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Muestra la fascinante historia de la empresa que revolucionó Hollywood
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00:05:52And it all comes back to his heart and how they think about him and how they think about him and how
00:06:01They think about him and how they think about him.
00:06:05The nine old men, these guys were incredible masters of this craft and yet each of them still had the
00:06:14attitude of a student.
00:06:18As a student, John immersed himself in everything Disney, getting a summer job as a sweeper in Tomorrowland.
00:06:25Tomorrowland Station, all out for the Magic Kingdom.
00:06:29Disneyland was a fantastic place to work. Everybody was young working there and it was just, we had a blast.
00:06:34It was really, really fun.
00:06:36And he was soon promoted to a ride operator on Disneyland Jungle Cruise before returning to studies at CalArts.
00:06:46There's a few times in my life I feel like I'm in the right place at the right time.
00:06:49And definitely when we were at CalArts, that was it.
00:06:53Okay, everybody, wake up, wake up. Come on, everybody, wake up.
00:06:57John animated two short films at CalArts.
00:07:00Lady and the Lamp is about a lamp in a lamp store who accidentally replaces its broken bulb with a
00:07:06bottle of gin.
00:07:08Oh no. My lamp. My shop. My gin.
00:07:20John's second short film, Nightmare, is about a boy who sees monsters when he turns out the lights.
00:07:26Both films received back-to-back Student Academy Awards, an unprecedented record that instantly propelled John into the animated spotlight.
00:07:36This is your second year winning. Yeah.
00:07:37Is there a knack to making an award-winning short film for a contest? Or is this the real world?
00:07:43Could this film make it commercially?
00:07:44Oh, I think you can make it commercially because I think the knack that you're talking about is basically entertainment.
00:07:50I think that's what people pay money to go see a film that's entertaining.
00:07:57John's success landed him his dream job at the Walt Disney Studios.
00:08:05Hello. I'm Randy Cartwright and this is Ron Miller.
00:08:09Randy, how are you? How are you? Good to see you. This is Randy.
00:08:12Great way to start the film.
00:08:14Well, we're off to a good start.
00:08:16Here it is, April 9th, 1980.
00:08:19This is the past to all you folks out there.
00:08:24And we're going to go inside and see what it's like. Come on. Come on.
00:08:29Walking into the animated building that was built with the money from Snow White and the Seven Dwarves,
00:08:35when I came in there in the 70s, I just sensed this history around.
00:08:40All of the experience that had gone on before was somehow impermeable into the walls.
00:08:46Hi, Glenn. How are you? Just a... Glenn is here. He's a directing animator.
00:08:51Our cameraman, John Lasseter.
00:08:53It was so great to meet John.
00:08:55There was this immediate sharing of information of your passion and excitement for animation.
00:09:00He knew a lot about the history in the past.
00:09:03As his first animation at Disney,
00:09:05John handled the introduction of a lead character in the 1981 feature The Fox and the Hound.
00:09:11Together, John and Glenn collaborated on the climactic fight scene.
00:09:14But increasing budget cutbacks had severely limited the multi-plane dimensional look
00:09:19Walt Disney had achieved decades earlier.
00:09:22Animation was really at a point where it seemed like it was a dying art form.
00:09:28All of the richness and the atmosphere was budgeted out of our films.
00:09:32It was so frustrating.
00:09:37While the animation department felt stagnant, Tron, a live-action feature using the latest computer technology,
00:09:44was screened for employees at the studio.
00:09:50Watch it! Watch it!
00:09:52Ah!
00:09:54Air Tron was these light cycles moving in and out of the scene.
00:09:59And we came back to my room and just sat there.
00:10:03And the depression started to turn towards a frustration.
00:10:07Like, why can't we?
00:10:08Why can't we do that?
00:10:09Wouldn't it be cool if...
00:10:11Computer animation excited me so much.
00:10:14Not excited about what I was seeing, but the potential I saw in all this.
00:10:17I was just amazed by it.
00:10:19And we started thinking, wouldn't it be cool if we had a background that was moving like Tron did?
00:10:23But we animated the character by hand.
00:10:27It had never been done before.
00:10:28But there's something about John that you kind of get the feeling that doesn't matter.
00:10:32I mean, if it had never been done before, it doesn't mean it can't be done.
00:10:35John and Glenn soon got approval to experiment with animation and computerized backgrounds.
00:10:40But at the studio, there was a growing fear that the computer was going to make animators obsolete.
00:10:46I'd say 95% of the fellows at the studio were saying,
00:10:50But you never get me to do anything like that.
00:10:52They're ruining everything.
00:10:54And I talked to John Lasseter about the things he was doing.
00:10:58I said, gee, if you get that much imagination and new types of movement done on a computer,
00:11:04but not by the pencil, you'll be ahead of the game.
00:11:07The potential was there at that time, but no one wanted to do it except for Lasseter.
00:11:14John and his story team were given the approval to develop a script based on the short story,
00:11:19The Brave Little Toaster.
00:11:20It would mark John's feature directorial debut,
00:11:23and his own opportunity to further explore the blending of computer and traditional animation.
00:11:30After eight months of development, John was finally asked to present the story to the head of the studio.
00:11:35They said, okay, it's time to show the head of the studio at the time, Brave Little Toaster.
00:11:39So we got the presentation together.
00:11:41He walks in with Ed Hanson, and he had this scowl on his face from the beginning.
00:11:45Don't laugh, we pitched the whole thing.
00:11:47And he stood up and he asked, well, how much is this going to cost?
00:11:50I said, well, it's with computer animation.
00:11:53It's going to be no more than the regular budget of a film.
00:11:59And he went, the only reason to do computer animation is if we can do it faster or cheaper.
00:12:05And he walked up, and he walked out.
00:12:07And I was like, what?
00:12:09You know?
00:12:11And so about five minutes later, I get this call.
00:12:15And Ed Hanson calls me down to his office.
00:12:19And I come down, and he said, well, John, your project is now complete.
00:12:25So your employment with the Disney Studios is now terminated.
00:12:33He got let go.
00:12:35He got fired.
00:12:36Because honestly, the studio didn't know what to do with him.
00:12:38Even at that early day, this Disney studio that he dreamed about working at turned out to be a really
00:12:44dysfunctional place in reality.
00:12:46And he was a born director.
00:12:48He was a born leader.
00:12:49And his expectation and passion excelled what the studio was doing then.
00:12:55During a lot of the early days, artists were frightened of the computer because they were under the impression that
00:13:01somehow it was going to take their jobs away.
00:13:03And we spent a lot of time telling people, no, it's just a tool.
00:13:06It doesn't take, it doesn't do the creativity.
00:13:08That's a misconception.
00:13:09But there was this fear.
00:13:11And it was, it was everywhere.
00:13:13We interrupt this program for an important announcement.
00:13:16A state of emergency has been declared and the entire police force put on 24-hour duty in an effort
00:13:21to stop the melting hysteria.
00:13:24There's no reasonable cause for the law.
00:13:27These rumors are absolutely false.
00:13:39The reality of technology was very different from the fear.
00:13:42It was the computer that would take us to new frontiers.
00:13:47I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a
00:13:55man on the moon and returning him safely to the earth.
00:14:01The space race ignited funding in computer research for a select number of universities around the country.
00:14:07In the 1960s, the University of Utah set up one of the first labs in computer graphics, headed by the
00:14:14top scientists in the field.
00:14:16Ed Catmull, an aspiring artist, was among the few drawn to the potential in computer graphics.
00:14:23I drew a lot.
00:14:24I wanted to be an animator.
00:14:25I wanted to be an artist.
00:14:26But at the same time, I believed that I wasn't good enough to be an animator.
00:14:31So I switched over to physics and computer science.
00:14:35As soon as I took the first class, I just fell in love with it.
00:14:38I just blew everything else away.
00:14:39Because here was a program in which there was art, science, programming, all together in one place, in a new
00:14:46field.
00:14:46And it was wide open.
00:14:48Just go out and discover things and explore.
00:14:51You're right at the frontier.
00:14:55Ed's computer animated film of his own left hand was the first step in the development of creating curved surfaces,
00:15:02wrapping texture around those surfaces, and eliminating jagged edges.
00:15:08The footage debuted years later in the science fiction film Future World, which became the first use of 3D animation
00:15:15in a live action film.
00:15:17Ed graduated with a PhD in a new technology ahead of its time.
00:15:22There was only one institution in the country willing to put millions of dollars into its further development.
00:15:28The word of any center of activity spread rapidly.
00:15:31And it quickly became known that the place was New York Tech.
00:15:36There the charter was, let's make computer graphics usable in filmmaking.
00:15:41That's exactly what I wanted to do.
00:15:43Alex Schur, the president of New York Tech, hired Ed to spearhead the new computer graphics department to develop paint
00:15:51programs and other tools to create art and animation using the computer.
00:15:56Ed himself developed software called Tween.
00:15:59It transformed hand-drawn animation into a digital medium.
00:16:03Artists can now draw and paint directly into the computer.
00:16:08We were creating a revolution, and the older techniques were really going to be passed.
00:16:16These developments led Ed to the far-reaching goal of someday creating the first feature-length computer animated film.
00:16:24We were impacting the conventional industry, and it was going to be tremendous because of the applications that it would
00:16:31have.
00:16:35The applications of Ed's developments led Star Wars director George Lucas to see their potential in live-action filmmaking.
00:16:42After I did Star Wars, I decided that I would begin to move into the world of computer animation.
00:16:48We had made this computer-controlled motion control camera, but I really wanted to get to the next level.
00:16:53I had a lot of ideas that couldn't be conquered in the traditional film technology.
00:16:59George Lucas brought Ed Catmull aboard to form a new computer division at Lucasfilm to invent digital production tools,
00:17:07including a new digital editing system called EditDroid, a digital sound system, a laser scanner, and a powerful graphics computer.
00:17:18Ed recruited the most talented team of computer scientists to create the futuristic tools for Lucas.
00:17:26Everybody who did it got there in some really odd way.
00:17:29People came from architecture, from physics, from art, from computer science, from everywhere,
00:17:35and somehow ended up in this new area.
00:17:37At that time, there was almost no graphics.
00:17:39It was a pretty small thing, and we were inventing the techniques we were using.
00:17:46We had no computers.
00:17:47My wife remembers those days because I came home at night, right?
00:17:51You know, I didn't have any computer to stay and hack on or anything like that.
00:17:54So I'd come home in regular hours, and she woes the days when we started getting computers, and I would
00:17:59get carried away.
00:18:02They really were kind of the outlaw outfit, the rebel group.
00:18:06And so that was kind of fun because, you know, we were doing all these things that nobody really understood
00:18:11the value of.
00:18:16There was a big breakthrough to start doing things that were more artistic.
00:18:20Vol Libra, Lauren Carpenter's film in 1980, was a huge deal.
00:18:24Not just because it illustrated his academic technique, but it was a huge deal because it was a work of
00:18:30art.
00:18:32I've always been interested in what's possible and what's beyond the boundary of what's known.
00:18:37When I came to Lucasfilm, these people were all very good, and it was refreshing and exhilarating.
00:18:44Even in those days, everyone's dream was to make a feature-length movie with computers.
00:18:49At least all of us, that was what we wanted to do.
00:18:51Even that seemed impossible at the time.
00:18:56If you want to make a picture of the world, you somehow have to get all that data in the
00:19:01computer.
00:19:02All the geometry, no matter what, whether it's hairs, or skin, or whatever, is broken down into millions of little
00:19:08triangles.
00:19:08They're so small, they would just be a speck on the screen.
00:19:13The group soon realized it would take not thousands, but millions of triangles to create the photorealistic images that compose
00:19:20the animated films we see today.
00:19:22It was an absurd number. It was meant to be an absurd number, because if you throw big numbers at
00:19:28something, then you have to be able to handle them.
00:19:31Then it makes you think about the problem in different ways.
00:19:34Right then and there, that changed our whole, you know, kind of mindset about the sort of problem that we
00:19:41were trying to solve.
00:19:43The group got the chance to prove their abilities, when Lucas' special effects division, Industrial Light & Magic, could not
00:19:50achieve a shot using conventional filmmakers.
00:19:53Albie Ray Smith led the group to create a spectacular sequence using all their talents and advanced techniques.
00:19:59The camera's spinning and spiraling and jerking and panning. It's going through amazing movements.
00:20:05It's completely impossible for a gravity-bound real camera.
00:20:10I think Ed and Albie realized, in order to get in the game, we've got to put characters up on
00:20:16the screen, and that meant character animation.
00:20:18And that changed everything right there.
00:20:27I had gone to this computer graphics conference at the Queen Mary. I'll never forget it.
00:20:32We walked in, and I was just so depressed, because all these dreams for the last two or three years
00:20:37were kind of shattered.
00:20:39And Ed Catmull was a speaker at this conference. And he comes up, and he was so excited. How's Toaster
00:20:46going? How's Brave Little Toaster going? You know, all that stuff.
00:20:49And I go, well, to be honest, they shelved it.
00:20:52He told me that he was leaving Disney. He didn't tell me the circumstances, but that he was leaving Disney.
00:20:58And we spent a long time talking about what we wanted to do and what the possibilities were.
00:21:03Because this is the first time we really had a chance of getting a real animator.
00:21:07We couldn't get them at Lucasfilm.
00:21:11John was hired on the spot into Lucasfilm's Bay Area Computer Division under the inconspicuous title of Interface Designer.
00:21:20I came in there, and immediately I was intimidated by all the people around me. I mean, there are PhDs
00:21:27everywhere around me.
00:21:29Our group was in love with animation, and we knew a lot about animation. We couldn't animate very well, but
00:21:36We understood it.
00:21:38And the first thing they did is they really challenged me with the idea of let's try to do a
00:21:43little film with characters that are done with a computer.
00:21:47I was inspired looking at the limitations of what I had to work with, and then I went back and
00:21:53looked at the early Mickey Mouse.
00:21:55It's geometric shapes. How more geometric can you get than Mickey Mouse?
00:21:59So I just started drawing, and I created this little character. His name is Andre.
00:22:20John inspired the technical team to create new software that would enable him to animate the squash and stretch movements
00:22:27I have learned from traditional animation.
00:22:29The results were new flexibility, motion blur, and character action never before achieved through the computer.
00:22:36I loved working with these guys, and I kept challenging them. And then I was so inspired by all the
00:22:42work that they were doing.
00:22:43So it's become this way of working that the art challenges technology. Technology inspires the art.
00:22:49John and computer scientist Bill Reeves put their animation skills to the test while working with Lucas' traditional special effects
00:22:57division, ILM, to bring a stained glass man to life through the computer.
00:23:05It was really amazing the meeting of these two completely different backgrounds coming together.
00:23:26You could just design the thing exactly the way that your mind conceived it.
00:23:31Not only shape-wise, but also lighting-wise, or anything.
00:23:36The visual effects were nominated for an Academy Award, and many Hollywood special effects wizards had no idea how it
00:23:43was done.
00:23:44There were areas they could go to that they couldn't even consider in traditional special effects.
00:23:49Ed's group really equaled change.
00:23:51To improve speed and resolution, Ed's team developed the Pixar Image Computer, the most powerful graphics computer of its day.
00:24:00Its software transformed high-resolution imagery into 3D, and was used in medical imaging and satellite photo analysis.
00:24:08But after years of trying to sell their high-end computer software to limited markets, George Lucas' interest was growing
00:24:15thin.
00:24:15Good thing it was very esoteric, and it was very hard to make a business out of that.
00:24:19So once we had the edit droid, and we handed all the things we needed, then I decided that I
00:24:24didn't want to run a company that sold software.
00:24:28And John and Ed were dead set on making animated films, and their dream was to make an animated feature.
00:24:35And I said, great, but you know, to do this on a grand scale, it's going to take at least,
00:24:39you know, 30, 40 million dollar investment, which we don't have.
00:24:46To keep the team together, Ed and Alvey gained Lucas' support to spin off the division and call it Pixar.
00:24:53Over the next year, they struggled to find the one investor who could foresee their potential.
00:25:00An unexpected visitor to Lucasfilm was Steve Jobs.
00:25:04Steve was 21 when he co-founded Apple Computer, revolutionizing the concept of user-friendly personal computing with the Apple
00:25:12II and the Macintosh.
00:25:14By the age of 30, he had become a multimillionaire, selling his innovative computers all over the world.
00:25:20I was still at Apple at the time. I was turned on to it by a guy named Alan Kay,
00:25:23who I worked with.
00:25:24And so Alan and I hopped in a car and rode up to Lucasfilm.
00:25:28So on the limousine ride up there, I explained to Steve what these guys were, what their history was, what
00:25:34the potential was.
00:25:35Then a very good thing happened.
00:25:36That was the first time I met Ed, and he shared with me his dream to make the world's first
00:25:41computer animated film.
00:25:43And I, in the end, ended up buying into that dream both spiritually and financially.
00:25:50Steve Jobs took a chance and invested $10 million to launch Pixar.
00:25:56The stuff that Ed and his team were doing was at the very high end.
00:26:00And I could see that it was way beyond what anyone else was doing.
00:26:04We had the fortune to have Steve Jobs, who believes in passion and vision. He was responding to this passion.
00:26:11It was really exciting when Steve was the one that bought our group.
00:26:18I remember Ed came to me and he says, let's do a little animated film, something that says who we
00:26:25are.
00:26:26I wanted something simple and geometric.
00:26:29And I was sitting there at the desk kind of thinking and I just kept staring at this lamp and
00:26:33it was sort of like a classic Luxo lamp.
00:26:38I just started moving it around like it was alive.
00:26:41I love bringing inanimate objects to life and maintaining the integrity of the object and pulling personality and movement and
00:26:49physics out of that.
00:26:59In 1987, Luxo Jr. became the first three-dimensional computer animated film nominated for an Academy Award.
00:27:08Luxo is the one that changed everything.
00:27:11It was a very short story.
00:27:14And once we hit it with that, then it became the new goal for everybody.
00:27:33It was the combination of the new medium and John really bringing a character to life that made people say,
00:27:39Oh my God.
00:27:40You know, and the smart ones say, look at this potential here.
00:27:43A hopping Luxo lamp would become a symbol of Pixar's optimism and determination.
00:27:50The image I remember most is John Lasseter sitting there in that graphics lab with deadlines approaching, struggling with the
00:27:59machine.
00:28:00Just one man, one machine, trying to produce this animation.
00:28:06Early in Pixar, when we were sitting in a hallway sharing one computer, me and Eben and Bill and Ed,
00:28:13we'd sit there and just kind of be sharing time.
00:28:16And I would always take the midnight shift.
00:28:18Got most of my animation done on all the short films from about 10.30 at night until 4 or
00:28:235 in the morning.
00:28:25This evening I'm animating a scene from the dream sequence.
00:28:29This is a rough level of detail.
00:28:32How come your car has the best parking spot?
00:28:35Because it hasn't moved in about three days.
00:28:38I've been sleeping here.
00:28:40He'd leave me a note on my desk.
00:28:43D.W., wake me up when you come in.
00:28:45And I would go to his car and of course the door would be closed and I'd have to bang
00:28:48on the door and John would be asleep.
00:28:50He used to bring in a mattress or a futon or something and sleep under his desk.
00:28:53And then he would get up and start animating again.
00:28:56And he did that for weeks.
00:29:01The next short, Red's Dream, was the story of a lonely unicycle longing to perform in the circus.
00:29:10We could show him what was easy for us to do and what was hard for us to do.
00:29:14And he'd also push us.
00:29:15We'd say, well, you know, John, it's kind of hard for us to do a human.
00:29:18And first thing you'd know, he'd be thinking about human stuff he'd want to do and he'd encourage us to
00:29:23try to do it.
00:29:26Tin Toy, about a wind-up toy tormented by a baby, brought children's toys to life through the computer.
00:29:33And in 1989, Bill Reeves and John Lasseter took home their first Oscars for Best Animated Short Subject and the
00:29:41first ever awarded to a computer animated film.
00:29:45With each subsequent short film, John got more ambitious and the team got more experience and the software got better.
00:29:54In 1990, Pixar applied their knowledge of animated shorts to make commercials.
00:30:00The new venture soon required bringing in new animators.
00:30:03John hired two recent CalArts graduates.
00:30:06It was literally the day after I graduated I showed up.
00:30:10John sat down and showed me the way the animation software worked.
00:30:13It was pretty slow.
00:30:15There's a lot of kind of noodling and futzing around, but I loved that stuff.
00:30:19I didn't care what it was.
00:30:20I said, commercial's fine.
00:30:21I'll do, you know, soap bars, soda cans, whatever.
00:30:25I don't care.
00:30:25Introducing new freshman gum.
00:30:27The freshest men.
00:30:28Skiddly-bot you up.
00:30:29The coolest cool.
00:30:31For as simple as it was, it was probably the hardest learning experience I ever had because it was archaic.
00:30:36I knew nothing about the computer.
00:30:37I had never touched one, never word processed, never even really looked at one before I came up there.
00:30:43So I'm a testament that anybody can learn the computer.
00:30:49At the same time, Pixar began a collaboration with the new leadership at the Walt Disney Studios
00:30:54headed by Michael Eisner, Frank Wells, Jeffrey Katzenberg and Roy Disney.
00:30:58In a renewed effort to bridge hand-drawn animation with computers, Pixar invented CAPS,
00:31:05a digital ink and paint system which brought new technical advances to 2D animation.
00:31:10The gained techniques critical notice in Disney's Beauty and the Beast.
00:31:14Roy Disney was a great champion of this.
00:31:17We spent a lot of money building the CAPS system.
00:31:20And it was basically the basis of what was to come in terms of the 3D animation process.
00:31:24It was the engine that drove everything else forward.
00:31:30Pixar's software, RenderMan, was also getting industry acclaim for the creation of photorealistic special effects
00:31:36that allowed Hollywood filmmakers to tell stories that could not be told any other way.
00:31:43RenderMan had become the new standard in special effects.
00:31:46And in 2000, the technical team won the first Oscar ever awarded for computer animated software.
00:31:55But the research and development of all their technology was costing more money than the company was bringing in.
00:32:01Steve Jobs had been losing over a million dollars a year for five years.
00:32:07It was all great stuff to do, but none of it was a home run. None of it really, it
00:32:13It was a struggle.
00:32:14Every step of the way it was a struggle.
00:32:15We were trying to pay the bills and just buy time.
00:32:19And that strategy really turned out not to work.
00:32:23Steve was a very forgiving investor at that time and had a much longer term view than your average venture
00:32:33capitalist would have had about our young company.
00:32:37With the survival of Pixar at stake, John pitched the Disney company a half-hour Christmas TV special based on
00:32:44their short film, Tin Toy.
00:32:47All the while, Disney executives had been trying to lure John back to the studio to direct a feature.
00:32:54John is being asked this for his third time to come down to be a director at Disney.
00:32:59Or he can stay up in Northern California with this company that's bordering on a collapse because they're losing money.
00:33:06He stays up here with this company bordering on a collapse, right?
00:33:13John came up with the idea of doing this story from a toy's point of view, done in this 3D
00:33:19plastic world.
00:33:20And the idea was sensational.
00:33:23And they'd gone from commercials to a short film being 6 minutes.
00:33:27They felt they could expand the system to a 30 minute movie.
00:33:31And we said, oh, forget about that, make it a full length feature.
00:33:34From John's initial pitch, Disney offered the Pixar team the chance to finally fulfill their dream
00:33:40of creating the world's first computer animated feature film.
00:33:46I remember Bonnie Arnold, the producer, and Ralph Guggenheim, the producer, came around and they said,
00:33:53We're making a movie.
00:33:54Really?
00:33:56We got a movie?
00:33:57It happened and I was like, oh my God, we're actually going to make this movie.
00:34:01And I was so excited.
00:34:03There was so much positive enthusiasm.
00:34:06It was great.
00:34:09It was an attempt to take the spirit of John Lasseter and see if we could make a full length
00:34:15poster picture with him.
00:34:18It was fantastic.
00:34:20There was no better partner to do it with the Disney.
00:34:22There was a lot we could learn from them, vast amounts we could learn from them.
00:34:26So it was the best thing that ever happened to the studio.
00:34:29None of us had done a movie ourselves before.
00:34:32And a large portion of us had never worked on a movie at all.
00:34:34Green light.
00:34:35Ignorance was bliss.
00:34:36We didn't know what we didn't know.
00:34:39It's like the Mickey Rooney, Judy Garland things.
00:34:42Hey, my uncle's got a barn.
00:34:43Let's put on a show.
00:34:44Unpack.
00:34:45Unpack.
00:34:46You mean I can stay?
00:34:46We were onto something big.
00:34:48We could just hold it together and make it happen.
00:34:56We didn't want to do a musical.
00:34:59We didn't want to do a fairy tale.
00:35:01We didn't want to do what Disney was from Little Mermaid and Beauty and the Beast and
00:35:06all those films.
00:35:07They had their thing going and we wanted to be different.
00:35:12John set his sights on one particular actor for the voice of Woody.
00:35:17They said, look, we just want to show you this thing because it's too hard to explain what
00:35:22It is.
00:35:24Oh, no, no, no.
00:35:25You're eating the car.
00:35:27Don't eat the car.
00:35:29Get the car.
00:35:30No, you stupid fuck.
00:35:33When I saw this loop, it was startling, actually.
00:35:36It was kind of like hypnotic.
00:35:38Let's see it again.
00:35:39Can I see that again?
00:35:40I think I'm about to watch it three or four times.
00:35:42It didn't look like animation.
00:35:43It looked like plasticine come to life.
00:35:44I couldn't explain it even to friends what it was like.
00:35:47I just said, well, it's going to be this whole new thing.
00:35:49They've just invented something that is a brand new way of doing this.
00:35:54Hi, pal.
00:35:54What are you doing?
00:35:55I'm Tempus from...
00:35:57Yeah, yeah.
00:35:57What's this button?
00:35:58Say, you weren't thinking of flying, were you?
00:36:01Well...
00:36:02You know, Andy loves toys that can fly.
00:36:04Really?
00:36:05Well then, to infinity and beyond.
00:36:12You know, Andy loves toys that he can find.
00:36:16There was this desire at Disney to make Toy Story edgy.
00:36:22Make it edgy.
00:36:23Make it, like, something for adults.
00:36:25Jeffrey Katzenberg, who at the time was chairman of the Disney Studios
00:36:28and had great interest in animation, would always, in a story meeting,
00:36:34be pushing for what he called edge, which really was code for snappy adult,
00:36:41the edge of being inappropriate, and not to feel too young.
00:36:46We were working our butts off and jumping through every hoop,
00:36:51addressing every note that was given to us, and that was the first year.
00:36:55By December 1993, John and his crew flew to Burbank
00:37:00to present their completed storyboards to Disney.
00:37:03Their approval would finally launch Pixar into production.
00:37:06But what was to come was a day they would never forget.
00:37:15Nothing but was working.
00:37:16It wasn't funny.
00:37:17It wasn't emotional.
00:37:18It wasn't moving.
00:37:19The characters didn't quite work.
00:37:22Peter Schneider sent me this video, which was like two cassettes.
00:37:25It was so long.
00:37:27It was like two hours.
00:37:28And it went on and on and on and on and on and on.
00:37:32And I was fast-forwarding through it and thinking,
00:37:34Oh, my God, this will never end.
00:37:36Which led to this horrible, horrible day when things came to a crashing halt.
00:37:43That was our Black Friday, Black Monday, Black Tuesday.
00:37:46I forget what day of the week it was, but it was sure black.
00:37:49Hey, you want to be Mr. Mashed Potato Head?
00:37:51You button your lip.
00:37:53Nobody's getting replaced.
00:37:54That resulted in the Woody character being one of the most repellent things.
00:37:58you've ever seen on screen.
00:37:59I mean, you couldn't watch it.
00:38:01It was smart-alecky.
00:38:03It was like a brand of insult, humor.
00:38:05It was kind of like negative.
00:38:08All right, that's enough.
00:38:09You're all acting like you've never seen a new toy before.
00:38:12Get a grip, okay?
00:38:14Jeffrey said, well, why is this so terrible?
00:38:16I said, well, because it's not their movie anymore.
00:38:19It's completely not the movie that John set out to make.
00:38:22Disney forced us to shut production down,
00:38:24and they wanted us to lay people off, and we refused.
00:38:29We just said, all right, screw it.
00:38:32What do we want to do?
00:38:33What would be the funniest thing?
00:38:34We were also very brutally honest with each other about what we thought was.
00:38:38We were day and night.
00:38:40We just really went 100% with our gut.
00:38:42We knew it was sort of our last chance.
00:38:43We knew time was not on our side.
00:38:45It was so refreshing, because we were making the movie we wanted to make.
00:38:49We'd just sit on our knees, right on the floor,
00:38:52and draw with Sharpies on pads and pin it all up,
00:38:54and then like, oh, this is great.
00:38:56We get all excited.
00:38:57This is great.
00:38:57And we boarded the whole thing.
00:38:59We did it much faster, much rougher than anybody ever thought we could.
00:39:02And we turned the reels around in two weeks or three weeks,
00:39:06something like that, unheard of amount of time.
00:39:08And we showed it to Disney, and they were all ready to completely shut production down
00:39:13and call it a day.
00:39:14And you know what?
00:39:15It was good.
00:39:16It's not great, but it was good.
00:39:17It showed the potential of what Toyster would be.
00:39:20And I said, okay.
00:39:21And we'd start a production back up and went from there.
00:39:33The first animated scene was the Army Men sequence.
00:39:36It was an early glimpse of what was to come.
00:39:47Go on without me.
00:39:49Just go.
00:39:50A good soldier never leaves a man behind.
00:40:00We were so flying by the seat of our pants, it was nuts.
00:40:02We would get all this stuff together and we'd send it off to animation and let them animate it.
00:40:07We would then get it back into editorial and find that nothing was cutting together at all.
00:40:11It was so absolutely Stone Age, yet at the time, we were like on the top of our mountain.
00:40:15We thought we were being so cool and no one was doing anything like what we were doing.
00:40:19I think the biggest challenge in Toy Story was just dealing with the length of the film.
00:40:24Full of characters, full of sets, all sorts of stuff.
00:40:27And the story drove everything.
00:40:29Every frame of that story was in my head.
00:40:32Working with the art department work, with modeling, working with layout, working with the animators.
00:40:37I would talk about the story and tell them how it fits in the framework of that.
00:40:42There's something about having the artists and the technical people working together that is exciting.
00:40:46Even though we may do some things that don't always necessarily make the best sense, the mix is exciting.
00:40:52What did I tell you earlier? No one is getting replaced.
00:40:55Now let's all be polite and give whatever it is up there a nice big Andy's room welcome.
00:41:02Woody was a pendulum swing from Woody being comfortable with his position to Woody being threatened by the arrival of
00:41:08Buzz Lightyear.
00:41:15Lasseter called me and said, would you look at these sketches of this character? We think you're the perfect guy
00:41:19for it.
00:41:20And the only thing that sold me was his enthusiasm.
00:41:23And I said, what a neat idea. And I have no idea visually what this would look like.
00:41:26He let me stretch it a little bit and really make it this really kind of a closed head injury
00:41:33type of guy.
00:41:33Star Command, come in. Do you read me?
00:41:36Why don't they answer?
00:41:38My ship!
00:41:42Blast. This will take weeks to repair.
00:41:45He's full of himself, but in a great way. I don't think of Buzz is really obnoxious. Obviously, because I
00:41:50think he's the most popular of the toy.
00:41:53Buzz Lightyear, mission long. The local sheriff and I seem to be at a huge refueling station of some sort.
00:41:58I said, you! According to my Nava computer, the... Shut up, you idiot!
00:42:01Sheriff, this is no time to panic. This is the perfect time to panic!
00:42:05I'm lost. Andy is gone. They're gonna move from the house in two days. And it's all your fault!
00:42:16I think the hard part for me and probably for a lot of others was that it was really hard
00:42:22to know from those story sketches to the finished product what it was gonna look like.
00:42:28Which is really scary stuff.
00:42:30I remember even halfway through the movie and we were seeing most of the first half, say, in fairly completed
00:42:37form and color.
00:42:38I was still thinking, I don't get how this is gonna work at the ending because there was this huge
00:42:44chase through the streets of the truck and all that kind of thing.
00:42:47That all, it was like they did that all in one day.
00:42:57And suddenly it was all in there and I remember saying to my wife, I get it.
00:43:03Look, look, it's Woody and Buzz coming up fast!
00:43:07Woody!
00:43:09Some of the machines had to run 24-7, three months straight. Any hiccup in there would have been disastrous,
00:43:17you know? And it was Band-Aids. That's the funny part.
00:43:21This is the part where we blow up!
00:43:23Not today!
00:43:28We were blown away with it and we really felt strongly that the movie was going to be a success, but
00:43:34even we didn't have a clue how much of a success it was going to be.
00:43:37To infinity and beyond!
00:43:41Toy Story opened nationwide on Thanksgiving weekend in 1995 and from a shoestring budget went on to earn more than
00:43:48$350 million worldwide and paved the way to an entirely new computer animation industry.
00:43:57Kids loved it, critics loved it, and people in the animation field were knocked out.
00:44:05I remember the reviews starting to come in and going, wow!
00:44:08First of all, the fact that this paper has even heard of this movie and they care about it is
00:44:12stunning.
00:44:13And then they gave it a good review. They were just glowing. Wow!
00:44:17The most amazing thing to me was that it was really, really good. It was really entertaining. Great story, great
00:44:22character.
00:44:23That was the part where I was saying, whoa, they really pulled this off.
00:44:26People began to realize that this was a big deal. That we, in fact, had hit our stride.
00:44:32And this was what we were destined to do.
00:44:42The Academy of Motion Pictures honored John with a Special Achievement Oscar for creating the first computer animated feature film.
00:44:56In spite of Toy Story's success, the original contract between Pixar and Disney left the majority of the profits and
00:45:02merchandising with Disney, a long-term disaster for Pixar.
00:45:07Financially, if one film did not do well, we would be wiped off the face of the earth.
00:45:12We realized then that we had to become a studio rather than just a production company.
00:45:17And in order to do that, we were going to need capital. So that's when we decided we had to
00:45:22go public.
00:45:24It was a combination of things that really hadn't been accomplished before. Creativity, technology, business.
00:45:31And it was a small company with those capabilities going up against giants.
00:45:37One week after Toy Story's release, Pixar became the highest IPO of the year.
00:45:44From a $10 million investment, Steve raised $132 million.
00:45:53It was a wildly successful IPO. We got the money in the bank. And then shortly thereafter, Disney came to
00:46:00us and said, we want to extend the contract.
00:46:02And Steve said, okay, we will extend it if we can be 50-50 partners. And they said, okay, we'll
00:46:08Do that.
00:46:09So he actually nailed this right on the head. I was in awe.
00:46:21It was really surreal that we had gone from riding around on scooters, past empty offices, looking for extra offices
00:46:27supplies, to this meteoric success, really.
00:46:31We were in a place called Point Richmond, which was two miles away from a few refineries.
00:46:36A few times a year, we'd have evacuation days, because the refineries would spew some wonderful chemical concoction into the
00:46:42air.
00:46:43Pixar's facilities grew with the company, which meant that they were a hodgepodge.
00:46:48The animated bullpen was this amazing building, probably not legal at all because of fire code.
00:46:57It looked like a playground. It was loose. It was free. It was rough. It was like 200 people sharing
00:47:04a college dorm room.
00:47:05It was a place where you could go and draw on the wall or make a hole in the wall
00:47:09and not feel bad about it.
00:47:13There was this infectious enthusiasm in the building.
00:47:16It's like I imagine it must be like, say, for the guys in Monty Python to be sitting around a
00:47:20table writing material.
00:47:21You'd expect there to be this great creative feeding frenzy at the table, and that's what we had.
00:47:29It was so innocent and so sweet, and it was really, really a great time.
00:47:35A lot of people said, congratulations, you guys did what you said you were going to do, and you spent
00:47:40your whole careers doing it.
00:47:42So there was this great feeling of elation, and then when it was done, I was like, now what?
00:47:46There's a classic thing in business, which is the second product syndrome, if you will.
00:47:52And that is companies that have a really successful first product, but they don't quite understand why that product was
00:48:00so successful.
00:48:01And their ambitions grow, and they get much more grand, and their second product fails.
00:48:06Believe it or not, Apple was one of those companies.
00:48:08The Apple II, Apple's first real product in the marketplace, was incredibly successful, and the Apple III was in doubt.
00:48:14And so I lived through that, and I've seen a lot of companies not make it through that.
00:48:19My feeling was if we got through our second film, we'd make it.
00:48:24The bigger fear was just, can you find that lightning in a bottle again?
00:48:28Can you make yourself as in love the second time around?
00:48:32And you realize you have to actually work now at making yourself as naive as you were in the first
00:48:39round without any effort.
00:48:41There's nothing worse than any artist facing their second big piece of work, right?
00:48:46Because it's the point at which you find out whether everything that's been written about you was just hype, and
00:48:52your yesterday's news, or whether you maybe really are the real deal.
00:48:55One of the things I learned is the tricks that worked on the last movie don't necessarily work on this
00:49:00movie.
00:49:00You know, you think, oh, we made Toy Story. This is good. Oh, we know what we're doing now.
00:49:05And then you start on a movie like Bugs Life, and you're back in kindergarten again.
00:49:18Research was literally done out in front of Pixar in our own backyard.
00:49:24We boarded this tiny little video camera, and we called it the Bug Cam, and put it on the end
00:49:30of a stick.
00:49:31We put little wheels from Lego on the bottom of it, and we were able to wheel it around and
00:49:36literally look at things from a half an inch above the ground.
00:49:44The one thing we noticed from this Bug Cam was how translucent everything was. It was breathtaking.
00:49:53For their second film with Disney, Pixar set out to prove themselves again, with a bigger story, scope, and organization
00:50:01characters.
00:50:02Here I go, for the colony, and for oppressed ants everywhere!
00:50:08A Bug's Life was the first computer-animated widescreen movie.
00:50:13Wow! City!
00:50:20I represent a colony of ants, and I'm looking for tough bugs, you know, mean bugs, sort of bugs.
00:50:25A talent scout!
00:50:26My colony's in trouble! Grasshoppers are coming! We've been forced to prepare all this food!
00:50:32Don't you hear that food?
00:50:34Please!
00:50:35Will you help us?
00:50:37This is it! This is Ant Island!
00:50:44They seem to relish the idea at Pixar of doing something difficult, and then seeing how to solve the problems
00:50:53in a creative and entertaining way.
00:50:56What did you do?
00:50:59It was an accident.
00:51:08There's always something that we haven't invented yet. So, as a producer, you are trusting a lot of R&D
00:51:14to come through in the right time, and you're pushing a lot of things, and you're gambling, and you're looking
00:51:19at people's eyes, and you're saying, can you do this for me?
00:51:21It was just a giant story. Too many characters, too much going on, and we were just drowning in this
00:51:29thing.
00:51:30So the producer goes to John and says, John, we technologically cannot do crowd shots with more than 50 ants
00:51:37in them.
00:51:37So, can you design the movie around this limitation? And he said, I'm willing to accept that if that's all
00:51:42you can do, but I think you guys can do better.
00:51:44So he helped formulate this crowd team, he believed in them, he pushed them, and at the end of the
00:51:50day, they were the heroes of the movie.
00:51:57You ants, stay back!
00:52:05Through new technological advancements, Pixar artists transformed 50 original crowd shots into 431, and brought an epic of miniature proportions
00:52:16to the screen.
00:52:18Pixar broke through the second film syndrome, and A Bug's Life became the highest grossing animated film of 1998.
00:52:31After directing two back-to-back films, John returned home from the International Promotional Tour, now ready for a lot
00:52:38-needed break.
00:52:39I was exhausted. My family hadn't seen much of me, and we were going to take the summer off.
00:52:46Coming down the home stretch of Bug's Life, we were all feeling stressed, and, you know, we had been sharing
00:52:55John a lot. As a family, you know, we needed some family time.
00:53:00Meanwhile, a secondary production team at Pixar was making a direct-to-video sequel to Toy Story, the first project
00:53:08not supervised by John Lasseter.
00:53:10In February 1998, Disney decided to release Toy Story 2 theatrically, but at Pixar, a creative crisis was growing within.
00:53:21We knew Toy Story 2 was having troubles. I don't think we realized how bad it was really going, and
00:53:26then, and then we found out.
00:53:29It was just not shaping up to be at the level that we thought it needed to be.
00:53:36John came back from his European promotional trip, and then came in and saw the reels, and said,
00:53:42You're right. It's not very good.
00:53:45So, at that point, we went down to Disney, and said, The film isn't very good. We have to redo
00:53:52Item.
00:53:53And they said, It actually is good enough, but more importantly, you literally do not have the time.
00:54:01And what we said at the time was, We can't deliver it the way it is. We have to do
00:54:07It's over again.
00:54:09We decided that the only course of action was to ask John to go in, right after he'd come off
00:54:16of A Bug's Life, without any rest, to go in and take over that film.
00:54:24My feeling was I couldn't ask anyone at Pixar to do something I wasn't willing to do myself.
00:54:31I said to him, Well, I support you all the way. I'd like to see you do this picture, but
00:54:36we also have a family here, and you're going to have to make changes in your day-to-day routine.
00:54:46You're going to have to work normal hours.
00:54:48This is a movie that was already fully into production. A lot of it was animated. It was a bullet
00:54:53train heading towards a release date.
00:54:55Over a single weekend, John and his creative team from the first Toy Story reworked the entire script.
00:55:02John came back and pitched that story to the animation department. Just in that pitch, I totally fired everyone up
00:55:09and inspired everyone to really do the impossible.
00:55:11Nine months before it was supposed to come out, John threw the vast majority of the movie out and started
00:55:16over, which is unheard of.
00:55:18With Tom Schumacher overseeing production for Disney, even he knew this was beyond the studio's control.
00:55:26After a while, he said, Guys, you know better than I do what it's going to take to make this,
00:55:30so just go. You have no time to wait for my approvals. Just go, go, go, go, go, go.
00:55:36There's kind of a chemistry with us. We just spin off each other well or build on top of each
00:55:42other.
00:55:42It's always this core group of guys keeping each other in check.
00:55:46We were able to finish each other's sentences and take each other's ideas and heighten them, and someone else would
00:55:50raise it even more.
00:55:52They expanded the scope of Toy Story 2, introducing new characters and special effects rivaling those of the best live
00:55:59-action epics.
00:56:00The animators were pushed to their limits.
00:56:17The amount of footage that was going through that studio was staggering.
00:56:21Seeing the work that's coming out of the animators, it's actually inspired me as a director.
00:56:26Give it to a good animator, okay, make this special, make this funny, make this entertaining for this moment.
00:56:31Some animators have clear character stamps, like Doug Sweetman.
00:56:35Uh, I was thinking that Woody would be coming out of the saloon, he goes just like...
00:56:40There's reasons for every single movement he does, which is hilarious.
00:56:45He's not, like, looking at her, he's kind of, like, looking over her shoulder, like,
00:56:48Say, little missy, did you see any trouble around these parts?
00:56:52Say, little missy, did you notice any trouble around these parts?
00:56:55Mary a bit! Not with Sheriff Woody around!
00:56:58Wait, wait, wait, wait, wait, I got it, I got it! This is great! I got it! The man that's
00:57:01got the critters tied up in the burning barn,
00:57:02and now we're the best part! Help us! The barn's on fire!
00:57:05I've got your critters! No need to worry! Woody saves the day again!
00:57:09You're trying to find what you would hope the audience would feel when they're watching this movie.
00:57:16Every other department is on board to use the environment, the color, the lighting, the animation,
00:57:22to make the strongest possible statement that when people are in a theater,
00:57:26they're gonna, wow, this is something special, this is something that really affected me.
00:57:32Emily was just the same. She was my whole world.
00:57:40When somebody loved me...
00:57:44I thought it was a very brave thing for them to do, to think that five-year-olds would sit
00:57:48still
00:57:49for three minutes of montage and a ballad and something, you know, very sad, really.
00:57:54And when she was sad, I was there to dry her tears. And when she was happy, so was I,
00:58:07when she loved me.
00:58:13Tim Allen and I actually saw the movie together at the same time it was all done.
00:58:17And we had an understanding of what everything goes on. But then when Jessie's song came up,
00:58:22we were just 40-year-old men crying our eyes out over this abandoned cowgirl bug.
00:58:26Every hour we spent together lives within my heart when she loved me.
00:58:45At that moment, you know that no one's thinking, well, this is just a cartoon.
00:58:50It's just a bunch of pencil drawings on paper, or this is a bunch of just computer data.
00:58:55You know, no. These characters are alive and they're real.
00:59:00Toy Story 2 made its debut in theaters on its scheduled release date, Thanksgiving Day 1999,
00:59:07joining that rare number of sequels judged to be as good as or better than the original.
00:59:12That was probably the greatest sense of accomplishment I've ever had,
00:59:16and I think the studios ever had in their life.
00:59:21Everybody was so dedicated to it and loved Toy Story and those characters so much
00:59:27and loved the new movie so much that we killed ourselves to make it.
00:59:31And, you know, it took some people a year to recover.
00:59:35It was tough. It was too tough.
00:59:38Toy Story 2 was the pivotal moment in this company.
00:59:42It's when we actually defined who we were.
00:59:44From that we learned the important thing is not the idea.
00:59:48The important thing is the people.
00:59:51It's how they work together, who they are, that matters more than anything else.
00:59:56Our business depends upon collaboration.
01:00:00And it depends upon unplanned collaboration.
01:00:03And so we were just too spread out and the groups were, you know, developing their own styles.
01:00:08We were growing into several divisions instead of one company.
01:00:12And so the goal was pure and simple.
01:00:14We want to put everyone under one roof and we want to encourage unplanned collaborations.
01:00:23With Pixar's facilities bursting at the seams, Steve sets his sights on 20 acres in Emeryville, California,
01:00:30where he envisioned a state-of-the-art animation facility.
01:00:33A home for the best artists and scientists to create and play under one roof.
01:00:40Welcome, ladies and gentlemen, to the first annual Pixar International Bear Show.
01:00:52The building itself has helped so much because Pixar is its people.
01:00:56And we maintain the same philosophy of an office is an empty canvas.
01:01:03And it's so fun.
01:01:08One of the things that we wanted to do with the studio is to grow it so that we could
01:01:14be eventually releasing one movie every year.
01:01:17So that means we have to have a bunch of overlapping productions.
01:01:20And so that gave the opportunity to where some of my close colleagues gave them a chance to direct their
01:01:25own films.
01:01:26The second animator after me that was ever hired at Pixar was Andrew Stanton.
01:01:31And then Pete Docter was soon after that.
01:01:33And I knew right away that these guys are good enough to make their own films.
01:01:39John chose Pete Docter to direct the next feature film at Pixar.
01:01:44A decision that did not come without doubts.
01:01:48I was not convinced that he could hold up this weight without John.
01:01:52He hadn't done it before.
01:01:53He hadn't been an associate director before.
01:01:56He hadn't been the number two.
01:01:57He hadn't been a co-director before.
01:01:59It was really throwing him into the lion's den.
01:02:02My biggest challenge was that I was following in the footsteps of John Lasseter.
01:02:06To come in and say, okay, now I'm going to direct this.
01:02:08It was a tough act to follow.
01:02:11Pete had this fundamental idea that when children say there's a monster in the closet, they're actually telling the truth.
01:02:16The rest of it was all over the map.
01:02:20There were too many possibilities.
01:02:22Monsters, it could be anything.
01:02:24Anything in the world.
01:02:25So it was almost too much freedom.
01:02:28We knew we wanted fur.
01:02:29We had no idea how to do it.
01:02:31And that was, of course, one of the most difficult things to do.
01:02:48Welcome to the Himalayas.
01:02:50These people think differently than normal people.
01:02:55They're strange.
01:02:56In the best way.
01:02:57When we thought of Billy Crystal, we thought, oh, this is going to be great.
01:03:01Of course, he just added his own unique spin to it.
01:03:04Mike was an appealing, odd little guy who I thought was a combination of Mr. Toad and Sammy Davis Jr.
01:03:11Think romantic thoughts.
01:03:14You and me.
01:03:16Me and you.
01:03:17Both of us together.
01:03:19The way he moved and his face and stuff like that.
01:03:21And then when I decided on the voice, it just all seemed to work.
01:03:24Scary feet, scary feet, scary feet.
01:03:26Oh, the kids are awake.
01:03:27Okay, scary feet, scary feet, scary feet, scary feet, scary feet.
01:03:29Kids asleep.
01:03:30The whole little guy was one of my favorite characters that I've ever played.
01:03:33Twins and a bunk bed.
01:03:36Ooh, I thought I had you there.
01:03:38What shocked me about the movie was the size of it.
01:03:42Ooh.
01:03:44I was stunned by the chase and the door sequence.
01:03:47When you see the millions of doors moving and they're all individually done, that just blew me away.
01:03:52Hold on.
01:03:58It was a wild ride because it was such a complex movie and it didn't find its center for a
01:04:05very long time.
01:04:05And then when it did, its center was so good, people went nuts for it.
01:04:10The last shot of Monsters Incorporated Animation is now officially final.
01:04:20Pete emerged as a remarkably sensitive, smart, really great director.
01:04:26And he owns this movie.
01:04:28He completely owns this movie.
01:04:30The historic success of Monsters Inc., the highest grossing animated film released to its date,
01:04:37now placed added stress on the next director in line, Andrew Stanton.
01:04:41So, the pressure.
01:04:43It's begun.
01:04:45It's begun.
01:04:46$62,577.67
01:05:00There's no reason, Andrew, to feel any more pressure.
01:05:04I'm fine.
01:05:05I'm fine.
01:05:11I remember in 92, when my son was just born, going to the marine world.
01:05:16And they had this shark exhibit where you kind of walk through a tunnel and they swim over you.
01:05:20It was like a glass tunnel.
01:05:21You could get up really close, see underwater, and lose all your peripheral vision of anyone around you in the
01:05:26man-made world.
01:05:27And I remember thinking then, you know, that's 10 years ago.
01:05:30We could make this world.
01:05:32CG would be perfect for this world.
01:05:34You could capture it so well.
01:05:40Oh, let's name a species, species, species, species.
01:05:43Let's name a species that lives in the sea.
01:05:45There!
01:05:48Without meaning to, I sort of made this epic journey that takes you all over the ocean.
01:05:52That meant every set piece had to be different.
01:05:55The look of being underwater is actually quite simple from a technical standpoint.
01:05:59It was just really tough to dial all the different ingredients just right.
01:06:03You know, I think if I'd known that's what I was going to be signing up for and everybody else,
01:06:07I don't think anyone would have done it.
01:06:11Seeing his son kidnapped before his eyes, the overprotective father, Marlon, travels across the vast ocean to find his son,
01:06:19Nemo.
01:06:19And along the way, you learn to become a better father.
01:06:23He's been fishing, then.
01:06:24Searching the ocean for days.
01:06:26On the East South Great Current.
01:06:28It means that he may be on his way here right now.
01:06:30That should put him in Sydney.
01:06:31Harbour in a matter of days.
01:06:33I mean, he sounds like this guy's gonna stop at nothing.
01:06:35But nothing until he finds his son.
01:06:37I'm sure hope he makes it.
01:06:38There's one father dedicated, if you ask me.
01:06:42The challenge on Nemo is the same challenge that we had on the first Toy Story, which is making a
01:06:47good movie.
01:06:47It really comes down to that.
01:06:48I mean, each film has its own technical hurdles that we have to overcome.
01:06:52But, we spend the first two and a half years, making these films doing nothing, but working out the stories.
01:07:00Mike! Mike! Mike! Mike! Mike! Mike! Mike! Mike! Mike! Mike! Mike! Mike!
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01:10:21In 2003, Finding Nemo surpassed Pixar's own previous marks,
01:10:26making it the new highest-grossing animated film in history.
01:10:29And director Andrew Stanton won the Oscar for Best Animated Feature.
01:10:33But the enormous success of Finding Nemo meant that expectations were now even higher
01:10:38as Brad Bird, the first outside director, was invited in to direct a feature.
01:10:42Well, here I am, pulling into Pixar.
01:10:47First time, into Pixar. Yeah.
01:10:52Brad was an old classmate of John Lasseter's from CalArts.
01:10:55He had made the critically acclaimed 2D hand-animated film The Iron Giant.
01:11:01Brad Knight stayed in touch, and he pitched us on an idea called The Incredibles.
01:11:06It's a family of superheroes, and originally he was thinking of it being cell-animated,
01:11:11but he thought it could work in 3D computer animation.
01:11:13I fell in love with it right away, but the thing I loved about it the most
01:11:17was this story of this family. It's got so much heart to it.
01:11:21I've just been given my card key. Now I can get into all the secret chambers of Pixar.
01:11:28And this is where Bug's Life was actually filmed, on location, right here.
01:11:34Good to see you!
01:11:36Any company that had 4 hits in a row would not be open to changing anything.
01:11:41This place was the exact opposite.
01:11:44They were saying, look, we've had 4 hits in a row.
01:11:47We are in danger of repeating ourselves, or of getting too satisfied,
01:11:52and we need to shake this place up.
01:11:56Keep it moving. Keep it, Kate. Nice to see you.
01:11:58I'm here to tell you, you guys are kind of in your wood-fired pizza mode,
01:12:02and a lot of you were...
01:12:05Yeah! I work at the place where we make hit after hit.
01:12:09But, you know, I'm telling you, I've been out in the real world,
01:12:16as some of you have also been,
01:12:18and you who have been out there know what I'm talking about.
01:12:21This is an anomaly.
01:12:22This place is, A, really freakishly alone in this hit-after-hit aspect,
01:12:29and, and, two, um, you know,
01:12:33these kind of projects don't happen that often.
01:12:37Grab this opportunity and run with it.
01:12:40You know, film is forever. You know, pain is temporary.
01:12:44Once we brought Brad into Pixar, we were all learning again.
01:12:48And he has brought in his close collaborators on Iron Giant.
01:12:52And they are amazing.
01:12:54The 2D people that I brought up wrestled with the box, you know,
01:12:58just trying to figure out how to make the computer do what you want it to do.
01:13:02The computer exists in two worlds.
01:13:05It's either the most brilliant thing you've ever seen,
01:13:08or it's completely mad.
01:13:12The 2D animators took the traditional storyboarding process
01:13:16into the third dimension,
01:13:18providing dynamic new ways to visualize storytelling.
01:13:29If you name the ten most difficult things to do in animation,
01:13:33we had them all, and large amounts of them all.
01:13:36Humans.
01:13:37Police officers!
01:13:38Hair.
01:13:40Fabric.
01:13:41Hair and fabric underwater.
01:13:43Hair and fabric blowing through the air.
01:13:46It was just endless.
01:14:10The Incredibles marked Pixar's sixth hit in a row,
01:14:13and Brad Bird won his first Academy Award for Best Animated Feature.
01:14:19Now that I've made a Pixar film,
01:14:22A lot of people have asked,
01:14:23What is the secret formula?
01:14:24As if there's some magical calculation.
01:14:27I say, it's really pretty simple.
01:14:29Everyone here loves films,
01:14:32and they just want to make something that they themselves want to see.
01:14:38By 2004, the success of The Incredibles and other computer animated films
01:14:43was leading to an industry-wide belief that making CG movies
01:14:47was a foolproof formula for box office hits.
01:14:52As many of the 2D films failed at the box office,
01:14:56hand-drawn animation now faced extinction for the first time in history.
01:15:00There was this period in this country,
01:15:03and it happened at DreamWorks,
01:15:05and it happened at Disney Animation,
01:15:07and that was that they had some films which hadn't done well.
01:15:12The stories weren't strong, to be candid,
01:15:16and the heads of the respective studios at the time said,
01:15:19well, the problem is they're in 2D,
01:15:21and the audience has lost the taste for 2D,
01:15:24and so they switched over to 3D
01:15:25and basically shut down 2D animation in this country.
01:15:28The derived idea was,
01:15:31well, nobody wants to see 2D anymore.
01:15:36The fact was they'd love to see a good 2D movie.
01:15:39That was never the question, you know,
01:15:41but it was horrible, you know,
01:15:46to come to this conclusion
01:15:47that only 3D was going to be our future.
01:15:53There was an enormous loss of morale.
01:15:55There was an enormous loss of the will to live,
01:15:58in a sense, of making good product.
01:16:01And they were selling off animation desks.
01:16:04They were, you know, just leading talented artists
01:16:07out the door by their nose
01:16:09And saying, you know,
01:16:10We don't need you anymore.
01:16:12I mean, there was a very painful period
01:16:14That was like someone dying
01:16:16just to see what happened.
01:16:19I mean, it had to do with
01:16:20so many, many people losing their jobs.
01:16:24But even more than that,
01:16:25just a sort of art form
01:16:27that had been built up over a period of decades
01:16:29was just abandoned, I think,
01:16:32because it was not the hot ticket at the moment.
01:16:38Everybody at Pixar loves 3D animation,
01:16:41and we helped develop it.
01:16:43But we also love 2D animation.
01:16:45And to think that 2D was shut down
01:16:47and that we were used as an excuse
01:16:49Shutting it down was awful.
01:16:52We saw this art form being thrown away.
01:16:55So for us, it was just, it was a tragic time.
01:16:59As Pixar and Disney faced the end of their contract,
01:17:03the two studios clashed over terms
01:17:05of a more equitable deal.
01:17:06All the while, Disney prepared to develop
01:17:09direct-to-video sequels of the Pixar films
01:17:11without Pixar's involvement.
01:17:15Our belief is that since we created the characters,
01:17:18the original creators are the ones
01:17:20who should carry on with it and give them life.
01:17:23And to turn it over to someone else
01:17:26for short-term economic gain
01:17:27It just didn't make any sense.
01:17:28It was like turning over your children
01:17:30to somebody else.
01:17:32We were going to lose those characters.
01:17:35It was actually unfortunate at that time
01:17:37because we'd had this phenomenal relationship
01:17:40with Disney all these years.
01:17:41We were an independent company
01:17:42and they did the distribution and the marketing.
01:17:45By 2004, Steve Jobs opened talks
01:17:48with other studios.
01:17:49While at Pixar, a cloud of anxiety
01:17:51hung over employees who felt
01:17:53that a merger with a larger company
01:17:55could threaten the loss
01:17:56of their unique spirit and creative culture.
01:17:59It was very clear
01:18:00that none of them wanted to do that.
01:18:02They wanted to be an independent company.
01:18:04Whereas if we were to become independent,
01:18:05we'd have to take on marketing and distribution
01:18:07and get another partner.
01:18:09And it would change the culture
01:18:11in ways that we didn't necessarily want.
01:18:13But by 2005,
01:18:15a corporate shake-up within Disney
01:18:17led to the replacement of Michael Eisner.
01:18:18Bob Iger was appointed as the new CEO
01:18:21and expectations ran high
01:18:23that he might repair
01:18:25the broken relationship with Pixar.
01:18:28As I neared the day
01:18:29that I was going to become CEO
01:18:31and I started to focus more and more
01:18:33about the future of the company,
01:18:35It became more and more clear.
01:18:37that for Disney to truly be successful
01:18:39in the future,
01:18:41we had to return to the glory days of animation.
01:18:43So I began focusing on how to do that
01:18:46and it really begins with finding the right people.
01:18:49The more I thought about it,
01:18:51the more I realized that Pixar
01:18:53had more of the right people
01:18:55than probably any other place in the world
01:18:58from an animated perspective.
01:19:00I then went to the opening
01:19:02of Hong Kong Disneyland in September
01:19:04and the parade went by.
01:19:06It struck me that the characters
01:19:08that were in the parade
01:19:10all came from films
01:19:11that had been made prior to the mid-90s
01:19:14except for some of the Pixar characters.
01:19:16I felt that I needed to think
01:19:18even more out of the box
01:19:20than I had been thinking
01:19:21and I had a much greater sense of urgency.
01:19:24I became CEO on October 1st.
01:19:26I called Steve around that time
01:19:29and said I thought we ought to talk.
01:19:31I had some bigger ideas
01:19:33and that began a long period of discussion
01:19:36because it was very serious for both sides.
01:19:40He really needed to feel comfortable
01:19:42that Pixar was in the right hands
01:19:44and more importantly,
01:19:46respect the talent and the culture.
01:19:49We were extremely impressed
01:19:50with his view of where Disney could go.
01:19:53This changed the equation dramatically.
01:19:56In the end, with weighing everything,
01:19:58we came to the conclusion
01:19:59that the best thing we could do
01:20:01was to join up with Disney.
01:20:04A $7.4 billion acquisition deal
01:20:07provided Steve Jobs a seat on the Disney board
01:20:10as the company's largest shareholder,
01:20:11made John Lasseter chief creative officer
01:20:14and Ed Catmull, president of Disney
01:20:16and Pixar Animation Studios.
01:20:18We're convinced that Bob really understands Pixar
01:20:21and we think we have some appreciation of Disney
01:20:25and love the unique Disney assets
01:20:27like being able to get the characters
01:20:28and the theme parks
01:20:29and really express them throughout
01:20:31all of Disney's incredible assets.
01:20:33And we think we understand.
01:20:35How to keep Pixar being Pixar
01:20:37and how to spread some of that culture around
01:20:41And maybe, you know,
01:20:42a few other parts of Disney as well
01:20:43because we think we got something
01:20:44Pretty good going here.
01:20:46While we will make 3D movies,
01:20:48we're also going to make 2D movies
01:20:50because it's part of this wonderful heritage
01:20:52that we've got here
01:20:52and it's a beautiful art form.
01:20:54It feels like this is the true culmination
01:20:58of the Pixar building
01:20:59and this amazing company
01:21:00into something which will continue on
01:21:02and continue to make waves in the future.
01:21:04This deal is expected to close this summer
01:21:06just about the time that Pixar will release
01:21:08its seventh feature film called Cars.
01:21:16John Lasseter's return to the director's chair
01:21:19came with the release of Cars.
01:21:21Yes!
01:21:22A film inspired by a cross-country road trip
01:21:24he took with his family in 1999.
01:21:27Hi, this is great.
01:21:29Blue Ridge Parkway.
01:21:34Set in a bygone town on Route 66,
01:21:38John's personal love of Cars
01:21:39and the racing world
01:21:40inspired a new level of beauty,
01:21:43speed,
01:21:43and a heightened reality
01:21:45in computer animation.
01:21:47Morning, sleeping beauty!
01:21:48Ha!
01:21:48Ha!
01:21:51Ha!
01:21:52Cars became the seventh hit
01:21:53in a row for Pixar
01:21:54and the new relationship with Disney
01:21:57was starting off on the right foot.
01:21:59Ed and John now look to the future
01:22:01with the challenge of guiding two animation studios
01:22:04and John returning to his roots
01:22:07to creatively oversee
01:22:08all of Disney's theme parks and attractions.
01:22:17John's a real big Disney fan.
01:22:19I mean, he worked in the amusement parks, he grew up on Disney.
01:22:26He's thrilled to be on that lot and kind of being able to go everywhere he wants to go
01:22:31and see what's there and bring things up from the past, explore.
01:22:351978, 27 years ago, is the last time I skipped at Jungle Cruise, and I want everyone else to go.
01:22:43His feelings are so good about it.
01:22:46You had such a great intuition that I had.
01:22:53He seemed to know everything ahead of time.
01:22:55I find the same thing there with Lasseter.
01:22:58He's pretty much an image of Walt, I think.
01:23:06When planning a new picture, we don't think of grown-ups and we don't think of children,
01:23:10but just of that fine, clean, unspoiled spot down deep in every one of us
01:23:15that maybe the world has made us forget
01:23:17and that maybe our pictures can help recall.
01:23:26Well, the future of Pixar to me is going to be continuing making these great films
01:23:32with more and more visionary directors and then give them creative ownership of what they
01:23:37do so they can be prouder for the rest of their life.
01:23:42There are so many young people today that want to be animators,
01:23:46that are fascinated by animation more than ever before.
01:23:50So it's a field that is inspiring and exciting.
01:23:56There's a real advantage being in a new medium.
01:23:58We're still setting ourselves up for things we've never done before.
01:24:05I feel like I'm in Dumbo.
01:24:07I feel like I'm in Pinocchio.
01:24:09This is truly going to be timeless and forever and will always land in the consciousness of
01:24:14yet another generation of moviegoers.
01:24:18Pixar is seen by a lot of folks as an overnight success,
01:24:22but if you really look closely, most overnight successes took a long time.
01:24:28I feel like I'm in Pinocchio.
01:24:34I feel like I'm in Pinocchio.
01:24:45I feel like I'm in Pinocchio.
01:24:45I feel like I'm in Pinocchio.
01:24:45I feel like I'm in Pinocchio.
01:24:46I feel like I'm in Pinocchio.
01:24:47I feel like I'm in Pinocchio.
01:24:47I feel like I'm in Pinocchio.
01:24:48I feel like I'm in Pinocchio.
01:24:48I feel like I'm in Pinocchio.
01:24:48I feel like I'm in Pinocchio.
01:24:49I feel like I'm in Pinocchio.
01:24:52I feel like I'm in Pinocchio.
01:25:24Thanks for watching the video.
01:25:53Thanks for watching the video.
01:26:23Thanks for watching the video.
01:26:49Thanks for watching the video.
01:27:22Thanks for watching the video.
01:27:53Thanks for watching the video.
01:28:23Thanks for watching the video.
01:28:25Thank you.