|
Pixar Story The
|
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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, |
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have transformed |
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into their own |
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BOO: Kitty! |
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CELIA: Oh, Googly Bear. |
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SYNDROME: It's Syndrome. |
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MR. INCREDIBLE: Show time! |
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DORY: Just keep swimming. |
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MARLIN: Dory! |
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DORY: Gotta go faster |
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JESSlE: Yee-haw! |
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WOODY: (GASPS) Ride like the wind, |
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(HORSE GALLOPING) |
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JOHN LASSETER: The art challenges |
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technology inspires the art. |
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STEVE JOBS: The best scientists |
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are just as creative |
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ED CATMULL: We've got characters |
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NARRATOR: Transforming the |
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into a new art form was no easy task. |
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Over the last 20 years, |
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and the risk of failure |
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This marriage of art and science was |
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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 |
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and blazed an unprecedented record |
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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 |
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and the director |
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helped pioneer this new art form |
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from an early love |
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LASSETER: When I was growing up, |
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I loved cartoons |
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And when I was in high school, |
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I found this book, this old, ratty book, |
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And it was about the Disney Studios |
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And it was one of those things, |
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people make cartoons for a living. |
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They actually get paid |
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And I thought, |
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Right then, right there, it was like |
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NARRATOR: In 1975, John applied |
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an art college founded |
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John was accepted |
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that taught Disney-style |
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LASSETER: What they were doing |
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all of these amazing Disney artists |
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to teach this class, |
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It dawned on me pretty quickly |
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NARRATOR: Among John's classmates |
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were future |
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and Brad Bird. |
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Everyone was kind of |
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We didn't wanna leave it |
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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, |
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MUSKER: It was a very collaborative |
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Everybody showed everybody their film |
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and everybody |
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But it was totally supportive |
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and you'd get creative ideas |
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And we all learned as much |
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as we did from the instructors. |
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NARRATOR: The teachers at CalArts |
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than Disney's legendary collaborators |
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known as the "Nine Old Men," |
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who taught the essence |
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FRANK THOMAS: |
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We call it |
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It all comes back to their heart, |
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And all those things. |
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How does a character feel, |
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BlRD: The Nine Old Men, |
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these guys were unbelievable masters |
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and yet every single one of them |
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NARRATCR: As a student, John |
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getting a summer job |
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ANNOUNCER: Tomorrowland Station! |
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LASSETER: Disneyland was |
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Everybody was young working there |
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We had a blast. It was really, really fun. |
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NARRATOR: And he was soon |
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to a ride operator |
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before returning to studies at CalArts. |
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LASSETER: There's a few times |
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I feel like I'm in the right place |
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And definitely when we were at CalArts, |
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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 |
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Lady and the Lamp |
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who accidentally replaces |
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(SPUTTERING) |
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Oh, no. |
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(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 |
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is about a boy who sees monsters |
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Both films received back-to-back |
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an unprecedented record |
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that instantly propelled John |
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JOHN DAVlDSON: This is your |
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LASSETER: Yeah. |
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ls there a knack to making an |
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or is this the real world, |
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I think it could make it commercially, |
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because I think |
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is basically entertainment. |
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People pay money |
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NARRATOR: John's success |
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at the Walt Disney Studios. |
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Hello. |
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I'm Randy Cartwright. |
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-And this is Ron Miller! |
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-How are you? |
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Great way to start the film! |
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Well, we're off to a good start. |
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Here it is, April 9, 1980. |
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This is the past |
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and we're gonna go inside |
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Come on. Come on! |
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GLEN KEANE: Walking into |
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that was built with the money from |
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when I came in there in the '70s, |
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I just sensed this history around. |
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All of the experience |
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was somehow impermeated |
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LASSETER: Hi, Glen. How are you? |
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CARTWRlGHT: Glen. Glen Keane. |
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-Thanks, John. |
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He is our directing animator. |
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CARTWRlGHT: Cur cameraman, |
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KEANE: It was so great to meet John. |
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There was this immediate |
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of your passion |
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and he knew a lot about the history |
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NARRATOR: As his first animation |
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John handled |
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in the 1981 |
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Together, John and Glen collaborated |
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But increasing budget cutbacks |
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had severely limited |
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Walt Disney had achieved |
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KEANE: Animation was really at a point |
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where it seemed like it was |
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All of the richness and the atmosphere |
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was budgeted out of our films, |
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(BUZZING) |
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NARRATOR: While the animation |
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Tron, a live-action foature |
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was screened for employees |
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(ENGINES REWING) |
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Watch it, watch it! Auuughhh! |
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There Tron was, these light-cycles. . . |
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Moving in and out of the scene |
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And we came back to my room |
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and the depression |
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like, "Well, why can't we?" |
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"Why can't we do that? |
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LASSETER: Computer animation |
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and not excited |
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but the potential I saw in all this. |
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I was just amazed by it. |
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And we started thinking, |
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"we had a background |
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"but we animated |
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It had never been done before, |
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but there's something about John |
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that you kind of get the feeling |
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I mean, |
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doesn't mean it can't be done. |
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NARRATOR: John and Glen |
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to experiment with animation |
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But at the studio |
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that the computer was |
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THOMAS: I'd say 95% of the fellas |
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"You'd never get me to do anything |
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And I talked to John Lasseter |
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I said, |
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"and new types of movement |
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"but not by the pencil, |
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The potential was there at that time, |
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but no one wanted to do it |
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NARRATOR: John and his story team |
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were given the approval |
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based on the short story, |
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It would mark |
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and his own opportunity |
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to further explore the blending |
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After eight months of development, |
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John was finally asked to present |
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LASSETER: They'd said, |
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"the head of the studio at the time |
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So we got the presentation together, |
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and he had this scowI on his face |
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we pitched the whole thing |
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and he stood up and he asked, |
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And I said, |
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"it's gonna be, you know, no more than |
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And he went, "The only reason |
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"is if we could do it faster or cheaper." |
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And he walked up and he walked out. |
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And it was like, "What?" You know? |
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And so about five minutes later |
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and Ed Hansen |
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And I come down, and he said, |
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"Well, John, |
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"so your employment with |
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DON HAHN: He got let go, he got fired, |
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because, honestly, the studio |
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Even at that early day, |
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this Disney Studio |
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turned out to be a really |
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And he was a born director, |
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and his expectation and passion |
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excelled what the studio |
| 00:12:55 |
During a lot of the early days, |
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because they were |
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that it somehow |
| 00:13:03 |
And we spent a lot of time |
| 00:13:05 |
"No, it's just a tool, it doesn't take. . . |
| 00:13:07 |
"It doesn't do the creativity, |
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But there was this fear, |
| 00:13:14 |
ANNOUNCER: We interrupt |
| 00:13:15 |
for an important announcement. |
| 00:13:16 |
A state of emergency |
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and the entire police force |
| 00:13:20 |
(CROWD SCREAMING) |
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in an effert to stop |
| 00:13:25 |
ANNOUNCER 2: There is no |
| 00:13:28 |
These rumors are absolutely false! |
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(BEEPING) |
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NARRATOR: The reality of technology |
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It was the computer |
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JOHN F. KENNEDY: I believe that |
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to achieving the goal, |
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of landing a man on the moon |
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ASTRONAUT: Lift off on Apollo 11 . |
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NARRATOR: The space race |
| 00:14:05 |
for a select number of universities |
| 00:14:08 |
In the 1960s, |
| 00:14:10 |
the University of Utah set up one |
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headed by the top scientists |
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Ed Catmull, an aspiring artist, |
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was among the few drawn |
| 00:14:23 |
CATMULL: I drew a lot, |
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I wanted to be an artist. |
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But at the same time, I believed that |
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I wasn't good enough |
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so I switched over |
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As soon as I took the first class, |
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it just blew everything else away. |
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'Cause here was a program in which |
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all together in one place, in a new field, |
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You could just go out |
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you were right at the frontier. |
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NARRATOR: Ed's computer-animated |
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was the first step in the development |
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wrapping texture |
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and eliminating jagged edges. |
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The footage debuted years later |
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which became the first use |
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Ed graduated with a PhD |
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There was only one institution |
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willing to put millions of dollars |
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The word of any center of activity |
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and it quickly became known |
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CATMULL: There the charter was |
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"Let's make computer graphics |
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That's exactly what I wanted to do. |
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NARRATCR: Alex Schure, |
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hired Ed to spearhead the new |
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to develop paint programs |
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to create art and animation |
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Ed himself developed software |
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that transformed hand-drawn |
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Artists could now draw and paint |
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We were creating a revolution |
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and the older techniques |
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NARRATOR: These developments led |
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creating the first feature-length, |
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SCHURE: We were impacting |
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and it was gonna be tremendous |
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because of the applications |
| 00:16:35 |
NARRATOR: The applications |
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led Stor Wars director, George Lucas, |
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to see their potential |
| 00:16:43 |
LUCAS: After I did Stor Wars, |
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I decided that I would begin to move |
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We had made this computer controlled, |
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but I really wanted |
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I had a lot of ideas |
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that couldn't be conquered |
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NARRATOR: George Lucas brought |
| 00:17:02 |
to form a new computer division |
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to invent digital production tools, |
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including a new digital-editing system |
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a digital sound system, |
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and a powerful graphics computer. |
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Ed recruited the most talented team |
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to create the futuristic tools for Lucas. |
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ROB COOK: Everybody who did it |
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People came from architecture, |
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from art, from computer science, |
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and somehow ended up |
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At that time |
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it was a pretty small thing. |
| 00:17:42 |
And we were inventing |
| 00:17:46 |
We had no computers. |
| 00:17:47 |
My wife remembers those days |
| 00:17:51 |
You know? I didn't have any computer |
| 00:17:53 |
to stay and hack on |
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so I'd come home at regular hours |
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and she woes the days |
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and I would get carried away. |
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LUCAS: They really were kind of |
| 00:18:06 |
and so that was kind of fun |
| 00:18:07 |
because, you know, |
| 00:18:10 |
that nobody really |
| 00:18:16 |
COOK: There was a big |
| 00:18:18 |
doing things that were more artistic. |
| 00:18:20 |
Vol Llbre, Loren Carpenter's film |
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and not just because |
| 00:18:28 |
but it was a huge deal |
| 00:18:33 |
CARPENTER: I've always been |
| 00:18:35 |
and, what's beyond |
| 00:18:38 |
When I came to Lucasfilm, |
| 00:18:41 |
and it was refreshing and exhilarating. |
| 00:18:44 |
COOK: Even in those days, |
| 00:18:46 |
was to make a feature-length movie |
| 00:18:49 |
At least all of us, |
| 00:18:52 |
Even though it seemed impossible |
| 00:18:57 |
If you wanna make |
| 00:18:59 |
you somehow have to get |
| 00:19:02 |
All the geometry, no matter what, |
| 00:19:06 |
is broken down |
| 00:19:09 |
that are so small they would just be |
| 00:19:13 |
NARRATOR: The group soon realized |
| 00:19:16 |
but millions of triangles |
| 00:19:20 |
that compose |
| 00:19:23 |
CATMULL: It was an absurd number. |
| 00:19:25 |
But it was meant to be |
| 00:19:26 |
because if you throw |
| 00:19:29 |
and then you have to be able |
| 00:19:31 |
then it makes you think |
| 00:19:34 |
Right then and there, that changed |
| 00:19:39 |
about the sort of problem |
| 00:19:44 |
NARRATOR: The group got the chance |
| 00:19:46 |
when Lucas' special-effects division, |
| 00:19:50 |
could not achieve a shot |
| 00:19:52 |
Summary, please. |
| 00:19:53 |
Alvy Ray Smith led the group |
| 00:19:57 |
using all their talents |
| 00:20:00 |
The camera's spinning and spiraling |
| 00:20:03 |
It's going through amazing motions, |
| 00:20:05 |
completely impossible |
| 00:20:11 |
PORTER: I think Ed and Alvy realized, |
| 00:20:14 |
we've got to put characters up |
| 00:20:17 |
and that meant character animation, |
| 00:20:19 |
and that changed everything |
| 00:20:28 |
I had gone to this computer graphics |
| 00:20:32 |
I'll never forget it. We walk in |
| 00:20:35 |
'cause, like, all these dreams |
| 00:20:38 |
kind of were shattered. |
| 00:20:40 |
And Ed Catmull |
| 00:20:44 |
and he comes up |
| 00:20:46 |
"How's Toaster going? |
| 00:20:48 |
You know, all that stuff, and I go, |
| 00:20:52 |
He told me that he was leaving Disney. |
| 00:20:55 |
He didn't tell me the circumstances, |
| 00:20:59 |
And we spent a long time |
| 00:21:02 |
and what the possibilities were, |
| 00:21:04 |
because this is the first time |
| 00:21:05 |
we really had a chance |
| 00:21:08 |
We couldn't get them at Lucasfilm. |
| 00:21:11 |
NARRATOR: John was hired |
| 00:21:13 |
into Lucasfilm's |
| 00:21:16 |
under the inconspicuous title |
| 00:21:21 |
I came in there and immediately |
| 00:21:23 |
I was intimidated by all the people |
| 00:21:26 |
I mean, there were PhDs |
| 00:21:29 |
Our group was in love with animation, |
| 00:21:34 |
We couldn't animate very well, |
| 00:21:39 |
LASSETER: And the first thing they did |
| 00:21:42 |
with the idea of, |
| 00:21:44 |
"with characters that are done |
| 00:21:48 |
I was inspired looking at the limitations |
| 00:21:52 |
and then I went back |
| 00:21:56 |
It's geometric shapes. |
| 00:21:57 |
How more geometric can you get |
| 00:21:59 |
So I just started drawing, |
| 00:22:02 |
His name is "André." |
| 00:22:05 |
(BUZZING) |
| 00:22:06 |
(SQUEAKING) |
| 00:22:15 |
(LAUGHS) |
| 00:22:21 |
NARRATOR: John inspired the |
| 00:22:24 |
that would enable him to animate |
| 00:22:26 |
the squash and stretch movements |
| 00:22:30 |
The results were new flexibility, |
| 00:22:33 |
and character action never before |
| 00:22:37 |
LASSETER: I loved working with these |
| 00:22:40 |
And then I was so inspired |
| 00:22:43 |
So it's become this way of working |
| 00:22:47 |
technology inspires the art. |
| 00:22:50 |
NARRATOR: John and computer |
| 00:22:52 |
put their animation skills to the test |
| 00:22:54 |
while working with Lucas' |
| 00:22:58 |
to bring a stained-glass man to life |
| 00:23:06 |
It was really amazing, |
| 00:23:07 |
the meeting of these two completely |
| 00:23:23 |
(WHlMPERING) |
| 00:23:27 |
MUREN: You could just design |
| 00:23:29 |
the way that your mind conceived it, |
| 00:23:31 |
not only shape-wise |
| 00:23:37 |
NARRATOR: The visual effects were |
| 00:23:40 |
and many Hollywood |
| 00:23:42 |
had no idea how it was done. |
| 00:23:44 |
LUCAS: There were areas they could |
| 00:23:48 |
in traditional special effects. |
| 00:23:50 |
Ed's group really equaled change. |
| 00:23:53 |
NARRATOR: To improve speed |
| 00:23:55 |
Ed's team developed |
| 00:23:58 |
the most powerful graphics computer |
| 00:24:01 |
lts software transformed |
| 00:24:04 |
and was used in medical imaging |
| 00:24:08 |
But after years of trying to sell |
| 00:24:10 |
their high-end computer software |
| 00:24:13 |
George Lucas' interest |
| 00:24:16 |
I think it was very esoteric |
| 00:24:18 |
and it was very hard |
| 00:24:19 |
So once we had the EditDroid |
| 00:24:23 |
then I decided that I didn't want |
| 00:24:28 |
And John and Ed were dead set |
| 00:24:33 |
and their dream |
| 00:24:35 |
And I said, "Great, but, you know, |
| 00:24:39 |
"it's gonna take at least, you know, |
| 00:24:43 |
"which we don't have." |
| 00:24:45 |
(LAUGHS) |
| 00:24:46 |
NARRATOR: To keep the team |
| 00:24:48 |
Ed and Alvy gained Lucas' support |
| 00:24:50 |
to spin off the division |
| 00:24:53 |
Over the next year |
| 00:24:56 |
who could foresee their potential. |
| 00:25:01 |
An unexpected visitor to Lucasfilm |
| 00:25:05 |
Steve was 21 when he |
| 00:25:08 |
revolutionizing the concept |
| 00:25:11 |
personal computing with |
| 00:25:14 |
By the age of 30, |
| 00:25:17 |
selling his innovative computers |
| 00:25:20 |
I was still at Apple at the time. |
| 00:25:22 |
I was turned onto it by a guy |
| 00:25:25 |
And, so Alan and I hopped in a car |
| 00:25:29 |
KAY: So on the limousine ride up there, |
| 00:25:31 |
I explained to Steve |
| 00:25:33 |
what their history was, |
| 00:25:35 |
Then a very good thing happened. |
| 00:25:37 |
JCBS: That was the first time I met Ed, |
| 00:25:39 |
and he shared with me his dream |
| 00:25:41 |
to make the world's first |
| 00:25:44 |
And l, in the end, |
| 00:25:47 |
both spiritually and financially. |
| 00:25:51 |
NARRATOR: Steve Jobs took a chance |
| 00:25:53 |
and invested $1 0 million |
| 00:25:57 |
The stuff that Ed and his team |
| 00:26:00 |
and I could see that it was way beyond |
| 00:26:04 |
CATMULL: We had the fortune |
| 00:26:07 |
who believes in passion and vision. |
| 00:26:10 |
He was responding to this passion. |
| 00:26:11 |
It was really exciting when Steve |
| 00:26:19 |
I remember Ed came to me, |
| 00:26:22 |
"Let's do a little animated film, |
| 00:26:27 |
I wanted something |
| 00:26:30 |
and I was sitting there at the desk |
| 00:26:32 |
And I just kept staring at this lamp, |
| 00:26:34 |
and it was sort of like |
| 00:26:38 |
I just started moving it around |
| 00:26:41 |
I love bringing |
| 00:26:44 |
in maintaining |
| 00:26:47 |
and pull personality and movement |
| 00:26:57 |
(SQUEAKING) |
| 00:27:00 |
NARRATCR: In 1987 , Luxo Jr . |
| 00:27:02 |
became the first three-dimensional |
| 00:27:06 |
nominated for an Academy Award. |
| 00:27:09 |
CATMULL: Luxo is the one |
| 00:27:11 |
It was a pure little story. |
| 00:27:14 |
And once we hit it with that, |
| 00:27:17 |
then it became |
| 00:27:20 |
(SQUEAKS) |
| 00:27:21 |
(AlR ESCAPES) |
| 00:27:34 |
JOBS: It was the combination |
| 00:27:36 |
and John really bringing |
| 00:27:38 |
that made people say, "Oh my God." |
| 00:27:41 |
You know, and the smart ones say, |
| 00:27:44 |
NARRATOR: A hopping Luxo lamp |
| 00:27:46 |
would become a symbol |
| 00:27:51 |
The image I remember most |
| 00:27:53 |
is John Lasseter |
| 00:27:56 |
with deadlines approaching, |
| 00:28:01 |
Just one man, one machine, |
| 00:28:06 |
LASSETER: Early in Pixar, |
| 00:28:09 |
sharing one computer, |
| 00:28:13 |
we'd sit there |
| 00:28:16 |
and I would always |
| 00:28:19 |
Got most of my animation done |
| 00:28:21 |
from about 10:30 at night |
| 00:28:26 |
This evening I am animating a scene |
| 00:28:30 |
This is a rough level of detail. |
| 00:28:33 |
MAN: How come your car |
| 00:28:35 |
'Cause it hasn't moved |
| 00:28:38 |
(MAN CHUCKLES) |
| 00:28:39 |
I've been sleeping here. |
| 00:28:41 |
He'd leave me a note on my desk. |
| 00:28:43 |
"D.W. , wake me up when you come in," |
| 00:28:47 |
Of course, the door would be closed. |
| 00:28:48 |
I'd have to bang on the door, |
| 00:28:50 |
He used to bring in a mattress |
| 00:28:52 |
and sleep under his desk. |
| 00:28:54 |
And then he would get up |
| 00:28:56 |
And he did that for weeks. |
| 00:29:01 |
NARRATCR: Their next short, |
| 00:29:03 |
was the story of a lonely unicycle |
| 00:29:10 |
OSTBY: We could show him |
| 00:29:13 |
and what was hard for us to do, |
| 00:29:15 |
We'd say, "Well, you know, John, |
| 00:29:19 |
Then first thing you'd know, |
| 00:29:20 |
he'd be thinking about |
| 00:29:23 |
and he'd encourage us to try to do it. |
| 00:29:26 |
NARRATOR: Tin Tot , about a wind-up |
| 00:29:30 |
brought children's toys to life |
| 00:29:32 |
(BABY BABBLES) |
| 00:29:34 |
And in 1989, |
| 00:29:36 |
Bill Reeves and John Lasseter |
| 00:29:38 |
took home their first Oscars |
| 00:29:41 |
and the first ever awarded |
| 00:29:45 |
With each subsequent short film, |
| 00:29:49 |
and the team got more experience |
| 00:29:55 |
NARRATOR: In 1990, Pixar applied |
| 00:29:59 |
to make commercials. |
| 00:30:01 |
The new venture soon required |
| 00:30:04 |
John hired |
| 00:30:07 |
PETE DOCTER: It was literally the day |
| 00:30:10 |
John sat down and showed me |
| 00:30:14 |
It was pretty slow. |
| 00:30:15 |
There was a lot of kind of |
| 00:30:17 |
but I loved that stuff. |
| 00:30:19 |
I didn't care what it was. |
| 00:30:21 |
"I'll do, you know, soap bars, |
| 00:30:25 |
TRlDENT NARRATOR: Introducing |
| 00:30:27 |
The freshest mints. |
| 00:30:30 |
The coolest cool. |
| 00:30:31 |
For as simple as it was, |
| 00:30:33 |
it was probably the hardest |
| 00:30:35 |
because it was archaic. |
| 00:30:36 |
I knew nothing about the computer. |
| 00:30:37 |
I had never touched one, |
| 00:30:40 |
never even really looked at one |
| 00:30:43 |
So I'm a testament |
| 00:30:46 |
(LAUGHS) |
| 00:30:49 |
NARRATCR: At the same time, |
| 00:30:52 |
with the new leadership |
| 00:30:54 |
headed by Michael Eisner, |
| 00:30:57 |
Jeffrey Katzenberg and Roy Disney. |
| 00:30:59 |
In a renewed effert to bridge |
| 00:31:03 |
Pixar invented CAPS, |
| 00:31:05 |
a digital ink-and-paint system |
| 00:31:07 |
which brought new technical advances |
| 00:31:10 |
The techniques gained critical notice |
| 00:31:15 |
PETER SCHNElDER: Roy Disney was |
| 00:31:18 |
He spent a lot of money |
| 00:31:20 |
and it was just the basis |
| 00:31:23 |
in terms of the 3-D animation process. |
| 00:31:25 |
It was the engine |
| 00:31:30 |
NARRATCR: Pixar's software, |
| 00:31:32 |
was also getting industry acclaim |
| 00:31:34 |
for the creation |
| 00:31:37 |
that allowed Hollywood filmmakers |
| 00:31:39 |
that could not be told any other way. |
| 00:31:43 |
Renderman had become |
| 00:31:46 |
and in 2000, |
| 00:31:48 |
the technical team |
| 00:31:50 |
ever awarded |
| 00:31:56 |
But the research and development |
| 00:31:59 |
was costing more money |
| 00:32:02 |
Steve Jobs had been losing over |
| 00:32:08 |
It was all great stuff to do, |
| 00:32:12 |
None of it really. . . It was a struggle. |
| 00:32:14 |
Every step of the way, |
| 00:32:16 |
We were trying to pay the bills |
| 00:32:20 |
And that strategy |
| 00:32:24 |
Steve was a very forgiving investor |
| 00:32:29 |
and had a much longer term view |
| 00:32:34 |
would've had |
| 00:32:38 |
NARRATOR: With the survival |
| 00:32:40 |
John pitched the Disney Company |
| 00:32:42 |
a half-hour Christmas TV special |
| 00:32:47 |
All the while, |
| 00:32:48 |
Disney executives had been trying |
| 00:32:50 |
to lure John back to the studio |
| 00:32:54 |
John is being asked this |
| 00:32:56 |
to come down |
| 00:32:59 |
Or he can stay up |
| 00:33:01 |
with this company |
| 00:33:04 |
because they're losing money. |
| 00:33:07 |
He stays up here with this company |
| 00:33:13 |
John came up with the idea of doing |
| 00:33:18 |
done in this 3-D plastic world, |
| 00:33:24 |
And they'd gone from commercials |
| 00:33:28 |
They felt they could expand |
| 00:33:31 |
And we said, "Oh, forget about that. |
| 00:33:34 |
NARRATOR: From John's initial pitch, |
| 00:33:37 |
Disney offered the Pixar team |
| 00:33:41 |
of creating the world's first |
| 00:33:47 |
LASSETER: I remember Bonnie Arnold, |
| 00:33:49 |
and Ralph Guggenheim, the producer, |
| 00:33:51 |
came around and they said... |
| 00:33:53 |
GUGGENHElM: We're making a movie. |
| 00:33:54 |
-Really? |
| 00:33:56 |
We got green light? |
| 00:33:57 |
ARNOLD: We got it. |
| 00:33:58 |
LASSETER: It happened, |
| 00:33:59 |
"'Oh, my God, we're actually |
| 00:34:02 |
And I was so excited. |
| 00:34:03 |
There was so much |
| 00:34:07 |
(LAUGHING) |
| 00:34:08 |
-GUGGENHElM: All right. |
| 00:34:10 |
It was an attempt |
| 00:34:14 |
and see if we could make |
| 00:34:19 |
JOBS: It was fantastic. |
| 00:34:20 |
There was no better partner |
| 00:34:23 |
There was a lot |
| 00:34:25 |
vast amounts |
| 00:34:26 |
So it was the best thing |
| 00:34:29 |
You heard? |
| 00:34:30 |
None of us had done |
| 00:34:32 |
and a large portion of us |
| 00:34:34 |
GUGGENHElM: Green light. |
| 00:34:35 |
LASSETER: Ignorance was bliss. |
| 00:34:37 |
We did not know what we didn't know. |
| 00:34:39 |
It's like the |
| 00:34:42 |
"Hey, my uncle's got a barn! |
| 00:34:45 |
-Unpack. Unpack. |
| 00:34:47 |
CATMULL: We were onto |
| 00:34:48 |
if we could just hold it together |
| 00:34:57 |
LASSETER: We did not want to |
| 00:34:59 |
We did not want to do a fairy tale. |
| 00:35:01 |
We did not want to do |
| 00:35:04 |
from Little Mermaid |
| 00:35:07 |
and all those films. . . |
| 00:35:08 |
They had their thing going |
| 00:35:12 |
NARRATOR: John set his sights |
| 00:35:15 |
for the voice of Woody. |
| 00:35:17 |
They said, "Look, we just wanna |
| 00:35:20 |
"'cause it's too hard |
| 00:35:24 |
Oh, no, no, no! |
| 00:35:26 |
You're eating the car! |
| 00:35:28 |
Don't eat the car! Not the car! |
| 00:35:30 |
Oh, you stupid dog! |
| 00:35:34 |
When I saw this loop, |
| 00:35:37 |
It was kind of, like, hypnotic. |
| 00:35:39 |
"Let's see it again. |
| 00:35:40 |
I think we must have watched it |
| 00:35:42 |
It didn't look like animation. |
| 00:35:45 |
I couldn't explain it even to friends |
| 00:35:47 |
I just said, "Well, it's gonna be |
| 00:35:49 |
"They've just invented something |
| 00:35:52 |
(BEEPING) |
| 00:35:54 |
Hi, pal. What you doing? |
| 00:35:56 |
I'm Tempest from Morph! |
| 00:35:57 |
Yeah, yeah, what's this button? |
| 00:35:59 |
Say, you weren't thinking of flying, |
| 00:36:02 |
You know, Andy loves toys that can fly! |
| 00:36:05 |
Really? Well, then, |
| 00:36:12 |
You know, |
| 00:36:17 |
LASSETER: There was this desire |
| 00:36:22 |
Make it edgy. |
| 00:36:26 |
Jeffrey Katzenberg, who at the time |
| 00:36:29 |
and had great interest in animation |
| 00:36:32 |
would always in a story meeting |
| 00:36:37 |
Which really was |
| 00:36:42 |
the edge of inappropriate, |
| 00:36:44 |
and not to feel too young. |
| 00:36:46 |
We were working our butts off |
| 00:36:51 |
addressing every note |
| 00:36:54 |
And that was the first year. |
| 00:36:56 |
NARRATOR: By December, 1993, |
| 00:36:58 |
John and his crew flew to Burbank |
| 00:37:01 |
to present their completed storyboards |
| 00:37:03 |
Their approval would finally |
| 00:37:07 |
But what was to come |
| 00:37:15 |
SCHNElDER: Nothing of it |
| 00:37:16 |
It wasn't funny, it wasn't emotional, |
| 00:37:19 |
Characters didn't quite work. |
| 00:37:22 |
Peter Schneider sent me this video, |
| 00:37:26 |
It was so long. |
| 00:37:27 |
It was like two hours, and it went on |
| 00:37:32 |
and I was fast-forwarding through it |
| 00:37:34 |
and thinking, |
| 00:37:37 |
Which led to this horrible, horrible day |
| 00:37:43 |
That was our Black Friday. |
| 00:37:46 |
I forget what day of the week it was, |
| 00:37:50 |
WOODY: Hey, you wanna be |
| 00:37:52 |
You button your lip! |
| 00:37:53 |
Nobody's getting replaced! |
| 00:37:55 |
SCHUMACHER: It resulted in |
| 00:37:57 |
being one of the most repellent things |
| 00:38:00 |
I mean, you couldn't watch it. |
| 00:38:01 |
It was smart-alecky. |
| 00:38:06 |
It was kind of, like, negative. |
| 00:38:08 |
WOODY: All right, that's enough! |
| 00:38:10 |
You're all acting like |
| 00:38:13 |
Get a grip, okay? |
| 00:38:14 |
SCHUMACHER: Jeffrey said, |
| 00:38:17 |
I said, "Well, because |
| 00:38:19 |
"It's completely not the movie |
| 00:38:22 |
LASSETER: Disney forced us |
| 00:38:25 |
And they wanted us to lay people off, |
| 00:38:29 |
(CLANGING) |
| 00:38:30 |
We just said, "All right, screw it. |
| 00:38:33 |
"What would be the funniest thing?" |
| 00:38:35 |
We were also very brutally honest with |
| 00:38:39 |
LASSETER: We worked day and night. |
| 00:38:40 |
STANTON: And we just really |
| 00:38:42 |
We knew it was sort of our last chance. |
| 00:38:45 |
It was so refreshing, 'cause we were |
| 00:38:50 |
RANFT: We'd just sit on our knees, |
| 00:38:52 |
and draw with Sharpies on pads |
| 00:38:55 |
And then, like, "Oh, this is great!" |
| 00:38:58 |
STANTON: And re-boarded |
| 00:38:59 |
We did it much faster, much rougher |
| 00:39:03 |
LASSETER: And we turned |
| 00:39:05 |
in two weeks or three weeks, |
| 00:39:07 |
unheard of amount of time. |
| 00:39:09 |
And we showed it to Disney, |
| 00:39:10 |
and they were all ready to completely |
| 00:39:14 |
And you know what? It was good. |
| 00:39:16 |
It was not great, but it was good. |
| 00:39:18 |
It showed the potential |
| 00:39:20 |
And they said, "Okay." |
| 00:39:21 |
Then we started production back up |
| 00:39:33 |
NARRATOR: The first scene animated |
| 00:39:37 |
It was an early glimpse |
| 00:39:46 |
(CHlLDREN CHATTERING) |
| 00:39:48 |
Go, go. |
| 00:39:50 |
A good soldier |
| 00:40:00 |
LEE UNKRlCH: We were so flying |
| 00:40:03 |
We would get all the stuff together |
| 00:40:06 |
and let them animate it. |
| 00:40:07 |
We would then get it back into editorial |
| 00:40:09 |
and find that |
| 00:40:11 |
It was so absolutely Stone Age, |
| 00:40:13 |
yet at the time we were, like, |
| 00:40:15 |
We thought we were being so cool |
| 00:40:17 |
and no one was doing anything |
| 00:40:20 |
REEVES: I think the biggest challenge |
| 00:40:21 |
was just dealing |
| 00:40:24 |
Full of characters, full of sets, |
| 00:40:27 |
And the story drove everything. |
| 00:40:30 |
Every frame of that story |
| 00:40:32 |
Working with the art department, |
| 00:40:35 |
working with layout, |
| 00:40:38 |
I would talk about the story |
| 00:40:39 |
and tell them |
| 00:40:43 |
CATMULL: And there's something |
| 00:40:44 |
the artists and the technical crew |
| 00:40:47 |
Even though we may do some things |
| 00:40:48 |
that don't always necessarily |
| 00:40:50 |
the mix is exciting. |
| 00:40:52 |
What did I tell you earlier? |
| 00:40:54 |
No one is getting replaced. |
| 00:40:55 |
Now, let's all be polite |
| 00:40:59 |
a nice, big, Andy's room welcome! |
| 00:41:02 |
Woody was a pendulum swing |
| 00:41:04 |
from Woody being comfortable |
| 00:41:06 |
to Woody being threatened |
| 00:41:14 |
(WOODY GULPS) |
| 00:41:15 |
TlM ALLEN: Lasseter called me |
| 00:41:16 |
"Would you look at these sketches |
| 00:41:18 |
"We think you're the perfect guy for it." |
| 00:41:20 |
And the only thing that sold me |
| 00:41:23 |
And I said, "What a neat idea." |
| 00:41:25 |
Had no idea visually |
| 00:41:27 |
He let me stretch it a little bit |
| 00:41:30 |
and really make it this really kind of |
| 00:41:34 |
(BEEPS) |
| 00:41:35 |
Star Command, come in. |
| 00:41:36 |
Why don't they answer? |
| 00:41:38 |
(GASPS) My ship! |
| 00:41:43 |
Blast! |
| 00:41:44 |
This'll take weeks to repair! |
| 00:41:45 |
ALLEN: He's full of himself, |
| 00:41:48 |
I don't think of Buzz |
| 00:41:50 |
Obviously, 'cause I think |
| 00:41:52 |
(LAUGHS) |
| 00:41:53 |
Buzz Lightyear Mission Log. |
| 00:41:55 |
The local sheriff and I seem to be |
| 00:41:56 |
at a huge refueling station |
| 00:41:59 |
-HANKS (AS WOODY): You! |
| 00:42:01 |
Shut up, you idiot! |
| 00:42:02 |
Sheriff, this is no time to panic! |
| 00:42:04 |
This is the perfect time to panic! |
| 00:42:05 |
I'm lost, Andy is gone, |
| 00:42:07 |
and they're gonna move |
| 00:42:10 |
And it's all your fault! |
| 00:42:13 |
RANFT: John. |
| 00:42:16 |
WOMAN: Tom. |
| 00:42:17 |
I think the hard part for me and |
| 00:42:21 |
it was really hard to know, from those |
| 00:42:27 |
what it was gonna look like. |
| 00:42:28 |
Which is really scary stuff. |
| 00:42:30 |
I remember, |
| 00:42:33 |
and we were seeing |
| 00:42:36 |
in fairly completed form in color, |
| 00:42:39 |
I was still thinking, "I don't get |
| 00:42:43 |
because there was this huge chase |
| 00:42:45 |
and the truck |
| 00:42:48 |
It was like they did that all in one day. |
| 00:42:50 |
(WHOOSHING) |
| 00:42:58 |
And suddenly, it was all in there, and |
| 00:43:03 |
BINOCULARS: Look, look, |
| 00:43:07 |
Woody! |
| 00:43:10 |
Some of the machines had to run 24/7 , |
| 00:43:14 |
Any hiccup in there |
| 00:43:18 |
And it was Band-Aids. |
| 00:43:21 |
(SCREAMS) |
| 00:43:22 |
This is the part where we blow up! |
| 00:43:24 |
Not today! |
| 00:43:29 |
We were blown away with it, |
| 00:43:30 |
and we really felt strongly that |
| 00:43:34 |
But even we didn't have a clue |
| 00:43:36 |
how much of a success |
| 00:43:38 |
To infinity and beyond! |
| 00:43:41 |
NARRATOR: Tot Story opened |
| 00:43:43 |
on Thanksgiving weekend in 1995, |
| 00:43:46 |
and from a shoestring budget, |
| 00:43:48 |
went on to earn more than |
| 00:43:52 |
and paved the path to an entirely new |
| 00:43:58 |
Kids loved it, critics loved it, |
| 00:44:01 |
and people in the animation field |
| 00:44:05 |
DOCTER: I remember the reviews |
| 00:44:09 |
First of all, the fact that this paper |
| 00:44:12 |
and they care about it is stunning, |
| 00:44:15 |
They were just glowing, and wow. |
| 00:44:18 |
The most amazing thing to me was |
| 00:44:20 |
It was really entertaining. |
| 00:44:24 |
That was the part where I was saying, |
| 00:44:27 |
People began to realize |
| 00:44:30 |
that we, in fact, had hit our stride, |
| 00:44:33 |
and this was what |
| 00:44:36 |
(YOU'VE GOT A FRlEND IN ME |
| 00:44:43 |
NARRATOR: The Academy |
| 00:44:45 |
with a special achievement Oscar |
| 00:44:47 |
for creating the first |
| 00:44:56 |
In spite ofTot Story's success, |
| 00:45:01 |
and Disney left the majority of the |
| 00:45:05 |
a long-term disaster for Pixar. |
| 00:45:07 |
Financially, if one film did not do well, |
| 00:45:10 |
we would be wiped off |
| 00:45:12 |
We realized then |
| 00:45:15 |
rather than just a production company. |
| 00:45:17 |
And in order to do that, |
| 00:45:21 |
So that's when we decided |
| 00:45:25 |
It was a combination of things |
| 00:45:27 |
that really hadn't been |
| 00:45:29 |
Creativity, technology, business. |
| 00:45:34 |
with those capabilities |
| 00:45:38 |
NARRATOR: One week |
| 00:45:41 |
Pixar became the highest |
| 00:45:44 |
From a $1 0 million investment, |
| 00:45:46 |
Steve raised $1 32 million. |
| 00:45:53 |
It was a wildly successful lPO , |
| 00:45:58 |
And then, shortly thereafter, |
| 00:46:00 |
Disney came to us and said, |
| 00:46:02 |
And Steve said, "Okay, we will extend it |
| 00:46:07 |
And they said, "Okay, we'll do that." |
| 00:46:09 |
So he actually nailed this |
| 00:46:13 |
I was in awe. |
| 00:46:22 |
DARLA ANDERSON: It was just |
| 00:46:25 |
riding around on scooters |
| 00:46:27 |
looking for extra office supplies, |
| 00:46:29 |
to this meteoric success, really. |
| 00:46:31 |
JOBS: We were in a place |
| 00:46:33 |
which was two miles away |
| 00:46:36 |
A few times a year, |
| 00:46:39 |
'cause the refineries would spew some |
| 00:46:41 |
wonderful chemical |
| 00:46:44 |
Pixar's facilities grew |
| 00:46:47 |
which meant that they were |
| 00:46:49 |
CATMULL: The animation bullpen |
| 00:46:52 |
probably not legal at all |
| 00:46:58 |
RANDY NELSON: It looked |
| 00:46:59 |
It was loose, it was free, it was rough. |
| 00:47:02 |
It was like 200 people sharing |
| 00:47:06 |
It was a place where you could go |
| 00:47:08 |
or make a hole in the wall |
| 00:47:14 |
There was this infectious |
| 00:47:16 |
It's like I imagined it must be like, say, |
| 00:47:18 |
for the guys in Monty Python |
| 00:47:20 |
to be sitting around a table, |
| 00:47:22 |
You'd expect there to be this great |
| 00:47:25 |
and that's what we had. |
| 00:47:30 |
It was so innocent and so sweet, |
| 00:47:36 |
CATMULL: A lot of people said, |
| 00:47:37 |
"Congratulations. You guys did what |
| 00:47:40 |
"and you spent your |
| 00:47:42 |
So there was this great |
| 00:47:44 |
and then when it was done |
| 00:47:47 |
There's a classic thing in business, |
| 00:47:49 |
which is the second product syndrome, |
| 00:47:53 |
and that is companies that have |
| 00:47:57 |
but they don't quite understand |
| 00:48:01 |
And their ambitions grow, |
| 00:48:04 |
and their second product fails. |
| 00:48:06 |
Believe it or not, |
| 00:48:08 |
The Apple ll, Apple's first |
| 00:48:11 |
was incredibly successful |
| 00:48:15 |
And so I lived through that, |
| 00:48:16 |
and I've seen a lot of companies |
| 00:48:20 |
My feeling was if we got through |
| 00:48:24 |
The bigger fear was just, can you find |
| 00:48:28 |
Can you make yourself as in love |
| 00:48:32 |
and you realize you have |
| 00:48:35 |
at making yourself as naive |
| 00:48:38 |
as you were in the first round |
| 00:48:42 |
There's nothing worse than any artist |
| 00:48:43 |
facing their second |
| 00:48:46 |
'Cause it's the point |
| 00:48:49 |
everything that's been written |
| 00:48:52 |
and you're yesterday's news, |
| 00:48:53 |
or whether you maybe |
| 00:48:56 |
One of the things I learned is |
| 00:48:59 |
don't necessarily work on this movie. |
| 00:49:01 |
You know, you think, |
| 00:49:03 |
"This is good. Oh, we know how. . . |
| 00:49:06 |
And then you start on a movie |
| 00:49:08 |
and you're back in kindergarten again. |
| 00:49:18 |
LASSETER: Research was |
| 00:49:20 |
out in front of Pixar, |
| 00:49:25 |
We ordered this tiny |
| 00:49:27 |
We called it the bug-cam, |
| 00:49:31 |
And we put little wheels from Lego |
| 00:49:34 |
and we were able to wheel it around |
| 00:49:38 |
from a half an inch above the ground. |
| 00:49:44 |
The one thing we noticed |
| 00:49:47 |
was how translucent everything was. |
| 00:49:50 |
It was breathtaking. |
| 00:49:52 |
(INSECTS BUZZING) |
| 00:49:54 |
NARRATOR: For their second film |
| 00:49:56 |
Pixar set out to prove |
| 00:49:59 |
with a bigger story, scope |
| 00:50:03 |
Here I go. For the colony! |
| 00:50:09 |
NARRATOR: A Bug's Life was the first |
| 00:50:10 |
computer-animated |
| 00:50:14 |
Oh. The city! |
| 00:50:21 |
I represent a colony of ants, |
| 00:50:24 |
You know, mean bugs. |
| 00:50:25 |
A talent scout! |
| 00:50:27 |
My colony's in trouble! |
| 00:50:29 |
We've been forced to prepare |
| 00:50:32 |
-Dinner theater! |
| 00:50:34 |
Please! Will you help us? |
| 00:50:37 |
This is it! This is Ant lsland! |
| 00:50:42 |
DOT: Flik! Over here! Flik! Flik! |
| 00:50:45 |
They seem to relish the idea, at Pixar, |
| 00:50:51 |
and then seeing |
| 00:50:53 |
in a creative and entertaining way. |
| 00:50:57 |
What did you do? |
| 00:51:00 |
It was an accident? |
| 00:51:08 |
ANDERSON: There's |
| 00:51:10 |
that we haven't invented yet. |
| 00:51:11 |
So, as a producer, |
| 00:51:15 |
to come through in the right time. |
| 00:51:16 |
And you're pushing a lot of things |
| 00:51:19 |
and you're looking at people's eyes |
| 00:51:20 |
"Can you do this for me?" |
| 00:51:22 |
LASSETER: It was just a giant story. |
| 00:51:25 |
Too many characters, |
| 00:51:28 |
and we were just drowning |
| 00:51:31 |
ANDERSON: So the producer goes to |
| 00:51:33 |
"John, we technologically |
| 00:51:36 |
"with more than 50 ants in them. |
| 00:51:38 |
"So can you design the movie |
| 00:51:40 |
And he said, "I'm willing to accept that |
| 00:51:43 |
"but I think you guys can do better." |
| 00:51:45 |
So he helped formulate |
| 00:51:48 |
He believed in them, he pushed them |
| 00:51:50 |
and at the end of the day, |
| 00:51:58 |
You ants stay back! |
| 00:52:06 |
NARRATOR: Through new |
| 00:52:09 |
Pixar artists transformed |
| 00:52:14 |
and brought an epic of |
| 00:52:19 |
Pixar broke through |
| 00:52:22 |
and A Bug's Life became |
| 00:52:24 |
animated film of 1998. |
| 00:52:31 |
After directing two back-to-back films, |
| 00:52:34 |
John returned home from |
| 00:52:37 |
now ready for a much-needed break. |
| 00:52:40 |
I was exhausted. |
| 00:52:42 |
My family hadn't seen much of me |
| 00:52:45 |
and we were going |
| 00:52:46 |
Coming down the home stretch |
| 00:52:49 |
we were all feeling stressed. |
| 00:52:53 |
And, you know, |
| 00:52:57 |
As a family, you know, |
| 00:53:01 |
NARRATOR: Meanwhile, a secondary |
| 00:53:04 |
was making a direct-to-video |
| 00:53:08 |
the first project not |
| 00:53:11 |
In February 1998, |
| 00:53:13 |
Disney decided to release |
| 00:53:17 |
But at Pixar, |
| 00:53:22 |
We knew Toy Sfory 2 |
| 00:53:24 |
I don't think we realized |
| 00:53:28 |
and then we found out. |
| 00:53:30 |
It just was not shaping up to be |
| 00:53:33 |
at the level that we thought |
| 00:53:37 |
CATMULL: John came back from |
| 00:53:40 |
and then came in |
| 00:53:43 |
"You're right, it's not very good." |
| 00:53:46 |
So at that point, |
| 00:53:50 |
"The film isn't very good. |
| 00:53:53 |
And they said, |
| 00:53:57 |
"but more importantly, |
| 00:54:01 |
And what we said at the time was, |
| 00:54:03 |
"We can't deliver it the way it is. |
| 00:54:09 |
We decided that |
| 00:54:13 |
was to ask John to go in, |
| 00:54:15 |
right after he'd come off of |
| 00:54:19 |
to go in and take over that film. |
| 00:54:25 |
My feeling was I could not ask |
| 00:54:29 |
to do something |
| 00:54:31 |
I said to him, |
| 00:54:35 |
"I'd like to see you do this picture, |
| 00:54:39 |
"and you're gonna have to |
| 00:54:43 |
"make changes in your |
| 00:54:46 |
"You're gonna have |
| 00:54:48 |
This is a movie that was already |
| 00:54:50 |
A lot of it was animated. |
| 00:54:52 |
It was a bullet train heading |
| 00:54:56 |
NARRATOR: Over a single weekend, |
| 00:54:59 |
from the first Tot Story |
| 00:55:03 |
John came back and pitched that story |
| 00:55:06 |
Just in that pitch, |
| 00:55:09 |
and inspired everyone |
| 00:55:12 |
Nine months before |
| 00:55:13 |
John threw the vast majority |
| 00:55:17 |
which is unheard of. |
| 00:55:19 |
NARRATOR: With Tom Schumacher |
| 00:55:22 |
even he knew this was |
| 00:55:26 |
LASSETER: After a while, he said, |
| 00:55:29 |
"what it's gonna take |
| 00:55:31 |
"You have no time to wait |
| 00:55:33 |
"Just go, go, go, go, go." |
| 00:55:37 |
DOCTER: There's kind of |
| 00:55:39 |
We just spin off each other well, |
| 00:55:43 |
It's always this core group of guys |
| 00:55:46 |
We were able to finish |
| 00:55:48 |
and take each other's ideas |
| 00:55:50 |
and someone else |
| 00:55:52 |
NARRATOR: They broadened |
| 00:55:55 |
introducing new characters |
| 00:55:57 |
rivaling those of the best |
| 00:56:01 |
The animators were pushed |
| 00:56:05 |
(BUZZ LIGHTYEAR GRUNTS) |
| 00:56:14 |
(BUZZ LIGHTYEAR SCREAMING) |
| 00:56:17 |
(GRUNTS) |
| 00:56:18 |
LASSETER: The amount of footage |
| 00:56:20 |
was staggering. |
| 00:56:21 |
Seeing the work that's |
| 00:56:24 |
it's actually inspired me as a director. |
| 00:56:26 |
Give it to a good animator, |
| 00:56:27 |
"Okay, make this special, |
| 00:56:30 |
"make this entertaining |
| 00:56:32 |
Some animators have |
| 00:56:35 |
like Doug Sweetland. |
| 00:56:36 |
I was thinking that Woody would be |
| 00:56:39 |
Give us something like. . .boof! |
| 00:56:41 |
LASSETER: There's reasons for every |
| 00:56:44 |
which is hilarious. |
| 00:56:45 |
He's not, like, looking at her. |
| 00:56:47 |
He's kind of, like, |
| 00:56:48 |
"Say, little missy, |
| 00:56:52 |
Say, little missy, you notice any |
| 00:56:56 |
(LAUGHS) Nary a bit! |
| 00:56:59 |
Wait, wait, wait! I got it, I got it. |
| 00:57:00 |
Okay, the bandits got the critters |
| 00:57:02 |
and now for the best part! |
| 00:57:03 |
"Help us! The barn's on fire!" |
| 00:57:05 |
"I've got you, critters. No need to worry. |
| 00:57:10 |
RANFT: You're trying to find what you |
| 00:57:14 |
when they're watching this movie. |
| 00:57:16 |
Every other department is |
| 00:57:20 |
the color, the lighting, the animation, |
| 00:57:22 |
to make the strongest |
| 00:57:25 |
that when people are |
| 00:57:27 |
"Wow, this is something special. |
| 00:57:29 |
"This is something that really |
| 00:57:32 |
Emily was just the same. |
| 00:57:39 |
(WHEN SHE LOVED ME PLAYING) |
| 00:57:40 |
(SINGING) When somebody |
| 00:57:44 |
RANDY NEWMAN: I thought it was |
| 00:57:47 |
to think that five-year-olds would |
| 00:57:51 |
and a ballad and something, |
| 00:57:55 |
(SINGING) And when she was sad |
| 00:57:58 |
I was there to dry her tears |
| 00:58:02 |
And when she was happy |
| 00:58:07 |
When she loved me |
| 00:58:14 |
Tim Allen and I actually saw the movie |
| 00:58:16 |
together at the same time |
| 00:58:18 |
and we had an understanding |
| 00:58:20 |
But then when Jessie's song came up, |
| 00:58:22 |
we were just 40-year-old men |
| 00:58:24 |
over this abandoned cowgirI doll. |
| 00:58:28 |
(SINGING) Every hour |
| 00:58:32 |
lives within my heart |
| 00:58:36 |
When she loved me |
| 00:58:46 |
LASSETER: At that moment you know |
| 00:58:48 |
"Well, this is just a cartoon. |
| 00:58:50 |
"It's just a bunch of pencil drawings |
| 00:58:53 |
"or this is a bunch |
| 00:58:56 |
You know. No. These characters |
| 00:59:01 |
NARRATOR: Tot Story 2 |
| 00:59:03 |
in theaters on its scheduled |
| 00:59:05 |
Thanksgiving Day, 1999, |
| 00:59:07 |
joining that rare number of sequels |
| 00:59:09 |
judged to be as good as |
| 00:59:12 |
LASSETER: That was probably the |
| 00:59:15 |
I'd ever had, and I think the studio's |
| 00:59:22 |
JOBS: Everybody was so |
| 00:59:26 |
and those characters so much, |
| 00:59:29 |
that we killed ourselves to make it. |
| 00:59:32 |
And it, you know, it took some people |
| 00:59:36 |
It was tough. It was too tough. |
| 00:59:38 |
Toy Sfory 2 was the pivotal moment |
| 00:59:42 |
It's when we actually |
| 00:59:45 |
From that we learned |
| 00:59:49 |
the important thing is the people. |
| 00:59:52 |
It's how they work together, |
| 00:59:54 |
that matters more than anything else. |
| 00:59:57 |
JOBS: Our business depends |
| 01:00:00 |
and it depends upon |
| 01:00:03 |
And so we were just too spread out, |
| 01:00:07 |
developing their own styles. |
| 01:00:08 |
We were growing into several |
| 01:00:12 |
and so the goal was pure and simple. |
| 01:00:15 |
We want to put everybody |
| 01:00:18 |
and we want to encourage |
| 01:00:23 |
NARRATOR: With Pixar's facilities |
| 01:00:26 |
Steve set his sights on |
| 01:00:30 |
where he envisioned a state-of-the-art |
| 01:00:33 |
a home for the best artists |
| 01:00:36 |
to create and play under one roof. |
| 01:00:41 |
LASSETER: Welcome, ladies |
| 01:00:42 |
to the first annual |
| 01:00:53 |
LASSETER: The building itself |
| 01:00:55 |
because Pixar is its people. |
| 01:00:57 |
And we maintain the same philosophy |
| 01:01:00 |
of "an office is an empty canvas," |
| 01:01:09 |
One of the things that we wanted |
| 01:01:12 |
is to grow it so that |
| 01:01:16 |
releasing one movie every year. |
| 01:01:18 |
So that means we have to have |
| 01:01:21 |
And so that gave the opportunity |
| 01:01:24 |
give them a chance |
| 01:01:26 |
The second animator, after me, |
| 01:01:29 |
who was ever hired at Pixar |
| 01:01:32 |
And then Pete Docter |
| 01:01:34 |
And I knew right away that these guys |
| 01:01:35 |
are good enough |
| 01:01:39 |
NARRATOR: John chose Pete Docter |
| 01:01:44 |
a decision that did not come |
| 01:01:48 |
SCHUMACHER: I was not |
| 01:01:50 |
he could hold up this weight |
| 01:01:52 |
He hadn't done it before. |
| 01:01:54 |
He hadn't been an |
| 01:01:56 |
he hadn't been the number two, |
| 01:01:59 |
It was really throwing him |
| 01:02:02 |
DOCTER: My biggest challenge |
| 01:02:04 |
following in the footsteps |
| 01:02:06 |
To come in and say, |
| 01:02:09 |
it was a tough act to follow. |
| 01:02:11 |
SCHUMACHER: Pete had this |
| 01:02:13 |
that when children say, |
| 01:02:15 |
they're actually telling the truth. |
| 01:02:17 |
The rest of it was all over the map. |
| 01:02:21 |
DOCTER: There were too many |
| 01:02:23 |
Monsters, it could be anything, |
| 01:02:25 |
So, it was almost too much freedom. |
| 01:02:28 |
We knew we wanted fur. |
| 01:02:32 |
And that was, of course, |
| 01:02:34 |
(MlKE WAZOWSKI SHOUTS) |
| 01:02:37 |
(SULLEY GRUNTING) |
| 01:02:42 |
MlKE WAZOWSKl: Take that! |
| 01:02:43 |
(BOTH GROWL) |
| 01:02:44 |
(GASPS) |
| 01:02:48 |
Welcome to the Himalayas! |
| 01:02:51 |
These people think differently |
| 01:02:55 |
They're strange. In the best way. |
| 01:02:58 |
DOCTER: When we thought |
| 01:03:00 |
we thought, |
| 01:03:01 |
Of course, he just added his |
| 01:03:04 |
Mike was an appealing, |
| 01:03:06 |
odd little guy who I thought |
| 01:03:09 |
of Mr. Toad and Sammy Davis, Jr. |
| 01:03:12 |
Think romantical thoughts. |
| 01:03:14 |
(SINGING) You and me |
| 01:03:17 |
Both of us together! |
| 01:03:19 |
And the way he moves and his face |
| 01:03:21 |
And then, when I decided on a voice, |
| 01:03:25 |
Scary feet, scary feet, scary feet. Oh! |
| 01:03:26 |
The kid's awake! Okay, scary feet, |
| 01:03:28 |
scary feet, scary feet, scary feet, scar. . . |
| 01:03:30 |
The whole little guy |
| 01:03:31 |
was one of my favorite characters |
| 01:03:33 |
Twins! And a bunk bed! |
| 01:03:34 |
(GROWLING) |
| 01:03:37 |
Ooh, I thought I had you there. |
| 01:03:38 |
What shocked me about the movie |
| 01:03:43 |
(SULLEY GASPS) |
| 01:03:45 |
CRYSTAL: I was astounded by the |
| 01:03:48 |
When you see the millions |
| 01:03:50 |
and they're all individually done, |
| 01:03:53 |
Hold on! |
| 01:03:54 |
(MlKE WAZOWSKI SCREAMING) |
| 01:03:56 |
(SCREAMING) |
| 01:03:59 |
SCHUMACHER: It was a wild ride, |
| 01:04:03 |
and it didn't find its center |
| 01:04:06 |
And then when it did, |
| 01:04:09 |
people went nuts for it. |
| 01:04:10 |
DOCTER: The last shot of |
| 01:04:14 |
is now officially final! |
| 01:04:17 |
(ALL CHEERING) |
| 01:04:21 |
SCHUMACHER: Pete emerged as |
| 01:04:24 |
smart, really great director, |
| 01:04:28 |
He completely owns this movie. |
| 01:04:31 |
NARRATOR: The historic success |
| 01:04:34 |
the highest-grossing animated film |
| 01:04:37 |
now placed added stress |
| 01:04:39 |
on the next director in line, |
| 01:04:41 |
BlRD: So, the pressure. It's begun? |
| 01:04:45 |
$62,577 ,067 . |
| 01:04:53 |
(ALL CHEERING) |
| 01:04:57 |
(WHlSTLING) |
| 01:05:00 |
There's no reason, Andrew, |
| 01:05:05 |
I'm fine! I'm fine! |
| 01:05:12 |
STANTCN: I remember in '92, |
| 01:05:14 |
going to Marine World, |
| 01:05:18 |
where you kind of walk through |
| 01:05:20 |
It was like a glass tunnel. |
| 01:05:21 |
You could get up really close, |
| 01:05:22 |
see underwater and lose |
| 01:05:24 |
of anybody around you |
| 01:05:28 |
And I remember thinking then, |
| 01:05:30 |
"We could make this world." |
| 01:05:32 |
CG would be perfect for this world, |
| 01:05:40 |
MR. RAY: (SINGING) Oh, let's name |
| 01:05:43 |
Let's name the species |
| 01:05:45 |
Whoa! |
| 01:05:46 |
There's porifera... |
| 01:05:49 |
STANTON: Without meaning to, |
| 01:05:51 |
that takes you all over the ocean. |
| 01:05:53 |
That meant every set piece |
| 01:05:55 |
The look of being underwater |
| 01:05:58 |
from a technical standpoint. |
| 01:06:00 |
It was just really tough to dial |
| 01:06:04 |
You know, I think if I had known that's |
| 01:06:06 |
and everybody else, |
| 01:06:09 |
(BREATHING THROUGH |
| 01:06:11 |
Big. |
| 01:06:12 |
NARRATOR: Seeing his son kidnapped |
| 01:06:14 |
the overprotective father, Marlin, |
| 01:06:16 |
travels across the vast ocean |
| 01:06:20 |
And along the way, |
| 01:06:23 |
DOLPHIN: So, these two little fish |
| 01:06:25 |
searching the ocean for days |
| 01:06:26 |
on the East Australian Current. . . |
| 01:06:28 |
FEMALE BlRD: . . .which means that he |
| 01:06:31 |
That should put them |
| 01:06:32 |
MALE BlRD: . . .in a matter of days! |
| 01:06:34 |
I mean, it sounds like this guy's |
| 01:06:36 |
MALE BlRD 2: . . .until he finds his son. |
| 01:06:37 |
I sure hope he makes it. |
| 01:06:39 |
That's one dedicated father, |
| 01:06:42 |
The challenge on Nemo |
| 01:06:43 |
is the same challenge that we had |
| 01:06:46 |
which is making a good movie. |
| 01:06:49 |
I mean, each film has its own technical |
| 01:06:53 |
But we spend the first |
| 01:06:57 |
making these films doing nothing |
| 01:07:00 |
SEAGULLS: Mine! Mine! Mine! Mine! |
| 01:07:02 |
Would you just shut up! |
| 01:07:06 |
This bloke's been looking |
| 01:07:08 |
NlGEL: Nemo? |
| 01:07:10 |
-by divers and this. . . |
| 01:07:13 |
Mine! Mine! Mine! Mine! |
| 01:07:15 |
(MAKES MARTlAL ARTS FlGHTING |
| 01:07:18 |
Mine! |
| 01:07:19 |
Every morning we get |
| 01:07:22 |
with the directors |
| 01:07:23 |
and we all show our shots |
| 01:07:27 |
Everybody is entitled to their opinion |
| 01:07:31 |
So it's a very healthy, |
| 01:07:35 |
(MAN LAUGHS) |
| 01:07:36 |
WOMAN: Doug is next. |
| 01:07:38 |
MARLIN: Hey, guess what. |
| 01:07:40 |
NEMO:What? |
| 01:07:43 |
I met one, and he was 150 years old. |
| 01:07:49 |
STANTON: You know, Nemo should be |
| 01:07:50 |
at the beginning of the shot. |
| 01:07:52 |
SWEETLAND: All the time? |
| 01:07:53 |
STANTON: Yeah. |
| 01:07:54 |
(PEOPLE LAUGH) |
| 01:07:55 |
STANTON: He looks like he's given up. |
| 01:07:56 |
STANTON: I think he's, anyway, |
| 01:07:58 |
and then looked at his fin, |
| 01:08:00 |
looking at him for |
| 01:08:02 |
SWEETLAND: Okay. |
| 01:08:03 |
and they stay looking |
| 01:08:04 |
SWEETLAND: Okay. |
| 01:08:06 |
(LAUGHING CONTINUES) |
| 01:08:08 |
SWEETLAND: All right. |
| 01:08:11 |
NEMO: 'Cause Sandy Plankton said |
| 01:08:14 |
MARLIN: Sandy Plankton? Do you |
| 01:08:17 |
SWEETLAND: I was, focusing primarily |
| 01:08:21 |
Really not on Nemo. |
| 01:08:22 |
So I just kind of had Nemo default |
| 01:08:26 |
not even thinking about, like, |
| 01:08:29 |
except that hopefully |
| 01:08:32 |
But Andrew read it, |
| 01:08:35 |
that it looks completely indifferent. |
| 01:08:37 |
(LAUGHS) And, so now I have to give |
| 01:08:41 |
the same treatment I gave father |
| 01:08:44 |
But you know, it's, you know, |
| 01:08:47 |
but I have to imbue that |
| 01:08:51 |
So now what I can do is just go |
| 01:08:53 |
(LAUGHS) look, here's ghost of Nemo, |
| 01:08:59 |
I have, like, father doing |
| 01:09:02 |
So, now maybe what I could do |
| 01:09:08 |
It'll be good, this shot'll be a lot better. |
| 01:09:11 |
I had done all this stuff, too, where |
| 01:09:16 |
the fin is, like, the symbol of the movie. |
| 01:09:18 |
His accepting of his son |
| 01:09:20 |
of the past or the loss, the trauma. |
| 01:09:22 |
And what is it. . . |
| 01:09:25 |
Not only is it an opportunity |
| 01:09:27 |
like touch and connect with his son, |
| 01:09:36 |
I'm so sorry, Nemo. |
| 01:09:48 |
-Hey, guess what. |
| 01:09:51 |
Sea turtles. . . I met one. |
| 01:09:54 |
And he was 150 years old. |
| 01:09:59 |
Hundred and fifty? |
| 01:10:01 |
Yep. |
| 01:10:03 |
'Cause Sandy Plankton said |
| 01:10:08 |
Sandy Plankton? |
| 01:10:09 |
Do you think I would cross |
| 01:10:11 |
and not know as much |
| 01:10:13 |
(NEMO CHUCKLES) |
| 01:10:14 |
MARLIN: He was 150, not 100! |
| 01:10:16 |
Who is this Sandy Plankton |
| 01:10:22 |
NARRATOR: In 2003, Finding Nemo |
| 01:10:26 |
making it the new highest grossing |
| 01:10:29 |
And director Andrew Stanton won |
| 01:10:33 |
But the enormous success |
| 01:10:36 |
meant that expectations |
| 01:10:38 |
as Brad Bird, the first outside director, |
| 01:10:43 |
Well, here I am, pulling into Pixar, |
| 01:10:47 |
first time, into Pixar. . . Yeah. |
| 01:10:52 |
NARRATOR: Brad was |
| 01:10:53 |
of John Lasseter's from CalArts. |
| 01:10:55 |
He had made the critically acclaimed |
| 01:10:57 |
2-D hand animated film, |
| 01:11:02 |
LASSETER: Brad and I stayed in touch, |
| 01:11:03 |
and he pitched us on an idea |
| 01:11:07 |
and it's a family of superheroes, |
| 01:11:08 |
and originally he was thinking |
| 01:11:11 |
but he thought it could work |
| 01:11:14 |
I fell in love with it right away, |
| 01:11:15 |
but the thing I loved about it the most |
| 01:11:19 |
It's got so much heart to it. |
| 01:11:21 |
I've just been given my card key. |
| 01:11:24 |
Now I can get into all |
| 01:11:28 |
This is where A Bug's Life was |
| 01:11:33 |
(YELLING) |
| 01:11:35 |
BlRD: Good to see you. |
| 01:11:36 |
Any company that had |
| 01:11:39 |
would not be open |
| 01:11:42 |
This place was the exact opposite. |
| 01:11:45 |
They were saying, |
| 01:11:48 |
"We are in danger |
| 01:11:51 |
"or of getting too satisfied |
| 01:11:56 |
Keep it moving. Keep it, |
| 01:11:59 |
I'm here to tell you, you guys are |
| 01:12:02 |
and, a lot of you are, |
| 01:12:05 |
"Yeah, I work at the place |
| 01:12:10 |
(AUDIENCE LAUGHS) |
| 01:12:11 |
But, you know, I'm telling you, |
| 01:12:16 |
as some of you also have been, |
| 01:12:18 |
and you who have been out there |
| 01:12:21 |
This is an anomaly, |
| 01:12:23 |
this place is, A, really freakishly |
| 01:12:26 |
alone in this hit-after-hit aspect, |
| 01:12:30 |
and, two, |
| 01:12:33 |
you know, these kind of projects |
| 01:12:38 |
Grab this opportunity and run with it. |
| 01:12:40 |
You know, film is forever, |
| 01:12:43 |
(AUDIENCE LAUGHS) |
| 01:12:45 |
LASSETER: Once we brought Brad |
| 01:12:48 |
And he has brought in his |
| 01:12:53 |
and they are amazing. |
| 01:12:55 |
BlRD: The 2-D people that I brought up |
| 01:12:58 |
you know, just trying to figure out |
| 01:13:01 |
do what you want it to do. |
| 01:13:03 |
The computer exists in two worlds, |
| 01:13:05 |
it's either the most brilliant thing |
| 01:13:09 |
or it's completely mad. |
| 01:13:10 |
(BEEPING) |
| 01:13:13 |
NARRATOR: The 2-D animators took |
| 01:13:16 |
into the third dimension, |
| 01:13:18 |
providing dynamic new ways |
| 01:13:21 |
(CHUCKLES) |
| 01:13:30 |
If you named the 10 most |
| 01:13:33 |
we had them all, and large amounts |
| 01:13:37 |
POLlCE OFFlCER: Police officers! |
| 01:13:39 |
BlRD: Hair, fabric. |
| 01:13:41 |
Hair and fabric under water. |
| 01:13:44 |
Hair and fabric |
| 01:13:46 |
It was just endless. |
| 01:13:52 |
(GUN FlRING) |
| 01:13:55 |
(GRUNTS) |
| 01:14:02 |
-See that? |
| 01:14:03 |
That's the way to do it. |
| 01:14:05 |
That's old school. |
| 01:14:06 |
(LAUGHS) |
| 01:14:07 |
Yeah. No school like the old school. |
| 01:14:11 |
NARRATOR: The lncredibles marked |
| 01:14:14 |
and Brad Bird won his first |
| 01:14:16 |
Academy Award |
| 01:14:20 |
BlRD: Now that I've made a Pixar film, |
| 01:14:23 |
"What is the secret formula?" |
| 01:14:25 |
As if there's some magical calculation. |
| 01:14:28 |
And I say, "It's really pretty simple, |
| 01:14:32 |
"And they just wanna make something |
| 01:14:39 |
NARRATOR: By 2004, the success |
| 01:14:42 |
and other computer-animated films |
| 01:14:44 |
was leading to an industry-wide |
| 01:14:49 |
was a foolproof |
| 01:14:53 |
As many of the 2-D films |
| 01:14:56 |
hand-drawn animation now faced |
| 01:15:01 |
There was this period |
| 01:15:03 |
and it happened at Dreamworks |
| 01:15:07 |
and that was that they had some films |
| 01:15:12 |
The stories weren't strong, |
| 01:15:17 |
and the heads of the respective |
| 01:15:20 |
"Well, the problem is they're in 2-D, |
| 01:15:21 |
"and the audience |
| 01:15:24 |
And so they switched over to 3-D, |
| 01:15:26 |
and basically shut down |
| 01:15:29 |
The derived idea was, "Well, |
| 01:15:36 |
(STUTTERS) |
| 01:15:37 |
The fact was, they'd love |
| 01:15:39 |
that was never the question, |
| 01:15:45 |
It was horrible, you know, |
| 01:15:46 |
to come to this conclusion |
| 01:15:51 |
gonna be our future. |
| 01:15:53 |
There was enormous |
| 01:15:56 |
there was an enormous |
| 01:15:59 |
in a sense, of making good product. |
| 01:16:01 |
And they were selling off |
| 01:16:04 |
they were, you know, just leading |
| 01:16:08 |
by their nose and saying, you know, |
| 01:16:13 |
CLEMENTS: And there was |
| 01:16:15 |
that was like someone dying, |
| 01:16:19 |
I mean it had to do with so many, |
| 01:16:24 |
But even more than that, |
| 01:16:27 |
that had been built up |
| 01:16:31 |
was just abandoned, I think because it |
| 01:16:38 |
CATMULL: Everybody at Pixar |
| 01:16:42 |
you know, we helped develop it. |
| 01:16:46 |
and to think that 2-D was shut down, |
| 01:16:50 |
to shut it down was awful. |
| 01:16:52 |
We saw this |
| 01:16:56 |
so, for us, it was just, |
| 01:17:00 |
NARRATOR: As Pixar and Disney |
| 01:17:03 |
the two studios clashed over terms |
| 01:17:07 |
All the while, Disney prepared |
| 01:17:11 |
of the Pixar films |
| 01:17:16 |
Our belief is that, |
| 01:17:19 |
the original creators are the ones |
| 01:17:23 |
and give them life. |
| 01:17:24 |
And to turn it over to somebody |
| 01:17:27 |
just didn't make any sense. |
| 01:17:29 |
It was like turning over your children |
| 01:17:33 |
We were gonna lose those characters. |
| 01:17:35 |
It was actually unfortunate at that time |
| 01:17:38 |
because we'd had this |
| 01:17:40 |
with Disney all these years, |
| 01:17:41 |
where we were |
| 01:17:43 |
and they did the distribution |
| 01:17:45 |
NARRATOR: By 2004, Steve Jobs |
| 01:17:49 |
while at Pixar, a cloud of anxiety |
| 01:17:53 |
who felt that a merger |
| 01:17:55 |
could threaten the loss of their |
| 01:18:00 |
CATMULL: It was very clear that none |
| 01:18:02 |
They wanted to be |
| 01:18:04 |
whereas if we were |
| 01:18:06 |
we'd have to take on marketing |
| 01:18:07 |
and distribution |
| 01:18:10 |
And it would change the culture in |
| 01:18:14 |
NARRATOR: But by 2005, |
| 01:18:16 |
within Disney led |
| 01:18:19 |
Bob Iger was appointed |
| 01:18:22 |
and expectations ran high |
| 01:18:24 |
that he might repair |
| 01:18:28 |
As I neared the day |
| 01:18:32 |
and I started to focus more and more |
| 01:18:35 |
it became more and more clear that |
| 01:18:38 |
for Disney to truly be |
| 01:18:41 |
we had to return to |
| 01:18:44 |
So I began focusing on how to do that, |
| 01:18:46 |
and it really begins |
| 01:18:50 |
The more I thought about it, |
| 01:18:53 |
Pixar had more of the right people |
| 01:18:58 |
place in the world, |
| 01:19:00 |
I then went to the opening of |
| 01:19:05 |
and the parade went by. |
| 01:19:07 |
It hit me that the characters |
| 01:19:10 |
all came from films that had been |
| 01:19:14 |
except for some of |
| 01:19:17 |
I felt that I needed to think |
| 01:19:20 |
than I had been thinking, |
| 01:19:21 |
and I had a much |
| 01:19:24 |
I became CEO October 1st. |
| 01:19:27 |
I called Steve around that time |
| 01:19:32 |
I had some bigger ideas. |
| 01:19:33 |
And that began |
| 01:19:37 |
because it was very |
| 01:19:41 |
He really needed to feel comfortable |
| 01:19:45 |
and, more importantly, |
| 01:19:49 |
We were extremely impressed with |
| 01:19:54 |
This changed |
| 01:19:57 |
and in the end |
| 01:19:59 |
we came to the conclusion |
| 01:20:00 |
that the best thing we could do |
| 01:20:05 |
NARRATOR: The $7 .4 billion |
| 01:20:08 |
provided Steve Jobs a seat |
| 01:20:10 |
as the company's largest shareholder, |
| 01:20:12 |
made John Lasseter |
| 01:20:14 |
and Ed Catmull, President of Disney |
| 01:20:18 |
We're convinced that Bob |
| 01:20:22 |
and we think we have |
| 01:20:26 |
and love the unique Disney assets |
| 01:20:28 |
like being able to get the characters |
| 01:20:30 |
and really express them throughout |
| 01:20:33 |
And we think we understand |
| 01:20:38 |
and how to spread some of |
| 01:20:42 |
you know, a few other parts |
| 01:20:44 |
"Cause we think we got something |
| 01:20:47 |
CATMULL: While we will |
| 01:20:49 |
we're also gonna make 2-D movies |
| 01:20:50 |
'cause it's part of this wonderful |
| 01:20:53 |
and it's a beautiful art form. |
| 01:20:55 |
It feels like this is the true culmination |
| 01:20:59 |
and this amazing company into |
| 01:21:02 |
and continue to make waves |
| 01:21:05 |
This deal is expected |
| 01:21:07 |
just about the time |
| 01:21:08 |
its seventh feature film, called Cars. |
| 01:21:10 |
(LIGHTNING McQUEEN WHOOPS) |
| 01:21:16 |
NARRATOR: John Lasseter's return |
| 01:21:19 |
came with the release of Cars. |
| 01:21:22 |
A film inspired by |
| 01:21:25 |
he took with his family in 1999. |
| 01:21:28 |
Hi, this is great. Blue Ridge Parkway. |
| 01:21:35 |
NARRATOR: Set in a bygone town |
| 01:21:38 |
John's personal love of cars |
| 01:21:41 |
inspired a new level of beauty, |
| 01:21:43 |
speed and a heightened reality |
| 01:21:47 |
Morning, Sleeping Beauty. |
| 01:21:48 |
(GASPS) |
| 01:21:49 |
(LAUGHS) |
| 01:21:52 |
NARRATOR: Cars became the seventh |
| 01:21:55 |
And the new relationship with Disney |
| 01:21:57 |
was starting off on the right foot. |
| 01:21:59 |
Ed and John now looked to the future |
| 01:22:02 |
with the challenge of guiding |
| 01:22:05 |
And John, returning to his roots |
| 01:22:09 |
all of Disney's theme parks |
| 01:22:12 |
This. . . This is just, it's so beautiful. |
| 01:22:17 |
John's a real big Disney fan. |
| 01:22:20 |
I mean, he worked |
| 01:22:21 |
he grew up on Disney. |
| 01:22:23 |
(LAUGHS) Oh, look at. . . Look at this. |
| 01:22:26 |
(CHlLDREN CHATTERING) |
| 01:22:27 |
MlLLER: He's thrilled to be on that lot |
| 01:22:30 |
and kind of be able to go everywhere |
| 01:22:33 |
And bring things up |
| 01:22:36 |
1978, 27 years ago, |
| 01:22:39 |
was the last time I skippered |
| 01:22:42 |
And I want everybody as we go... |
| 01:22:43 |
His feelings are so good about it. |
| 01:22:46 |
You had such |
| 01:22:51 |
It was a great intuition that he had, |
| 01:22:54 |
he seemed to know |
| 01:22:56 |
I find the same thing |
| 01:22:59 |
He's pretty much |
| 01:23:07 |
WALT DISNEY: When planning a new |
| 01:23:09 |
and we don't think of children. |
| 01:23:11 |
But just of that fine, |
| 01:23:14 |
down deep in every one of us |
| 01:23:16 |
that maybe the world |
| 01:23:18 |
and that maybe our pictures |
| 01:23:27 |
LASSETER: Well, the future of Pixar |
| 01:23:31 |
making these great films, |
| 01:23:32 |
with more and more |
| 01:23:35 |
And then give them creative |
| 01:23:37 |
so they can be proud |
| 01:23:42 |
There are so many young people today |
| 01:23:47 |
that are fascinated by animation, |
| 01:23:51 |
So it's a field that is inspiring |
| 01:23:56 |
There's a real advantage |
| 01:23:59 |
We're still setting ourselves up |
| 01:24:06 |
HANKS: I foel like I'm in Dumbo, |
| 01:24:09 |
This is truly going to be timeless |
| 01:24:12 |
and will always land |
| 01:24:14 |
of yet another generation |
| 01:24:19 |
JOBS: Pixar's seen by a lot of folks |
| 01:24:23 |
but if you really look closely, most |
| 01:24:28 |
Kachow! |
