
00:41:55,221 --> 00:41:56,679
The local sheriff and l seem to be
815
00:41:56,764 --> 00:41:59,098
at a huge refueling station
of some sort. . .
816
00:41:59,183 --> 00:42:01,100
-HANKS (AS WOODY): You !
-According to my nava-computer. . .
817
00:42:01,185 --> 00:42:02,227
Shut up, you idiot!
818
00:42:02,311 --> 00:42:04,020
Sheriff, this is no time to panic!
819
00:42:04,104 --> 00:42:05,772
This is the perfect time to panic!
820
00:42:05,856 --> 00:42:07,899
l'm lost, Andy is gone,
821
00:42:07,983 --> 00:42:10,068
and they're gonna move
from the house in two days.
822
00:42:10,152 --> 00:42:12,487
And it's all your fault!
823
00:42:13,614 --> 00:42:14,697
RANFT: John.
824
00:42:16,367 --> 00:42:17,367
WOMAN: Tom.
825
00:42:17,451 --> 00:42:21,412
l think the hard part for me and
probably for a lot of others was that
826
00:42:21,497 --> 00:42:27,085
it was really hard to know, from those
story sketches to the finished product,
827
00:42:27,169 --> 00:42:28,503
what it was gonna look like.
828
00:42:28,921 --> 00:42:30,880
Which is really scary stuff.
829
00:42:30,965 --> 00:42:33,716
l remember,
even halfway through the movie,
830
00:42:33,801 --> 00:42:36,803
and we were seeing
most of the first half, say,
831
00:42:36,887 --> 00:42:39,222
in fairly completed form in color,
832
00:42:39,306 --> 00:42:43,226
l was still thinking, "l don't get
how this is gonna work at the ending,"
833
00:42:43,310 --> 00:42:45,562
because there was this huge chase
through the streets
834
00:42:45,646 --> 00:42:48,106
and the truck
and all of that kind of thing.
835
00:42:48,190 --> 00:42:50,608
lt was like they did that all in one day.
836
00:42:50,693 --> 00:42:51,693
(WHOOSHlNG)
837
00:42:58,242 --> 00:43:03,621
And suddenly, it was all in there, and
l remember saying to my wife, "l get it."
838
00:43:03,706 --> 00:43:06,791
BlNOCULARS: Look, look,
it's Woody and Buzz coming up fast!
839
00:43:07,835 --> 00:43:09,377
Woody!
840
00:43:10,087 --> 00:43:14,132
Some of the machines had to run 24/7 ,
three months straight.
841
00:43:14,216 --> 00:43:18,177
Any hiccup in there
would've been disastrous, you know?
842
00:43:18,262 --> 00:43:20,346
And it was Band-Aids.
That's the funny part.
843
00:43:21,223 --> 00:43:22,265
(SCREAMS)
844
00:43:22,349 --> 00:43:24,434
This is the part where we blow up!
845
00:43:24,518 --> 00:43:25,935
Not today!
846
00:43:29,607 --> 00:43:30,773
We were blown away with it,
847
00:43:30,858 --> 00:43:34,235
and we really felt strongly that
the movie was gonna be a success.
848
00:43:34,320 --> 00:43:36,279
But even we didn't have a clue
849
00:43:36,363 --> 00:43:37,780
how much of a success
it was gonna be.
850
00:43:38,324 --> 00:43:41,784
To infinity and beyond !
851
00:43:41,869 --> 00:43:43,369
NARRATOR: Tot Story opened
nationwide
852
00:43:43,454 --> 00:43:46,080
on Thanksgiving weekend in 1 995,
853
00:43:46,165 --> 00:43:47,707
and from a shoestring budget,
854
00:43:48,042 --> 00:43:52,295
went on to earn more than
$350 million worldwide,
855
00:43:52,379 --> 00:43:57,550
and paved the path to an entirely new
computer animation industry.
856
00:43:58,886 --> 00:44:01,137
Kids loved it, critics loved it,
857
00:44:01,221 --> 00:44:05,224
and people in the animation field
were knocked out.
858
00:44:05,809 --> 00:44:09,270
DOCTER: l remember the reviews
starting to come in and going, "Wow."
859
00:44:09,355 --> 00:44:12,106
First of all, the fact that this paper
has even heard of this movie
860
00:44:12,191 --> 00:44:15,276
and they care about it is stunning,
and then they gave it a good review!
861
00:44:15,361 --> 00:44:17,987
They were just glowing, and wow.
862
00:44:18,072 --> 00:44:20,823
The most amazing thing to me was
that it was really, really good.
863
00:44:20,908 --> 00:44:23,951
lt was really entertaining.
Great story, great character.
864
00:44:24,036 --> 00:44:27,205
That was the part where l was saying,
"Whoa, they really pulled this off."
865
00:44:27,289 --> 00:44:30,708
People began to realize
that this was a big deal,
866
00:44:30,793 --> 00:44:33,211
that we, in fact, had hit our stride,
867
00:44:33,295 --> 00:44:35,713
and this was what
we were destined to do.
868
00:44:36,465 --> 00:44:38,257
(YOU'VE GOT A FRlEND lN ME
PLAYlNG)
869
00:44:43,180 --> 00:44:45,348
NARRATOR: The Academy
of Motion Pictures honored John
870
00:44:45,432 --> 00:44:47,684
with a special achievement Oscar
871
00:44:47,768 --> 00:44:51,229
for creating the first
computer-animated feature film.
872
00:44:56,944 --> 00:45:00,947
ln spite ofTot Story's success,
the original contract between Pixar
873
00:45:01,031 --> 00:45:04,826
and Disney left the majority of the
profits and merchandising with Disney,
874
00:45:05,202 --> 00:45:07,328
a long-term disaster for Pixar.
875
00:45:07,413 --> 00:45:10,581
Financially, if one film did not do well,
876
00:45:10,666 --> 00:45:12,709
we would be wiped off
the face of the earth.
877
00:45:12,793 --> 00:45:15,795
We realized then
that we had to become a studio,
878
00:45:15,879 --> 00:45:17,547
rather than just a production company.
879
00:45:17,631 --> 00:45:21,050
And in order to do that,
we were going to need capital.
880
00:45:21,135 --> 00:45:23,553
So that's when we decided
we had to go public.
881
00:45:25,681 --> 00:45:27,640
lt was a combination of things
882
00:45:27,725 --> 00:45:29,684
that really hadn't been
accomplished before.
883
00:45:29,977 --> 00:45:34,814
Creativity, technology, business.
And it was a small company
884
00:45:34,940 --> 00:45:38,109
with those capabilities
going up against giants.
885
00:45:38,902 --> 00:45:41,070
NARRATOR: One week
afterTot Story's release,
886
00:45:41,155 --> 00:45:43,948
Pixar became the highest
lPO of the year.
887
00:45:44,616 --> 00:45:46,325
From a $1 0 million investment,
888
00:45:46,785 --> 00:45:49,662
Steve raised $1 32 million.
889
00:45:53,834 --> 00:45:58,045
lt was a wildly successful lPO ,
we got the money in the bank.
890
00:45:58,130 --> 00:45:59,797
And then, shortly thereafter,
891
00:46:00,048 --> 00:46:02,425
Disney came to us and said,
"We want to extend the contract."
892
00:46:02,509 --> 00:46:07,221
And Steve said, "Okay, we will extend it
if we can be fifty-fifty partners."
893
00:46:07,556 --> 00:46:09,599
And they said, "Okay, we'll do that."
894
00:46:09,683 --> 00:46:13,060
So he actually nailed this
right on the head.
895
00:46:13,145 --> 00:46:14,187
l was in awe.
896
00:46:22,321 --> 00:46:25,198
DARLA ANDERSON: lt was just
really surreal that we had gone from
897
00:46:25,282 --> 00:46:27,325
riding around on scooters
past empty offices,
898
00:46:27,409 --> 00:46:29,243
looking for extra office supplies,
899
00:46:29,328 --> 00:46:31,913
to this meteoric success, really.
900
00:46:31,997 --> 00:46:33,790
JOBS: We were in a place
called Point Richmond,
901
00:46:33,874 --> 00:46:36,542
which was two miles away
from a few refineries.
902
00:46:36,668 --> 00:46:39,170
A few times a year,
we'd have evacuation days
903
00:46:39,254 --> 00:46:41,005
'cause the refineries would spew some
904
00:46:41,089 --> 00:46:43,966
wonderful chemical
concoction into the air.
905
00:46:44,468 --> 00:46:46,928
Pixar's facilities grew
with the company,
906
00:46:47,012 --> 00:46:49,388
which meant that they were
a hodgepodge.
907
00:46:49,473 --> 00:46:52,308
CATMULL: The animation bullpen
was this amazing building,
908
00:46:52,643 --> 00:46:55,770
probably not legal at all
because of fire code.
909
00:46:58,273 --> 00:46:59,357
RANDY NELSON: lt looked
like a playground.
910
00:46:59,441 --> 00:47:02,360
lt was loose, it was free, it was rough.
911
00:47:02,444 --> 00:47:06,489
lt was like 200 people sharing
a college dorm room.
912
00:47:06,573 --> 00:47:08,825
lt was a place where you could go
and draw on the wall,
913
00:47:08,909 --> 00:47:11,911
or make a hole in the wall
and not feel bad about it.
914
00:47:14,122 --> 00:47:16,707
There was this infectious
enthusiasm in the building.
915
00:47:16,792 --> 00:47:18,543
lt's like l imagined it must be like, say,
916
00:47:18,627 --> 00:47:19,919
for the guys in Monty Python
917
00:47:20,003 --> 00:47:22,213
to be sitting around a table,
writing material.
918
00:47:22,297 --> 00:47:25,883
You'd expect there to be this great
creative feeding frenzy at the table,
919
00:47:25,968 --> 00:47:27,885
and that's what we had.
920
00:47:30,055 --> 00:47:34,392
lt was so innocent and so sweet,
and it was really, really a great time.
921
00:47:36,562 --> 00:47:37,687
CATMULL: A lot of people said,
922
00:47:37,771 --> 00:47:40,648
"Congratulations. You guys did what
you said you were gonna do,
923
00:47:40,732 --> 00:47:42,775
"and you spent your
whole careers doing it."
924
00:47:42,860 --> 00:47:44,402
So there was this great
feeling of elation,
925
00:47:44,486 --> 00:47:47,530
and then when it was done
it was like, "Now what?"
926
00:47:47,614 --> 00:47:49,866
There's a classic thing in business,
927
00:47:49,950 --> 00:47:53,160
which is the second product syndrome,
if you will,
928
00:47:53,245 --> 00:47:57,874
and that is companies that have
a really successful first product,
929
00:47:57,958 --> 00:48:01,627
but they don't quite understand
why that product was so successful.
930
00:48:01,712 --> 00:48:04,881
And their ambitions grow,
and they get much more grandiose,
931
00:48:04,965 --> 00:48:06,382
and their second product fails.
932
00:48:06,466 --> 00:48:08,551
Believe it or not,
Apple was one of those companies.
933
00:48:08,635 --> 00:48:11,304
The Apple ll, Apple's first
real product in the marketplace,
934
00:48:11,388 --> 00:48:15,349
was incredibly successful
and the Apple lll was a dud.
935
00:48:15,434 --> 00:48:16,726
And so l lived through that,
936
00:48:16,810 --> 00:48:19,687
and l've seen a lot of companies
not make it through that.
937
00:48:20,522 --> 00:48:24,442
My feeling was if we got through
our second film, we'd make it.
938
00:48:24,818 --> 00:48:28,529
The bigger fear was just, can you find
that lightning in a bottle again?
939
00:48:28,614 --> 00:48:32,283
Can you make yourself as in love
the second time around,
940
00:48:32,367 --> 00:48:35,161
and you realize you have
to actually work now
941
00:48:35,245 --> 00:48:38,372
at making yourself as naive
942
00:48:38,457 --> 00:48:41,918
as you were in the first round
without any effort.
943
00:48:42,002 --> 00:48:43,753
There's nothing worse than any artist
944
00:48:43,837 --> 00:48:46,213
facing their second
big piece of work, right?
945
00:48:46,840 --> 00:48:49,425
'Cause it's the point
at which you find out whether
946
00:48:49,509 --> 00:48:52,053
everything that's been written
about you is just hype,
947
00:48:52,262 --> 00:48:53,888
and you're yesterday's news,
948
00:48:53,972 --> 00:48:56,098
or whether you maybe
really are the real deal.
949
00:48:56,350 --> 00:48:59,060
One of the things l learned is
the tricks that worked on the last movie
950
00:48:59,144 --> 00:49:01,145
don't necessarily work on this movie.
951
00:49:01,229 --> 00:49:03,606
You know, you think,
"Oh, we made Toy Sfory.
952
00:49:03,690 --> 00:49:05,942
"This is good. Oh, we know how. . .
What we're doing now!"
953
00:49:06,026 --> 00:49:08,402
And then you start on a movie
like Bug's Life,
954
00:49:08,487 --> 00:49:10,696
and you're back in kindergarten again.
955
00:49:18,872 --> 00:49:20,790
LASSETER: Research was
literally done
956
00:49:20,874 --> 00:49:23,501
out in front of Pixar,
in our own backyard.
957
00:49:25,504 --> 00:49:27,463
We ordered this tiny
little video camera.
958
00:49:27,547 --> 00:49:31,634
We called it the bug-cam,
and put it on the end of a stick.
959
00:49:31,718 --> 00:49:34,845
And we put little wheels from Lego
on the bottom of it,
960
00:49:34,930 --> 00:49:38,140
and we were able to wheel it around
and literally look at things
961
00:49:38,225 --> 00:49:40,935
from a half an inch above the ground.
962
00:49:44,940 --> 00:49:47,525
The one thing we noticed
from this bug-cam
963
00:49:47,609 --> 00:49:50,861
was how translucent everything was.
964
00:49:50,946 --> 00:49:52,780
lt was breathtaking.
965
00:49:52,864 --> 00:49:54,532
(lNSECTS BUZZlNG)
966
00:49:54,616 --> 00:49:56,325
NARRATOR: For their second film
with Disney,
967
00:49:56,743 --> 00:49:58,911
Pixar set out to prove
themselves again,
968
00:49:59,454 --> 00:50:02,873
with a bigger story, scope
and organic characters.
969
00:50:03,125 --> 00:50:07,920
Here l go. For the colony!
And for oppressed ants everywhere!
970
00:50:09,297 --> 00:50:10,840
NARRATOR: A Bug's Life was the first
971
00:50:10,924 --> 00:50:13,467
computer-animated
wide-screen movie.
972
00:50:14,177 --> 00:50:16,262
Oh. The city!
973
00:50:21,101 --> 00:50:24,270
l represent a colony of ants,
and l'm looking for tough bugs.
974
00:50:24,354 --> 00:50:25,855
You know, mean bugs.
The sort of bugs. . .
975
00:50:25,939 --> 00:50:26,981
A talent scout!
976
00:50:27,065 --> 00:50:29,775
My colony's in trouble!
Grasshoppers are coming.
977
00:50:29,860 --> 00:50:32,570
We've been forced to prepare
all this food !
978
00:50:32,654 --> 00:50:34,697
-Dinner theater!
-Food !
979
00:50:34,781 --> 00:50:37,700
Please! Will you help us?
980
00:50:37,784 --> 00:50:42,121
This is it! This is Ant lsland !
981
00:50:42,205 --> 00:50:45,332
DOT: Flik! Over here! Flik! Flik!
982
00:50:45,417 --> 00:50:51,047
They seem to relish the idea, at Pixar,
of doing something difficult
983
00:50:51,131 --> 00:50:53,883
and then seeing
how to solve the problems
984
00:50:53,967 --> 00:50:56,802
in a creative and entertaining way.
985
00:50:57,179 --> 00:50:59,055
What did you do?
986
00:51:00,474 --> 00:51:01,849
lt was an accident?
987
00:51:08,982 --> 00:51:09,982
ANDERSON: There's
always something
988
00:51:10,067 --> 00:51:11,442
that we haven't invented yet.
989
00:51:11,526 --> 00:51:15,321
So, as a producer,
you are trusting a lot of R&D
990
00:51:15,405 --> 00:51:16,655
to come through in the right time.
991
00:51:16,740 --> 00:51:18,949
And you're pushing a lot of things
and you're gambling
992
00:51:19,034 --> 00:51:20,493
and you're looking at people's eyes
and you're saying,
993
00:51:20,577 --> 00:51:22,495
"Can you do this for me?"
994
00:51:22,579 --> 00:51:25,372
LASSETER: lt was just a giant story.
995
00:51:25,457 --> 00:51:28,250
Too many characters,
too much going on
996
00:51:28,335 --> 00:51:31,003
and we were just drowning
in this thing.
997
00:51:31,171 --> 00:51:33,172
ANDERSON: So the producer goes to
John and says,
998
00:51:33,256 --> 00:51:36,592
"John, we technologically
cannot do crowd shots
999
00:51:36,676 --> 00:51:38,219
"with more than 50 ants in them.
1000
00:51:38,303 --> 00:51:40,513
"So can you design the movie
around this limitation?"
1001
00:51:40,597 --> 00:51:43,432
And he said, "l'm willing to accept that
if that's all you can do,
1002
00:51:43,517 --> 00:51:44,934
"but l think you guys can do better."
1003
00:51:45,018 --> 00:51:48,104
So he helped formulate
this crowd team.
1004
00:51:48,188 --> 00:51:50,272
He believed in them, he pushed them
1005
00:51:50,357 --> 00:51:52,108
and at the end of the day,
they were the heroes of the movie.
1006
00:51:58,865 --> 00:52:00,616
You ants stay back!
1007
00:52:06,873 --> 00:52:08,958
NARRATOR: Through new
technological advancements,
1008
00:52:09,042 --> 00:52:14,547
Pixar artists transformed
50 original crowd shots into 431 ,
1009
00:52:14,631 --> 00:52:18,425
and brought an epic of
miniature proportions to the screen.
1010
00:52:19,386 --> 00:52:22,138
Pixar broke through
the second film syndrome
1011
00:52:22,222 --> 00:52:24,306
and A Bug's Life became
the highest-grossing
1012
00:52:24,391 --> 00:52:26,767
animated film of 1 998.
1013
00:52:31,773 --> 00:52:34,150
After directing two back-to-back films,
1014
00:52:34,234 --> 00:52:37,486
John returned home from
the international promotional tour,
1015
00:52:37,571 --> 00:52:40,447
now ready for a much-needed break.
1016
00:52:40,532 --> 00:52:42,116
l was exhausted.
1017
00:52:42,200 --> 00:52:45,035
My family hadn't seen much of me
1018
00:52:45,120 --> 00:52:46,829
and we were going
to take the summer off.
1019
00:52:46,913 --> 00:52:49,707
Coming down the home stretch
of Bug's Life,
1020
00:52:49,791 --> 00:52:53,252
we were all feeling stressed.
1021
00:52:53,461 --> 00:52:57,173
And, you know,
we had been sharing John a lot.
1022
00:52:57,883 --> 00:53:01,719
As a family, you know,
we needed some family time.
1023
00:53:01,803 --> 00:53:04,305
NARRATOR: Meanwhile, a secondary
production team at Pixar
1024
00:53:04,389 --> 00:53:07,600
was making a direct-to-video
sequel ofTot Story ,
1025
00:53:08,185 --> 00:53:11,687
the first project not
supervised by John Lasseter.
1026
00:53:11,771 --> 00:53:13,731
ln February 1 998,
1027
00:53:13,815 --> 00:53:17,359
Disney decided to release
Tot Story 2 theatrically.
1028
00:53:17,444 --> 00:53:21,447
But at Pixar,
a creative crisis was growing within.
1029
00:53:22,324 --> 00:53:23,949
We knew Toy Sfory 2
was having troubles.
1030
00:53:24,034 --> 00:53:27,953
l don't think we realized
how bad it was really going,
1031
00:53:28,038 --> 00:53:30,039
and then we found out.
1032
00:53:30,123 --> 00:53:32,708
lt just was not shaping up to be
1033
00:53:33,752 --> 00:53:36,754
at the level that we thought
it needed to be.
1034
00:53:37,464 --> 00:53:40,424
CATMULL: John came back from
his European promotional trip
1035
00:53:40,508 --> 00:53:43,302
and then came in
and saw the reels and said,
1036
00:53:43,386 --> 00:53:45,930
"You're right, it's not very good."
1037
00:53:46,598 --> 00:53:50,517
So at that point,
we went down to Disney and said,
1038
00:53:50,602 --> 00:53:53,729
"The film isn't very good.
We have to redo it."
1039
00:53:53,813 --> 00:53:57,274
And they said,
"lt actually is good enough,
1040
00:53:57,359 --> 00:54:01,195
"but more importantly,
you literally do not have the time."
1041
00:54:01,821 --> 00:54:03,906
And what we said at the time was,
1042
00:54:03,990 --> 00:54:08,494
"We can't deliver it the way it is.
We have to do it over again."
1043
00:54:09,829 --> 00:54:13,791
We decided that
the only course of action
1044
00:54:13,875 --> 00:54:15,793
was to ask John to go in,
1045
00:54:15,877 --> 00:54:19,588
right after he'd come off of
A Bug's Life, without any rest,
1046
00:54:19,673 --> 00:54:22,091
to go in and take over that film.
1047
00:54:25,011 --> 00:54:28,931
My feeling was l could not ask
anybody at Pixar
1048
00:54:29,015 --> 00:54:31,684
to do something
l was not willing to do myself.
1049
00:54:31,768 --> 00:54:35,229
l said to him,
"Well, l support you all the way.
1050
00:54:35,313 --> 00:54:39,775
"l'd like to see you do this picture,
but we also have a family here,
1051
00:54:39,859 --> 00:54:42,027
"and you're gonna have to
1052
00:54:43,029 --> 00:54:46,532
"make changes in your
day-to-day routine.
1053
00:54:46,616 --> 00:54:48,450
"You're gonna have
to work normal hours."
1054
00:54:48,535 --> 00:54:50,619
This is a movie that was already
fully into production.
1055
00:54:50,704 --> 00:54:52,288
A lot of it was animated.
1056
00:54:52,372 --> 00:54:55,833
lt was a bullet train heading
towards a release date.
1057
00:54:56,293 --> 00:54:59,044
NARRATOR: Over a single weekend,
John and his creative team
1058
00:54:59,129 --> 00:55:03,132
from the first Tot Story
reworked the entire script.
1059
00:55:03,383 --> 00:55:06,302
John came back and pitched that story
to the animation department.
1060
00:55:06,386 --> 00:55:09,638
Just in that pitch,
he totally fired everyone up
1061
00:55:09,723 --> 00:55:11,932
and inspired everyone
to really do the impossible.
1062
00:55:12,017 --> 00:55:13,767
Nine months before
it's supposed to come out,
1063
00:55:13,852 --> 00:55:17,730
John threw the vast majority
of the movie out and started over,
1064
00:55:17,814 --> 00:55:19,064
which is unheard of.
1065
00:55:19,566 --> 00:55:22,151
NARRATOR: With Tom Schumacher
overseeing production for Disney,
1066
00:55:22,235 --> 00:55:25,863
even he knew this was
beyond the studio's control.
1067
00:55:26,823 --> 00:55:29,283
LASSETER: After a while, he said,
"Guys, you know better than l do
1068
00:55:29,367 --> 00:55:31,452
"what it's gonna take
to make this, so just go.
1069
00:55:31,536 --> 00:55:33,537
"You have no time to wait
for my approvals.
1070
00:55:33,621 --> 00:55:35,748
"Just go, go, go, go, go."
1071
00:55:37,500 --> 00:55:39,126
DOCTER: There's kind of
a chemistry with us.
1072
00:55:39,210 --> 00:55:43,005
We just spin off each other well,
or build on top of each other.
1073
00:55:43,089 --> 00:55:46,342
lt's always this core group of guys
keeping each other in check.
1074
00:55:46,426 --> 00:55:48,135
We were able to finish
each other's sentences
1075
00:55:48,219 --> 00:55:50,262
and take each other's ideas
and heighten them,
1076
00:55:50,347 --> 00:55:52,723
and someone else
would heighten it even more.
1077
00:55:52,807 --> 00:55:55,017
NARRATOR: They broadened
the scope ofToy Story 2,
1078
00:55:55,101 --> 00:55:57,853
introducing new characters
and special effects,
1079
00:55:57,937 --> 00:56:00,939
rivaling those of the best
live-action epics.
1080
00:56:01,024 --> 00:56:03,859
The animators were pushed
to their limits.
1081
00:56:05,236 --> 00:56:06,236
(BUZZ LlGHTYEAR GRUNTS)
1082
00:56:14,579 --> 00:56:16,038
(BUZZ LlGHTYEAR SCREAMlNG)
1083
00:56:17,082 --> 00:56:18,082
(GRUNTS)
1084
00:56:18,249 --> 00:56:20,376
LASSETER: The amount of footage
that was going through that studio
1085
00:56:20,460 --> 00:56:21,835
was staggering.
1086
00:56:21,920 --> 00:56:23,921
Seeing the work that's
coming out of the animators,
1087
00:56:24,005 --> 00:56:26,465
it's actually inspired me as a director.
1088
00:56:26,716 --> 00:56:27,716
Give it to a good animator,
1089
00:56:27,801 --> 00:56:29,968
"Okay, make this special,
make this funny,
1090
00:56:30,053 --> 00:56:32,054
"make this entertaining
for this moment."
1091
00:56:32,138 --> 00:56:35,182
Some animators have
the clear character stamps,
1092
00:56:35,266 --> 00:56:36,725
like Doug Sweetland.
1093
00:56:36,810 --> 00:56:39,019
l was thinking that Woody would be
coming outta the saloon.
1094
00:56:39,104 --> 00:56:40,771
Give us something like. . .boof!
1095
00:56:41,314 --> 00:56:44,233
LASSETER: There's reasons for every
single movement he does,
1096
00:56:44,317 --> 00:56:45,859
which is hilarious.
1097
00:56:45,944 --> 00:56:46,944
He's not, like, looking at her.
1098
00:56:47,028 --> 00:56:48,695
He's kind of, like,
looking over her shoulder, like,
1099
00:56:48,780 --> 00:56:52,449
"Say, little missy,
seen any trouble around these parts?"
1100
00:56:52,534 --> 00:56:56,161
Say, little missy, you notice any
trouble around these parts?
1101
00:56:56,246 --> 00:56:58,956
(LAUGHS) Nary a bit!
Not with Sheriff Woody around !
1102
00:56:59,040 --> 00:57:00,666
Wait, wait, wait! l got it, l got it.
This is great.
1103
00:57:00,750 --> 00:57:02,751
Okay, the bandits got the critters
tied up in the burning barn,
1104
00:57:02,836 --> 00:57:03,877
and now for the best part!
1105
00:57:03,962 --> 00:57:05,796
"Help us! The barn's on fire!"
1106
00:57:05,880 --> 00:57:10,676
"l've got you, critters. No need to worry.
Woody saves the day again !"
1107
00:57:10,760 --> 00:57:14,513
RANFT: You're trying to find what you
would hope the audience would feel
1108
00:57:14,597 --> 00:57:16,265
when they're watching this movie.
1109
00:57:16,349 --> 00:57:20,018
Every other department is
on board to use the environment,
1110
00:57:20,103 --> 00:57:22,604
the color, the lighting, the animation,
1111
00:57:22,689 --> 00:57:25,315
to make the strongest
possible statement
1112
00:57:25,400 --> 00:57:27,609
that when people are
in a theater they're gonna,
1113
00:57:27,694 --> 00:57:28,986
"Wow, this is something special.
1114
00:57:29,070 --> 00:57:32,197
"This is something that really
affected me."
1115
00:57:32,991 --> 00:57:37,369
Emily was just the same.
She was my whole world.
1116
00:57:39,706 --> 00:57:40,831
(WHEN SHE LOVED ME PLAYING)
1117
00:57:40,915 --> 00:57:43,709
(SlNGlNG) When somebody
loved me...
1118
00:57:44,711 --> 00:57:46,962
RANDY NEWMAN: l thought it was
a very brave thing for them to do,
1119
00:57:47,046 --> 00:57:51,717
to think that five-year-olds would
sit still for three minutes of montage
1120
00:57:51,801 --> 00:57:55,387
and a ballad and something,
you know, very sad, really.
1121
00:57:55,472 --> 00:57:57,806
(SlNGlNG) And when she was sad
1122
00:57:58,516 --> 00:58:00,684
l was there to dry her tears
1123
00:58:02,395 --> 00:58:06,857
And when she was happy
So was l
1124
00:58:07,734 --> 00:58:13,238
When she loved me
1125
00:58:14,574 --> 00:58:16,074
Tim Allen and l actually saw the movie
1126
00:58:16,159 --> 00:58:18,285
together at the same time
when it was all done,
1127
00:58:18,369 --> 00:58:20,579
and we had an understanding
of what everything goes on.
1128
00:58:20,663 --> 00:58:22,247
But then when Jessie's song came up,
1129
00:58:22,332 --> 00:58:24,666
we were just 40-year-old men
crying our eyes out
1130
00:58:24,751 --> 00:58:27,211
over this abandoned cowgirl doll.
1131
00:58:28,796 --> 00:58:31,798
(SlNGlNG) Every hour
we spent together
1132
00:58:32,592 --> 00:58:35,636
lives within my heart
1133
00:58:36,387 --> 00:58:44,102
When she loved me
1134
00:58:46,606 --> 00:58:48,690
LASSETER: At that moment you know
that no one's thinking
1135
00:58:48,775 --> 00:58:50,400
"Well, this is just a cartoon.
1136
00:58:50,860 --> 00:58:53,195
"lt's just a bunch of pencil drawings
on paper,
1137
00:58:53,279 --> 00:58:56,031
"or this is a bunch
of just computer data."
1138
00:58:56,115 --> 00:59:00,285
You know. No. These characters
are alive and they're real.
1139
00:59:01,287 --> 00:59:03,163
NARRATOR: Tot Story 2
made its debut
1140
00:59:03,248 --> 00:59:05,165
in theaters on its scheduled
release date,
1141
00:59:05,250 --> 00:59:07,834
Thanksgiving Day, 1 999,
1142
00:59:07,919 --> 00:59:09,545
joining that rare number of sequels
1143
00:59:09,629 --> 00:59:12,673
judged to be as good as
or better than the original.
1144
00:59:12,757 --> 00:59:15,717
LASSETER: That was probably the
greatest sense of accomplishment
1145
00:59:15,802 --> 00:59:18,845
l'd ever had, and l think the studio's
ever had, in their life.
1146
00:59:22,475 --> 00:59:26,103
JOBS: Everybody was so
dedicated to it and loved Tot Story
1147
00:59:26,187 --> 00:59:29,773
and those characters so much,
and loved the new movie so much,
1148
00:59:29,857 --> 00:59:32,234
that we killed ourselves to make it.
1149
00:59:32,318 --> 00:59:36,029
And it, you know, it took some people
a year to recover.
1150
00:59:36,114 --> 00:59:38,490
lt was tough. lt was too tough.
1151
00:59:38,950 --> 00:59:42,661
Toy Sfory 2 was the pivotal moment
in this company.
1152
00:59:42,745 --> 00:59:45,205
lt's when we actually
defined who we were.
1153
00:59:45,290 --> 00:59:48,959
From that we learned
the important thing is not the idea,
1154
00:59:49,502 --> 00:59:52,087
the important thing is the people.
1155
00:59:52,171 --> 00:59:54,756
lt's how they work together,
who they are,
1156
00:59:54,966 --> 00:59:57,092
that matters more than anything else.
1157
00:59:57,176 --> 01:00:00,053
JOBS: Our business depends
upon collaboration,
1158
01:00:00,680 --> 01:00:03,682
and it depends upon
unplanned collaboration.
1159
01:00:03,766 --> 01:00:07,185
And so we were just too spread out,
and the groups were, you know,
1160
01:00:07,270 --> 01:00:08,895
developing their own styles.
1161
01:00:08,980 --> 01:00:12,482
We were growing into several
divisions, instead of one company,
1162
01:00:12,567 --> 01:00:15,444
and so the goal was pure and simple.
1163
01:00:15,528 --> 01:00:18,280
We want to put everybody
under one roof,
1164
01:00:18,364 --> 01:00:21,199
and we want to encourage
unplanned collaborations.
1165
01:00:23,995 --> 01:00:26,496
NARRATOR: With Pixar's facilities
bursting at the seams,
1166
01:00:26,581 --> 01:00:30,542
Steve set his sights on
20 acres in Emeryville, California,
1167
01:00:30,627 --> 01:00:33,629
where he envisioned a state-of-the-art
animation facility,
1168
01:00:33,713 --> 01:00:36,298
a home for the best artists
and scientists
1169
01:00:36,382 --> 01:00:38,842
to create and play under one roof.
1170
01:00:41,137 --> 01:00:42,638
LASSETER: Welcome, ladies
and gentlemen,
1171
01:00:42,722 --> 01:00:47,184
to the first annual
Pixar lnternational Air Show!
1172
01:00:53,399 --> 01:00:55,275
LASSETER: The building itself
has helped so much,
1173
01:00:55,360 --> 01:00:57,194
because Pixar is its people.
1174
01:00:57,278 --> 01:01:00,364
And we maintain the same philosophy
1175
01:01:00,448 --> 01:01:05,160
of "an office is an empty canvas,"
and it's so fun.
1176
01:01:09,332 --> 01:01:12,250
One of the things that we wanted
to do with this studio
1177
01:01:12,335 --> 01:01:16,004
is to grow it so that
we could be eventually
1178
01:01:16,089 --> 01:01:18,006
releasing one movie every year.
1179
01:01:18,091 --> 01:01:21,009
So that means we have to have
a bunch of overlapping productions.
1180
01:01:21,094 --> 01:01:24,680
And so that gave the opportunity
to where, some of my close colleagues,
1181
01:01:24,764 --> 01:01:26,890
give them a chance
to direct their own films.
1182
01:01:26,974 --> 01:01:29,476
The second animator, after me,
1183
01:01:29,560 --> 01:01:31,978
who was ever hired at Pixar
was Andrew Stanton.
1184
01:01:32,063 --> 01:01:34,022
And then Pete Docter
was soon after that.
1185
01:01:34,107 --> 01:01:35,816
And l knew right away that these guys
1186
01:01:35,900 --> 01:01:38,610
are good enough
to make their own films.
1187
01:01:39,779 --> 01:01:44,700
NARRATOR: John chose Pete Docter
to direct the next foature film at Pixar,
1188
01:01:44,784 --> 01:01:47,786
a decision that did not come
without doubts.
1189
01:01:48,746 --> 01:01:50,664
SCHUMACHER: l was not
convinced that
1190
01:01:50,748 --> 01:01:52,874
he could hold up this weight
without John.
1191
01:01:52,959 --> 01:01:54,042
He hadn't done it before.
1192
01:01:54,127 --> 01:01:56,169
He hadn't been an
associate director before,
1193
01:01:56,254 --> 01:01:59,381
he hadn't been the number two,
he hadn't been a co-director before.
1194
01:01:59,674 --> 01:02:02,092
lt was really throwing him
into the lion's den.
1195
01:02:02,802 --> 01:02:04,636
DOCTER: My biggest challenge
was that l was
1196
01:02:04,721 --> 01:02:06,847
following in the footsteps
of John Lasseter.
1197
01:02:06,931 --> 01:02:09,349
To come in and say,
"Okay, now l'm gonna direct this,"
1198
01:02:09,475 --> 01:02:11,476
it was a tough act to follow.
1199
01:02:11,769 --> 01:02:13,395
SCHUMACHER: Pete had this
fundamental idea
1200
01:02:13,479 --> 01:02:15,188
that when children say,
"'There's a monster in the closet,"
1201
01:02:15,273 --> 01:02:16,940
they're actually telling the truth.
1202
01:02:17,024 --> 01:02:19,776
The rest of it was all over the map.
1203
01:02:21,320 --> 01:02:22,988
DOCTER: There were too many
possibilities.
1204
01:02:23,072 --> 01:02:25,490
Monsters, it could be anything,
anything in the world.
1205
01:02:25,575 --> 01:02:28,118
So, it was almost too much freedom.
1206
01:02:28,661 --> 01:02:32,164
We knew we wanted fur.
We had no idea how to do it.
1207
01:02:32,248 --> 01:02:34,833
And that was, of course,
one of the more difficult things to do.
1208
01:02:34,917 --> 01:02:36,334
(MlKE WAZOWSKl SHOUTS)
1209
01:02:37,378 --> 01:02:38,879
(SULLEY GRUNTlNG)
1210
01:02:42,175 --> 01:02:43,425
MlKE WAZOWSKl: Take that!
1211
01:02:43,509 --> 01:02:44,551
(BOTH GROWL)
1212
01:02:44,635 --> 01:02:45,635
(GASPS)
1213
01:02:48,848 --> 01:02:51,224
Welcome to the Himalayas!
1214
01:02:51,309 --> 01:02:55,020
These people think differently
than normal people.
1215
01:02:55,813 --> 01:02:58,482
They're strange. ln the best way.
1216
01:02:58,566 --> 01:02:59,941
DOCTER: When we thought
of Billy Crystal,
1217
01:03:00,026 --> 01:03:01,693
we thought,
"Wow, this is gonna be great."
1218
01:03:01,778 --> 01:03:04,446
Of course, he just added his
own unique spin to it.
1219
01:03:04,530 --> 01:03:06,573
Mike was an appealing,
1220
01:03:06,657 --> 01:03:09,075
odd little guy who l thought
was a combination
1221
01:03:09,160 --> 01:03:12,120
of Mr. Toad and Sammy Davis, Jr.
1222
01:03:12,205 --> 01:03:13,955
Think romantical thoughts.
1223
01:03:14,040 --> 01:03:17,417
(SlNGlNG) You and me
Me and you
1224
01:03:17,502 --> 01:03:19,377
Both of us together!
1225
01:03:19,462 --> 01:03:21,713
And the way he moves and his face
and stuff like that.
1226
01:03:21,798 --> 01:03:25,217
And then, when l decided on a voice,
it just all seemed to work.
1227
01:03:25,301 --> 01:03:26,635
Scary feet, scary feet, scary feet. Oh !
1228
01:03:26,719 --> 01:03:28,261
The kid's awake! Okay, scary feet,
1229
01:03:28,346 --> 01:03:30,555
scary feet, scary feet, scary feet, scar. . .
Kid's asleep!
1230
01:03:30,640 --> 01:03:31,640
The whole little guy
1231
01:03:31,724 --> 01:03:33,642
was one of my favorite characters
that l've ever played.
1232
01:03:33,726 --> 01:03:34,810
Twins! And a bunk bed !
1233
01:03:34,894 --> 01:03:36,311
(GROWLlNG)
1234
01:03:37,313 --> 01:03:38,688
Ooh, l thought l had you there.
1235
01:03:38,773 --> 01:03:42,943
What shocked me about the movie
was the size of it.
1236
01:03:43,319 --> 01:03:44,402
(SULLEY GASPS)
1237
01:03:45,112 --> 01:03:47,948
CRYSTAL: l was astounded by the
chase and the door sequence.
1238
01:03:48,032 --> 01:03:50,158
When you see the millions
of doors moving,
1239
01:03:50,243 --> 01:03:52,911
and they're all individually done,
that just blew me away.
1240
01:03:53,079 --> 01:03:54,496
Hold on !
1241
01:03:54,580 --> 01:03:55,914
(MlKE WAZOWSKl SCREAMlNG)
1242
01:03:56,123 --> 01:03:57,415
(SCREAMlNG)
1243
01:03:59,460 --> 01:04:03,505
SCHUMACHER: lt was a wild ride,
because it was such a complex movie,
1244
01:04:03,589 --> 01:04:06,174
and it didn't find its center
for a very long time.
1245
01:04:06,259 --> 01:04:09,261
And then when it did,
its center was so good,
1246
01:04:09,595 --> 01:04:10,846
people went nuts for it.
1247
01:04:10,930 --> 01:04:14,850
DOCTER: The last shot of
Monsters, lncorporated animation
1248
01:04:14,934 --> 01:04:17,435
is now officially final!
1249
01:04:17,770 --> 01:04:19,104
(ALL CHEERlNG)
1250
01:04:21,190 --> 01:04:24,359
SCHUMACHER: Pete emerged as
a remarkably sensitive,
1251
01:04:24,443 --> 01:04:28,864
smart, really great director,
and he owns this movie.
1252
01:04:28,948 --> 01:04:31,366
He completely owns this movie.
1253
01:04:31,701 --> 01:04:34,119
NARRATOR: The historic success
of Monsters, lnc. ,
1254
01:04:34,203 --> 01:04:37,372
the highest-grossing animated film
released to its date,
1255
01:04:37,456 --> 01:04:39,291
now placed added stress
1256
01:04:39,375 --> 01:04:41,877
on the next director in line,
Andrew Stanton.
1257
01:04:41,961 --> 01:04:45,130
BlRD: So, the pressure. lt's begun?
1258
01:04:45,882 --> 01:04:51,469
$62,577 ,067 .
1259
01:04:53,306 --> 01:04:55,098
(ALL CHEERlNG)
1260
01:04:57,059 --> 01:04:58,059
(WHlSTLlNG)
1261
01:05:00,771 --> 01:05:04,608
There's no reason, Andrew,
to be feeling any more pressure.
1262
01:05:05,067 --> 01:05:07,027
l'm fine! l'm fine!
1263
01:05:12,283 --> 01:05:14,910
STANTCN: l remember in '92,
when my son was just born,
1264
01:05:14,994 --> 01:05:18,371
going to Marine World,
and they had this shark exhibit,
1265
01:05:18,456 --> 01:05:20,415
where you kind of walk through
a tunnel and they swim over you.
1266
01:05:20,499 --> 01:05:21,458
lt was like a glass tunnel.
1267
01:05:21,542 --> 01:05:22,751
You could get up really close,
1268
01:05:22,835 --> 01:05:24,836
see underwater and lose
all your peripheral vision
1269
01:05:24,921 --> 01:05:28,089
of anybody around you
in the man-made world.
1270
01:05:28,174 --> 01:05:30,884
And l remember thinking then,
you know, this is 1 0 years ago,
1271
01:05:30,968 --> 01:05:32,594
"We could make this world."
1272
01:05:32,678 --> 01:05:36,556
CG would be perfect for this world,
you could capture it so well.
1273
01:05:40,019 --> 01:05:43,772
MR. RAY: (SlNGlNG) Oh, let's name
the species the species, the species
1274
01:05:43,856 --> 01:05:45,273
Let's name the species
that live in the sea
1275
01:05:45,358 --> 01:05:46,316
Whoa!
1276
01:05:46,400 --> 01:05:49,069
There's porifera...
1277
01:05:49,153 --> 01:05:51,488
STANTON: Without meaning to,
l sort of made this epic journey
1278
01:05:51,572 --> 01:05:53,323
that takes you all over the ocean.
1279
01:05:53,407 --> 01:05:55,742
That meant every set piece
had to be different.
1280
01:05:55,826 --> 01:05:58,787
The look of being underwater
is actually quite simple
1281
01:05:58,871 --> 01:06:00,038
from a technical standpoint.
1282
01:06:00,122 --> 01:06:04,125
lt was just really tough to dial
all the different ingredients just right.
1283
01:06:04,210 --> 01:06:06,795
You know, l think if l had known that's
what l was gonna be signing up for,
1284
01:06:06,879 --> 01:06:09,381
and everybody else,
l don't think anybody would've done it.
1285
01:06:09,715 --> 01:06:11,132
(BREATHlNG THROUGH
OXYGEN TANK)
1286
01:06:11,217 --> 01:06:12,258
Big.
FlNDlNG NEMO
1287
01:06:12,343 --> 01:06:14,803
NARRATOR: Seeing his son kidnapped
before his eyes,
1288
01:06:14,887 --> 01:06:16,805
the overprotective father, Marlin,
1289
01:06:16,889 --> 01:06:20,642
travels across the vast ocean
to find his son, Nemo.
1290
01:06:20,726 --> 01:06:23,478
And along the way,
learns to become a better father.
1291
01:06:23,562 --> 01:06:25,188
DOLPHlN: So, these two little fish
have been
1292
01:06:25,272 --> 01:06:26,856
searching the ocean for days
1293
01:06:26,941 --> 01:06:28,608
on the East Australian Current. . .
1294
01:06:28,693 --> 01:06:31,152
FEMALE BlRD: . . .which means that he
may be on his way here right now.
1295
01:06:31,237 --> 01:06:32,570
That should put them
in Sydney Harbor. . .
1296
01:06:32,655 --> 01:06:33,947
MALE BlRD: . . .in a matter of days!
1297
01:06:34,031 --> 01:06:36,408
l mean, it sounds like this guy's
gonna stop at nothing till. . .
1298
01:06:36,492 --> 01:06:37,617
MALE BlRD 2: . . .until he finds his son.
1299
01:06:37,702 --> 01:06:38,952
l sure hope he makes it.
1300
01:06:39,036 --> 01:06:41,913
That's one dedicated father,
if you ask me.
1301
01:06:42,623 --> 01:06:43,623
The challenge on Nemo
1302
01:06:43,708 --> 01:06:46,042
is the same challenge that we had
on the first Toy Story,
1303
01:06:46,127 --> 01:06:49,004
which is making a good movie.
lt really comes down to that.
1304
01:06:49,088 --> 01:06:53,091
l mean, each film has its own technical
hurdles that we have to overcome.
1305
01:06:53,551 --> 01:06:57,053
But we spend the first
two-and-a-half years
1306
01:06:57,138 --> 01:07:00,181
making these films doing nothing
but working out the stories.
1307
01:07:00,266 --> 01:07:02,809
SEAGULLS: Mine! Mine! Mine! Mine!
Mine! Mine! Mine! Mine! Mine! Mine!
1308
01:07:02,893 --> 01:07:06,646
Would you just shut up!
You're rats with wings!
1309
01:07:06,731 --> 01:07:08,857
This bloke's been looking
for his boy, Nemo.
1310
01:07:08,941 --> 01:07:10,608
NlGEL: Nemo?
PELlCAN: He was taken off the reef
1311
01:07:10,693 --> 01:07:13,111
-by divers and this. . .
-NlGEL: There, take it! You happy?
1312
01:07:13,195 --> 01:07:15,196
Mine! Mine! Mine! Mine!
1313
01:07:15,948 --> 01:07:17,699
(MAKES MARTlAL ARTS FlGHTlNG
SOUNDS)
1314
01:07:18,075 --> 01:07:19,075
Mine!
1315
01:07:19,952 --> 01:07:21,995
Every morning we get
together in the screening room
1316
01:07:22,079 --> 01:07:23,580
with the directors
and all the other animators
1317
01:07:23,664 --> 01:07:27,709
and we all show our shots
in various stages of completion.
1318
01:07:27,793 --> 01:07:31,337
Everybody is entitled to their opinion
and to say it out loud.
1319
01:07:31,422 --> 01:07:35,050
So it's a very healthy,
and sometimes intimidating, forum.
1320
01:07:35,134 --> 01:07:36,134
(MAN LAUGHS)
1321
01:07:36,218 --> 01:07:37,802
WOMAN: Doug is next.
1322
01:07:38,554 --> 01:07:40,430
MARLlN: Hey, guess what.
1323
01:07:40,514 --> 01:07:42,515
NEMO:What?
MARLlN: Sea turtles...
1324
01:07:43,184 --> 01:07:48,146
l met one, and he was 1 50 years old.
1325
01:07:49,190 --> 01:07:50,732
STANTON: You know, Nemo should be
looking at his dad
1326
01:07:50,816 --> 01:07:52,233
at the beginning of the shot.
1327
01:07:52,318 --> 01:07:53,276
SWEETLAND: All the time?
1328
01:07:53,360 --> 01:07:54,486
STANTON: Yeah.
He looks like he's dead.
1329
01:07:54,570 --> 01:07:55,570
(PEOPLE LAUGH)
1330
01:07:55,654 --> 01:07:56,905
STANTON: He looks like he's given up.
SWEETLAND: Okay.
1331
01:07:56,989 --> 01:07:58,615
STANTON: l think he's, anyway,
he looked at his dad,
1332
01:07:58,699 --> 01:08:00,200
and then looked at his fin,
and he should be, like,
1333
01:08:00,284 --> 01:08:01,993
looking at him for
acknowledgement the whole time.
1334
01:08:02,078 --> 01:08:03,328
SWEETLAND: Okay.
STANTON: Like they touch the fin
1335
01:08:03,412 --> 01:08:04,662
and they stay looking
at each other and. . .
1336
01:08:04,747 --> 01:08:06,414
SWEETLAND: Okay.
STANTON: l think that's missing.
1337
01:08:06,499 --> 01:08:08,124
(LAUGHlNG CONTlNUES)
1338
01:08:08,209 --> 01:08:09,709
SWEETLAND: All right.
1339
01:08:11,378 --> 01:08:14,756
NEMO: 'Cause Sandy Plankton said
they only live to be 1 00.
1340
01:08:14,840 --> 01:08:17,425
MARLlN: Sandy Plankton? Do you
think l would cross the entire ocean...
1341
01:08:17,510 --> 01:08:21,679
SWEETLAND: l was, focusing primarily
on the father and not on...
1342
01:08:21,764 --> 01:08:22,847
Really not on Nemo.
1343
01:08:22,932 --> 01:08:26,684
So l just kind of had Nemo default
to this kind of eyes forward pose,
1344
01:08:26,769 --> 01:08:29,521
not even thinking about, like,
how it would read,
1345
01:08:29,605 --> 01:08:32,649
except that hopefully
you're looking at father, right?
1346
01:08:32,733 --> 01:08:35,860
But Andrew read it,
and he was totally right,
1347
01:08:35,945 --> 01:08:37,904
that it looks completely indifferent.
1348
01:08:37,988 --> 01:08:41,282
(LAUGHS) And, so now l have to give
1349
01:08:41,367 --> 01:08:43,368
the same treatment l gave father
to Nemo.
1350
01:08:44,662 --> 01:08:47,580
But you know, it's, you know,
it's not like starting over or anything,
1351
01:08:47,665 --> 01:08:50,333
but l have to imbue that
character with something.
1352
01:08:51,001 --> 01:08:53,378
So now what l can do is just go
back into the thumbnails
1353
01:08:53,462 --> 01:08:57,882
(LAUGHS) look, here's ghost of Nemo,
ghost of Nemo.
1354
01:08:59,135 --> 01:09:02,053
l have, like, father doing
all this acting to this lump.
1355
01:09:02,138 --> 01:09:06,057
So, now maybe what l could do
is just use these same drawings.
1356
01:09:08,978 --> 01:09:11,521
lt'll be good, this shot'll be a lot better.
1357
01:09:11,605 --> 01:09:14,023
l had done all this stuff, too, where
1358
01:09:16,277 --> 01:09:18,319
the fin is, like, the symbol of the movie.
1359
01:09:18,404 --> 01:09:20,238
His accepting of his son
is also the letting go
1360
01:09:20,322 --> 01:09:22,574
of the past or the loss, the trauma.
1361
01:09:22,658 --> 01:09:25,368
And what is it. . .
What is it to take someone's hand?
1362
01:09:25,452 --> 01:09:27,745
Not only is it an opportunity
just to physically,
1363
01:09:27,830 --> 01:09:32,750
like touch and connect with his son,
it also marks the new relationship.
1364
01:09:36,422 --> 01:09:38,131
l'm so sorry, Nemo.
1365
01:09:48,517 --> 01:09:51,102
-Hey, guess what.
-What?
1366
01:09:51,187 --> 01:09:54,105
Sea turtles. . . l met one.
1367
01:09:54,940 --> 01:09:58,109
And he was 1 50 years old.
1368
01:09:59,111 --> 01:10:00,778
Hundred and fifty?
1369
01:10:01,113 --> 01:10:02,322
Yep.
1370
01:10:03,282 --> 01:10:07,035
'Cause Sandy Plankton said
they only live to be 1 00.
1371
01:10:08,329 --> 01:10:09,537
Sandy Plankton?
1372
01:10:09,622 --> 01:10:11,497
Do you think l would cross
the entire ocean
1373
01:10:11,582 --> 01:10:13,208
and not know as much
as Sandy Plankton?
1374
01:10:13,292 --> 01:10:14,292
(NEMO CHUCKLES)
1375
01:10:14,376 --> 01:10:16,377
MARLlN: He was 1 50, not 1 00!
1376
01:10:16,462 --> 01:10:19,631
Who is this Sandy Plankton
who knows everything?
1377
01:10:22,176 --> 01:10:26,554
NARRATOR: In 2003, Finding Nemo
surpassed Pixar's own previous marks,
1378
01:10:26,639 --> 01:10:29,599
making it the new highest grossing
animated film in history.
1379
01:10:29,683 --> 01:10:33,895
And director Andrew Stanton won
the Oscar for best animated feature.
1380
01:10:33,979 --> 01:10:36,064
But the enormous success
of Finding Nemo
1381
01:10:36,148 --> 01:10:38,566
meant that expectations
were now even higher,
1382
01:10:38,651 --> 01:10:43,112
as Brad Bird, the first outside director,
was invited in to direct a feature.
1383
01:10:43,572 --> 01:10:47,867
Well, here l am, pulling into Pixar,
1384
01:10:47,952 --> 01:10:52,455
first time, into Pixar. . . Yeah.
1385
01:10:52,539 --> 01:10:53,581
NARRATOR: Brad was
an old classmate
1386
01:10:53,666 --> 01:10:55,416
of John Lasseter's from CalArts.
1387
01:10:55,501 --> 01:10:57,043
He had made the critically acclaimed
1388
01:10:57,127 --> 01:11:00,213
2-D hand animated film,
The lron Giant.
1389
01:11:02,216 --> 01:11:03,508
LASSETER: Brad and l stayed in touch,
1390
01:11:03,592 --> 01:11:07,011
and he pitched us on an idea
called The lncredibles,
1391
01:11:07,096 --> 01:11:08,471
and it's a family of superheroes,
1392
01:11:08,555 --> 01:11:11,557
and originally he was thinking
of it being cell-animated,
1393
01:11:11,642 --> 01:11:13,977
but he thought it could work
in 3-D computer animation.
1394
01:11:14,061 --> 01:11:15,645
l fell in love with it right away,
1395
01:11:15,729 --> 01:11:19,899
but the thing l loved about it the most
was this story of this family.
1396
01:11:19,984 --> 01:11:21,317
lt's got so much heart to it.
1397
01:11:21,402 --> 01:11:23,194
l've just been given my card key.
1398
01:11:24,363 --> 01:11:28,700
Now l can get into all
the secret chambers of Pixar.
1399
01:11:28,784 --> 01:11:33,079
This is where A Bug's Life was
actually filmed, on location, right here.
1400
01:11:33,706 --> 01:11:34,956
(YELLlNG)
1401
01:11:35,040 --> 01:11:36,040
BlRD: Good to see you.
1402
01:11:36,125 --> 01:11:38,918
Any company that had
four hits in a row
1403
01:11:39,003 --> 01:11:42,171
would not be open
to changing anything.
1404
01:11:42,256 --> 01:11:44,924
This place was the exact opposite.
1405
01:11:45,009 --> 01:11:48,052
They were saying,
"'Look, we've had four hits in a row.
1406
01:11:48,137 --> 01:11:51,472
"We are in danger
of repeating ourselves,
1407
01:11:51,557 --> 01:11:56,561
"or of getting too satisfied
and we need to shake this place up."
1408
01:11:56,645 --> 01:11:59,105
Keep it moving. Keep it,
Kate, nice to see you. Keep it moving.
1409
01:11:59,189 --> 01:12:02,650
l'm here to tell you, you guys are
kind of in your wood-fired pizza mode
1410
01:12:02,735 --> 01:12:05,069
and, a lot of you are,
1411
01:12:05,154 --> 01:12:09,532
"Yeah, l work at the place
where we make hit after hit."
1412
01:12:10,451 --> 01:12:11,576
(AUDlENCE LAUGHS)
1413
01:12:11,660 --> 01:12:16,497
But, you know, l'm telling you,
l've been out in that real world
1414
01:12:16,582 --> 01:12:18,374
as some of you also have been,
1415
01:12:18,459 --> 01:12:21,502
and you who have been out there
know what l'm talking about.
1416
01:12:21,587 --> 01:12:23,129
This is an anomaly,
1417
01:12:23,213 --> 01:12:26,799
this place is, A, really freakishly
1418
01:12:26,884 --> 01:12:30,345
alone in this hit-after-hit aspect,
1419
01:12:30,429 --> 01:12:32,055
and, two,
1420
01:12:33,140 --> 01:12:38,061
you know, these kind of projects
don't happen that often.
1421
01:12:38,145 --> 01:12:40,355
Grab this opportunity and run with it.
1422
01:12:40,439 --> 01:12:43,316
You know, film is forever,
you know, pain is temporary.
1423
01:12:43,400 --> 01:12:44,650
(AUDlENCE LAUGHS)
1424
01:12:45,110 --> 01:12:48,780
LASSETER: Once we brought Brad
into Pixar, we all were learning again.
1425
01:12:48,864 --> 01:12:52,992
And he has brought in his
clese colleborators on lron Giant,
1426
01:12:53,077 --> 01:12:55,036
and they are amazing.
1427
01:12:55,120 --> 01:12:58,247
BlRD: The 2-D people that l brought up
wrestled with the box,
1428
01:12:58,332 --> 01:13:01,417
you know, just trying to figure out
how to make the computer
1429
01:13:01,502 --> 01:13:03,378
do what you want it to do.
1430
01:13:03,462 --> 01:13:05,755
The computer exists in two worlds,
1431
01:13:05,839 --> 01:13:08,966
it's either the most brilliant thing
you've ever seen,
1432
01:13:09,051 --> 01:13:10,760
or it's completely mad.
1433
01:13:10,844 --> 01:13:12,136
(BEEPlNG)
1434
01:13:13,597 --> 01:13:16,557
NARRATOR: The 2-D animators took
the traditional storyboarding process
1435
01:13:16,642 --> 01:13:18,559
into the third dimension,
1436
01:13:18,644 --> 01:13:21,813
providing dynamic new ways
to visualize storytelling.
1437
01:13:21,897 --> 01:13:22,897
(CHUCKLES)
1438
01:13:30,072 --> 01:13:33,741
lf you named the 1 0 most
difficult things to do in animation,
1439
01:13:33,826 --> 01:13:37,787
we had them all, and large amounts
of them all, humans. . .
1440
01:13:37,871 --> 01:13:39,205
POLlCE OFFlCER: Police officers!
1441
01:13:39,289 --> 01:13:41,791
BlRD: Hair, fabric.
1442
01:13:41,875 --> 01:13:43,960
Hair and fabric under water.
1443
01:13:44,044 --> 01:13:46,379
Hair and fabric
blowing through the air.
1444
01:13:46,630 --> 01:13:47,964
lt was just endless.
1445
01:13:52,803 --> 01:13:53,845
(GUN FlRlNG)
1446
01:13:55,431 --> 01:13:56,431
(GRUNTS)
1447
01:14:02,229 --> 01:14:03,479
-See that?
-Yeah.
1448
01:14:03,564 --> 01:14:05,356
That's the way to do it.
1449
01:14:05,441 --> 01:14:06,774
That's old school.
1450
01:14:06,859 --> 01:14:07,859
(LAUGHS)
1451
01:14:07,943 --> 01:14:09,610
Yeah. No school like the old school.
1452
01:14:11,071 --> 01:14:14,574
NARRATOR: The lncredibles marked
Pixar's sixth hit in a row,
1453
01:14:14,658 --> 01:14:16,284
and Brad Bird won his first
1454
01:14:16,368 --> 01:14:19,078
Academy Award
for best animated feature.
1455
01:14:20,581 --> 01:14:23,624
BlRD: Now that l've made a Pixar film,
a lot of people have asked,
1456
01:14:23,709 --> 01:14:25,334
"What is the secret formula?"
1457
01:14:25,419 --> 01:14:28,129
As if there's some magical calculation.
1458
01:14:28,213 --> 01:14:32,467
And l say, "lt's really pretty simple,
everyone here loves films.
1459
01:14:32,551 --> 01:14:36,762
"And they just wanna make something
that they themselves wanna see."
1460
01:14:39,266 --> 01:14:42,351
NARRATOR: By 2004, the success
ofThe lncredibles
1461
01:14:42,436 --> 01:14:44,645
and other computer-animated films
1462
01:14:44,730 --> 01:14:48,566
was leading to an industry-wide
belief that making CG movies
1463
01:14:49,151 --> 01:14:51,360
was a foolproof
formula for box office hits.
1464
01:14:53,113 --> 01:14:56,199
As many of the 2-D films
failed at the box office,
1465
01:14:56,325 --> 01:15:00,578
hand-drawn animation now faced
extinction for the first time in history.
1466
01:15:01,497 --> 01:15:03,831
There was this period
in this country,
1467
01:15:03,916 --> 01:15:07,335
and it happened at Dreamworks
and it happened at Disney Animation,
1468
01:15:07,419 --> 01:15:11,589
and that was that they had some films
which hadn't done well.
1469
01:15:12,674 --> 01:15:16,093
The stories weren't strong,
to be candid,
1470
01:15:17,137 --> 01:15:20,181
and the heads of the respective
studios at the time said,
1471
01:15:20,265 --> 01:15:21,807
"Well, the problem is they're in 2-D,
1472
01:15:21,892 --> 01:15:24,727
"and the audience
has lost the taste for 2-D."
1473
01:15:24,811 --> 01:15:26,437
And so they switched over to 3-D,
1474
01:15:26,522 --> 01:15:29,273
and basically shut down
2-D animation in this country.
1475
01:15:29,358 --> 01:15:34,278
The derived idea was, "Well,
nobody wants to see 2-D anymore."
1476
01:15:36,323 --> 01:15:37,365
(STUTTERS)
1477
01:15:37,449 --> 01:15:39,700
The fact was, they'd love
to see a good 2-D movie,
1478
01:15:39,785 --> 01:15:42,537
that was never the question,
you know, but. . .
1479
01:15:45,082 --> 01:15:46,374
lt was horrible, you know,
1480
01:15:46,458 --> 01:15:50,461
to come to this conclusion
that only 3-D was
1481
01:15:51,964 --> 01:15:53,256
gonna be our future.
1482
01:15:53,799 --> 01:15:56,133
There was enormous
loss of morale,
1483
01:15:56,218 --> 01:15:59,053
there was an enormous
loss of the will to live,
1484
01:15:59,137 --> 01:16:01,389
in a sense, of making good product.
1485
01:16:01,473 --> 01:16:04,350
And they were selling off
animation desks,
1486
01:16:04,434 --> 01:16:08,563
they were, you know, just leading
talented artists out the door
1487
01:16:08,647 --> 01:16:11,857
by their nose and saying, you know,
"We don't need you anymore."
1488
01:16:13,026 --> 01:16:15,236
CLEMENTS: And there was
a very painful period
1489
01:16:15,320 --> 01:16:19,282
that was like someone dying,
just to see what happened,
1490
01:16:19,366 --> 01:16:23,661
l mean it had to do with so many,
many people losing their jobs.
1491
01:16:24,997 --> 01:16:27,540
But even more than that,
just, a sort of art form
1492
01:16:27,624 --> 01:16:30,918
that had been built up
over a period of decades,
1493
01:16:31,003 --> 01:16:37,425
was just abandoned, l think because it
was not the hot ticket at the moment.
1494
01:16:38,969 --> 01:16:42,221
CATMULL: Everybody at Pixar
loves 3-D animation,
1495
01:16:42,306 --> 01:16:46,100
you know, we helped develop it.
But we also love 2-D animation,
1496
01:16:46,184 --> 01:16:50,396
and to think that 2-D was shut down,
and that we were used as an excuse
1497
01:16:50,480 --> 01:16:52,231
to shut it down was awful.
1498
01:16:52,733 --> 01:16:56,152
We saw this
art form being thrown away,
1499
01:16:56,236 --> 01:16:59,280
so, for us, it was just,
it was a tragic time.
1500
01:17:00,532 --> 01:17:03,284
NARRATOR: As Pixar and Disney
faced the end of their contract,
1501
01:17:03,535 --> 01:17:07,288
the two studios clashed over terms
of a more equitable deal.
1502
01:17:07,414 --> 01:17:11,125
All the while, Disney prepared
to develop direct-to-video sequels
1503
01:17:11,209 --> 01:17:14,337
of the Pixar films
without Pixar's involvement.
1504
01:17:16,006 --> 01:17:19,383
Our belief is that,
since we created the characters,
1505
01:17:19,468 --> 01:17:23,179
the original creators are the ones
who should carry on with it,
1506
01:17:23,263 --> 01:17:24,805
and give them life.
1507
01:17:24,890 --> 01:17:27,642
And to turn it over to somebody
else for short-term economic gain
1508
01:17:27,726 --> 01:17:29,310
just didn't make any sense.
1509
01:17:29,394 --> 01:17:33,356
lt was like turning over your children
to somebody else.
1510
01:17:33,440 --> 01:17:35,858
We were gonna lose those characters.
1511
01:17:35,942 --> 01:17:38,319
lt was actually unfortunate at that time
1512
01:17:38,403 --> 01:17:40,655
because we'd had this
phenomenal relationship
1513
01:17:40,739 --> 01:17:41,864
with Disney all these years,
1514
01:17:41,948 --> 01:17:43,282
where we were
an independent company
1515
01:17:43,367 --> 01:17:44,867
and they did the distribution
and the marketing.
1516
01:17:45,744 --> 01:17:49,830
NARRATOR: By 2004, Steve Jobs
opened talks with other studios,
1517
01:17:49,915 --> 01:17:53,167
while at Pixar, a cloud of anxiety
hung over employees
1518
01:17:53,251 --> 01:17:55,503
who felt that a merger
with a larger company
1519
01:17:55,587 --> 01:18:00,007
could threaten the loss of their
unique spirit and creative culture.
1520
01:18:00,092 --> 01:18:02,510
CATMULL: lt was very clear that none
of them wanted to do that.
1521
01:18:02,594 --> 01:18:04,512
They wanted to be
an independent company,
1522
01:18:04,596 --> 01:18:06,263
whereas if we were
to become independent,
1523
01:18:06,348 --> 01:18:07,556
we'd have to take on marketing
1524
01:18:07,641 --> 01:18:09,975
and distribution
and get another partner.
1525
01:18:10,060 --> 01:18:14,355
And it would change the culture in
ways that we didn't necessarily want.
1526
01:18:14,439 --> 01:18:16,774
NARRATOR: But by 2005,
a corporate shake-up
1527
01:18:16,858 --> 01:18:19,694
within Disney led
to the replacement of Michael Eisner.
1528
01:18:19,778 --> 01:18:22,446
Bob lger was appointed
as the new CEC,
1529
01:18:22,531 --> 01:18:24,323
and expectations ran high
1530
01:18:24,616 --> 01:18:27,952
that he might repair
the broken relationship with Pixar.
1531
01:18:28,829 --> 01:18:32,039
As l neared the day
that l was going to become CEO ,
1532
01:18:32,124 --> 01:18:35,876
and l started to focus more and more
about the future of the company,
1533
01:18:35,961 --> 01:18:38,003
it became more and more clear that
1534
01:18:38,463 --> 01:18:41,382
for Disney to truly be
successful in the future,
1535
01:18:41,466 --> 01:18:44,301
we had to return to
the glory days of animation.
1536
01:18:44,386 --> 01:18:46,887
So l began focusing on how to do that,
1537
01:18:46,972 --> 01:18:50,224
and it really begins
with finding the right people.
1538
01:18:50,308 --> 01:18:52,935
The more l thought about it,
the more l realized that
1539
01:18:53,019 --> 01:18:57,273
Pixar had more of the right people
than probably any other
1540
01:18:58,233 --> 01:19:00,818
place in the world,
from an animation perspective.
1541
01:19:00,986 --> 01:19:05,239
l then went to the opening of
Hong Kong Disneyland in September,
1542
01:19:05,323 --> 01:19:06,741
and the parade went by.
1543
01:19:07,159 --> 01:19:10,536
lt hit me that the characters
that were in the parade
1544
01:19:10,620 --> 01:19:14,707
all came from films that had been
made prior to the mid-'90s,
1545
01:19:14,791 --> 01:19:17,168
except for some of
the Pixar characters.
1546
01:19:17,252 --> 01:19:20,379
l felt that l needed to think
even more out of the box
1547
01:19:20,464 --> 01:19:21,672
than l had been thinking,
1548
01:19:21,757 --> 01:19:24,884
and l had a much
greater sense of urgency.
1549
01:19:24,968 --> 01:19:27,219
l became CEO October 1 st.
1550
01:19:27,304 --> 01:19:31,974
l called Steve around that time
and said l thought we ought to talk,
1551
01:19:32,058 --> 01:19:33,851
l had some bigger ideas.
1552
01:19:33,935 --> 01:19:36,937
And that began
a long period of discussion,
1553
01:19:37,022 --> 01:19:40,024
because it was very
serious for both sides.
1554
01:19:41,109 --> 01:19:45,154
He really needed to feel comfortable
that Pixar was in the right hands
1555
01:19:45,238 --> 01:19:48,949
and, more importantly,
respect the talent and the culture.
1556
01:19:49,868 --> 01:19:54,079
We were extremely impressed with
his view of where Disney could go.
1557
01:19:54,164 --> 01:19:57,124
This changed
the equation dramatically,
1558
01:19:57,209 --> 01:19:59,293
and in the end
with weighing everything,
1559
01:19:59,377 --> 01:20:00,419
we came to the conclusion
1560
01:20:00,504 --> 01:20:03,297
that the best thing we could do
was to join up with Disney.
1561
01:20:05,342 --> 01:20:07,927
NARRATOR: The $7 .4 billion
acquisition deal
1562
01:20:08,011 --> 01:20:10,471
provided Steve Jobs a seat
on the Disney board
1563
01:20:10,555 --> 01:20:12,223
as the company's largest shareholder,
1564
01:20:12,307 --> 01:20:14,558
made John Lasseter
Chief Creative Cfficer,
1565
01:20:14,643 --> 01:20:18,813
and Ed Catmull, President of Disney
and Pixar Animation Studios.
1566
01:20:18,897 --> 01:20:21,732
We're convinced that Bob
really understands Pixar,
1567
01:20:22,359 --> 01:20:26,028
and we think we have
some appreciation of Disney
1568
01:20:26,112 --> 01:20:27,988
and love the unique Disney assets
1569
01:20:28,073 --> 01:20:30,157
like being able to get the characters
in the theme parks
1570
01:20:30,242 --> 01:20:33,577
and really express them throughout
all of Disney's incredible assets.
1571
01:20:33,662 --> 01:20:38,249
And we think we understand
how to keep Pixar being Pixar
1572
01:20:38,542 --> 01:20:42,086
and how to spread some of
that culture around and maybe,
1573
01:20:42,170 --> 01:20:44,129
you know, a few other parts
of Disney as well.
1574
01:20:44,214 --> 01:20:46,298
"Cause we think we got something
pretty good going here.
1575
01:20:47,217 --> 01:20:48,926
CATMULL: While we will
make 3-D movies,
1576
01:20:49,010 --> 01:20:50,886
we're also gonna make 2-D movies
1577
01:20:50,971 --> 01:20:53,597
'cause it's part of this wonderful
heritage that we've got here,
1578
01:20:53,682 --> 01:20:55,307
and it's a beautiful art form.
1579
01:20:55,392 --> 01:20:59,854
lt feels like this is the true culmination
of the building of Pixar
1580
01:20:59,938 --> 01:21:02,648
and this amazing company into
something which will continue on
1581
01:21:02,732 --> 01:21:05,025
and continue to make waves
in the future.
1582
01:21:05,110 --> 01:21:06,944
This deal is expected
to close this summer
1583
01:21:07,028 --> 01:21:08,821
just about the time
that Pixar will release
1584
01:21:08,905 --> 01:21:10,823
its seventh foature film, called Cars.
1585
01:21:10,907 --> 01:21:11,907
(LlGHTNlNG McQUEEN WHOOPS)
1586
01:21:16,746 --> 01:21:19,748
NARRATOR: John Lasseter's return
to the director's chair
1587
01:21:19,833 --> 01:21:21,292
came with the release of Cars.
1588
01:21:22,711 --> 01:21:25,254
A film inspired by
a cross-country road trip
1589
01:21:25,338 --> 01:21:27,840
he took with his family in 1 999.
1590
01:21:28,258 --> 01:21:30,885
Hi, this is great. Blue Ridge Parkway.
1591
01:21:35,223 --> 01:21:38,225
NARRATOR: Set in a bygone town
on Route 66,
1592
01:21:38,310 --> 01:21:41,437
John's personal love of cars
and the racing world
1593
01:21:41,521 --> 01:21:43,647
inspired a new level of beauty,
1594
01:21:43,732 --> 01:21:47,151
speed and a heightened reality
in computer animation.
1595
01:21:47,527 --> 01:21:48,611
Morning, Sleeping Beauty.
1596
01:21:48,695 --> 01:21:49,695
(GASPS)
1597
01:21:49,779 --> 01:21:50,821
(LAUGHS)
1598
01:21:52,365 --> 01:21:55,576
NARRATOR: Cars became the seventh
hit in a row for Pixar.
1599
01:21:55,660 --> 01:21:57,578
And the new relationship with Disney
1600
01:21:57,662 --> 01:21:59,914
was starting off on the right foot.
1601
01:21:59,998 --> 01:22:02,291
Ed and John now looked to the future
1602
01:22:02,375 --> 01:22:05,377
with the challenge of guiding
two animation studios.
1603
01:22:05,462 --> 01:22:09,089
And John, returning to his roots
to creatively oversee
1604
01:22:09,174 --> 01:22:12,426
all of Disney's theme parks
and attractions.
1605
01:22:12,510 --> 01:22:15,846
This. . . This is just, it's so beautiful.
Flik up there.
1606
01:22:17,766 --> 01:22:19,516
John's a real big Disney fan.
1607
01:22:20,185 --> 01:22:21,852
l mean, he worked
in the amusement parks,
1608
01:22:21,937 --> 01:22:23,479
he grew up on Disney.
1609
01:22:23,563 --> 01:22:26,273
(LAUGHS) Oh, look at. . . Look at this.
This is amazing !
1610
01:22:26,358 --> 01:22:27,399
(CHlLDREN CHATTERlNG)
1611
01:22:27,484 --> 01:22:30,110
MlLLER: He's thrilled to be on that lot
1612
01:22:30,195 --> 01:22:33,614
and kind of be able to go everywhere
he wants to go, and see what's there.
1613
01:22:33,698 --> 01:22:36,408
And bring things up
from the past, explore. . .
1614
01:22:36,493 --> 01:22:39,119
1 978, 27 years ago,
1615
01:22:39,204 --> 01:22:42,331
was the last time l skippered
a Jungle Cruise.
1616
01:22:42,415 --> 01:22:43,749
And l want everybody as we go...
1617
01:22:43,833 --> 01:22:46,794
His feelings are so good about it.
1618
01:22:46,878 --> 01:22:50,381
You had such
a remarkable man in Disney.
1619
01:22:51,216 --> 01:22:54,176
lt was a great intuition that he had,
1620
01:22:54,260 --> 01:22:56,345
he seemed to know
everything ahead of time.
1621
01:22:56,429 --> 01:22:59,306
l find the same thing
there with Lasseter.
1622
01:22:59,391 --> 01:23:03,185
He's pretty much
an image of Walt, l think.
1623
01:23:07,023 --> 01:23:09,733
WALT DlSNEY: When planning a new
picture, we don't think of grown-ups,
1624
01:23:09,818 --> 01:23:11,402
and we don't think of children.
1625
01:23:11,486 --> 01:23:14,738
But just of that fine,
clean, unspoiled spot
1626
01:23:14,823 --> 01:23:16,407
down deep in every one of us
1627
01:23:16,491 --> 01:23:18,158
that maybe the world
has made us forget,
1628
01:23:18,243 --> 01:23:21,495
and that maybe our pictures
can help recall.
1629
01:23:27,377 --> 01:23:31,171
LASSETER: Well, the future of Pixar
to me is going to be a continuing
1630
01:23:31,256 --> 01:23:32,715
making these great films,
1631
01:23:32,799 --> 01:23:35,342
with more and more
visionary directors.
1632
01:23:35,427 --> 01:23:37,845
And then give them creative
ownership of what they do,
1633
01:23:37,929 --> 01:23:41,432
so they can be proud
of it for the rest of their life.
1634
01:23:42,434 --> 01:23:47,146
There are so many young people today
that want to be animators,
1635
01:23:47,230 --> 01:23:50,983
that are fascinated by animation,
more than ever before.
1636
01:23:51,067 --> 01:23:55,279
So it's a field that is inspiring
and exciting.
1637
01:23:56,531 --> 01:23:59,366
There's a real advantage
being in a new medium.
1638
01:23:59,451 --> 01:24:03,620
We're still setting ourselves up
for things we've never done before.
1639
01:24:06,166 --> 01:24:09,543
HANKS: l foel like l'm in Dumbo,
l feel like l'm in Pinocchio.
1640
01:24:09,627 --> 01:24:12,379
This is truly going to be timeless
and forever
1641
01:24:12,464 --> 01:24:14,715
and will always land
in the consciousness
1642
01:24:14,799 --> 01:24:17,634
of yet another generation
of moviegoers.
1643
01:24:19,429 --> 01:24:23,223
JOBS: Pixar's seen by a lot of folks
as an overnight success,
1644
01:24:23,308 --> 01:24:27,394
but if you really look closely, most
overnight successes took a long time.
1645
01:24:28,521 --> 01:24:29,688
Kachow!
131953