1 00:00:04,440 --> 00:00:12,400 Speaker 1: Welcome to tech Stuff, a production from iHeartRadio. Hey there, 2 00:00:12,480 --> 00:00:15,840 Speaker 1: and welcome to tech Stuff. I'm your host, Jonathan Strickland. 3 00:00:15,920 --> 00:00:19,520 Speaker 1: I'm an executive producer with iHeartRadio, and how the tech 4 00:00:19,640 --> 00:00:23,040 Speaker 1: are you. It's time for another tech Stuff classic episode. 5 00:00:23,800 --> 00:00:27,040 Speaker 1: Over the past two weeks, we have listened to classics 6 00:00:27,040 --> 00:00:30,560 Speaker 1: from The Pixar Story Parts one and two, So this 7 00:00:30,600 --> 00:00:35,040 Speaker 1: week it's The Pixar Story, Part three, which concludes the 8 00:00:35,120 --> 00:00:38,080 Speaker 1: trilogy of episodes I did about Pixar from back in 9 00:00:38,120 --> 00:00:42,360 Speaker 1: twenty sixteen. This one originally published August tenth, twenty sixteen, 10 00:00:43,159 --> 00:00:45,800 Speaker 1: so there's a lot more to say since then, but 11 00:00:46,600 --> 00:00:50,920 Speaker 1: let's sit back and listen to this classic episode. We 12 00:00:51,040 --> 00:00:54,320 Speaker 1: left off last episode in two thousand and six, when 13 00:00:54,400 --> 00:00:59,680 Speaker 1: Disney had officially announced its intent to acquire Pixar outright. 14 00:01:00,240 --> 00:01:03,800 Speaker 1: It would no longer just be a partnership, a contractual partnership. 15 00:01:03,800 --> 00:01:07,679 Speaker 1: It would be that the two companies would become united. 16 00:01:08,400 --> 00:01:09,919 Speaker 1: So now we're going to pick up in two thousand 17 00:01:09,920 --> 00:01:14,000 Speaker 1: and seven, when Pixar would release the first film it 18 00:01:14,160 --> 00:01:17,080 Speaker 1: had as an official part of the Disney Company itself. 19 00:01:17,560 --> 00:01:23,080 Speaker 1: That film was Rataituey with Patton Oswalt voicing the main character, 20 00:01:24,040 --> 00:01:28,039 Speaker 1: Patton Oswald, one of my favorite comedians. Now, Rattue was 21 00:01:28,200 --> 00:01:31,560 Speaker 1: again very successful. Like all the Pixar films that led 22 00:01:31,640 --> 00:01:34,880 Speaker 1: up to this point, it was successful both financially and critically. 23 00:01:34,920 --> 00:01:38,319 Speaker 1: It later would win the Oscar for Best Animated Feature. 24 00:01:39,319 --> 00:01:43,880 Speaker 1: We're getting to a point now where the people were 25 00:01:43,880 --> 00:01:46,759 Speaker 1: starting to ask the question, are other movies ever going 26 00:01:46,800 --> 00:01:49,920 Speaker 1: to have a real chance against Pixar movies in the 27 00:01:49,960 --> 00:01:54,280 Speaker 1: category of animated feature? And we also see more and 28 00:01:54,360 --> 00:02:00,080 Speaker 1: more push from companies like Pixar for the Academy to 29 00:02:00,240 --> 00:02:04,920 Speaker 1: consider animated movies on the same playing ground as live 30 00:02:04,960 --> 00:02:10,079 Speaker 1: action films. Now, Ratatuy would be another brad Bird directed film, 31 00:02:10,240 --> 00:02:14,800 Speaker 1: although not Originally, Bradbird was brought in to replace a director, 32 00:02:15,440 --> 00:02:20,120 Speaker 1: Jan Pinkava. I believe Jan might be Yon. Jan Pinkava 33 00:02:20,280 --> 00:02:22,560 Speaker 1: was at the Helm and then brad Bird took over. 34 00:02:24,200 --> 00:02:27,440 Speaker 1: One of the big challenges facing the animators with Ratatue 35 00:02:28,040 --> 00:02:32,960 Speaker 1: was finding a way to animate Linguini. That's the human 36 00:02:33,240 --> 00:02:38,720 Speaker 1: character who's under the control or partial control of Remy 37 00:02:38,960 --> 00:02:41,480 Speaker 1: the rat. They're trying to figure out, well, how do 38 00:02:41,520 --> 00:02:44,120 Speaker 1: we animate him where it's clear to the audience that 39 00:02:44,160 --> 00:02:46,840 Speaker 1: he's not really in control of his own movements, or 40 00:02:46,840 --> 00:02:49,600 Speaker 1: not in full control at any rate. That took a 41 00:02:49,600 --> 00:02:52,079 Speaker 1: lot of work, so they ended up doing a lot 42 00:02:52,080 --> 00:02:55,560 Speaker 1: of They studied a lot of puppet puppets like marionettes 43 00:02:55,560 --> 00:02:59,560 Speaker 1: and stuff like that. That movie did quite well and 44 00:02:59,680 --> 00:03:03,359 Speaker 1: over at Disneyland. In two thousand and seven, a new 45 00:03:03,360 --> 00:03:08,000 Speaker 1: attraction called the Finding Nemo Submarine Voyage opened up now 46 00:03:08,040 --> 00:03:12,000 Speaker 1: that actually used the old submarine voyage ride, the twenty 47 00:03:12,080 --> 00:03:14,880 Speaker 1: thousand leagues Under the Sea type ride, which had closed 48 00:03:14,919 --> 00:03:19,760 Speaker 1: in nineteen ninety eight, so almost a decade after the 49 00:03:19,919 --> 00:03:23,800 Speaker 1: ride had closed, it reopens with a new theme with 50 00:03:23,919 --> 00:03:27,720 Speaker 1: Finding Nemo. Disney World would get its own version of 51 00:03:27,720 --> 00:03:30,280 Speaker 1: this ride, but that would be housed in the Living 52 00:03:30,360 --> 00:03:37,360 Speaker 1: Seas and not use the submarines. Instead, you get a 53 00:03:37,400 --> 00:03:43,000 Speaker 1: Little Mermaid Submarine ride now instead of the Finding Nemo version. 54 00:03:44,120 --> 00:03:48,480 Speaker 1: In two thousand and eight, Pixar would debut the film Wally, 55 00:03:49,480 --> 00:03:51,880 Speaker 1: come out actually the day after My birthday that year, 56 00:03:52,560 --> 00:03:56,800 Speaker 1: and Wally won the Oscar for Best Animated Feature. The 57 00:03:56,800 --> 00:04:00,680 Speaker 1: Movie's Adorable and also debuted with the short film Presto. 58 00:04:01,560 --> 00:04:05,320 Speaker 1: Wally was the first Pixar film to feature scenes with 59 00:04:05,480 --> 00:04:10,040 Speaker 1: live actors. And the experience was so much faster than 60 00:04:10,080 --> 00:04:14,200 Speaker 1: computer animation that Picks Her folks were really surprised and 61 00:04:14,280 --> 00:04:19,120 Speaker 1: excited about it, because with animation, if you create a 62 00:04:19,160 --> 00:04:21,960 Speaker 1: scene and you realize, oh, we need to have this 63 00:04:22,080 --> 00:04:25,240 Speaker 1: character turn around a little faster, or we need to 64 00:04:25,320 --> 00:04:29,159 Speaker 1: light this in a different way, or the entire pacing 65 00:04:29,200 --> 00:04:30,960 Speaker 1: of the scene needs to slow down a bit for 66 00:04:31,000 --> 00:04:34,520 Speaker 1: it to make sense, that requires animators to go back 67 00:04:34,520 --> 00:04:38,760 Speaker 1: and do a ton more work, and it could be many, 68 00:04:38,880 --> 00:04:42,480 Speaker 1: many many days before there's something else to look at, 69 00:04:43,120 --> 00:04:45,640 Speaker 1: whereas with live action, if it doesn't work, you give 70 00:04:45,680 --> 00:04:47,920 Speaker 1: the direction to the crew and to the cast, and 71 00:04:47,960 --> 00:04:51,359 Speaker 1: you do it again and it's right there. So the 72 00:04:51,440 --> 00:04:55,960 Speaker 1: animators were all kind of gaga over how different live 73 00:04:55,960 --> 00:04:58,719 Speaker 1: action is to computer animation, and they said that the 74 00:04:58,760 --> 00:05:01,440 Speaker 1: actors were kind of amuse used because that's what the 75 00:05:01,480 --> 00:05:04,200 Speaker 1: actors were used to, but the animators, to them, was 76 00:05:04,200 --> 00:05:06,920 Speaker 1: a whole new world. Oh. Also, the fact that the 77 00:05:06,960 --> 00:05:09,799 Speaker 1: shoot was catered appeared to be a really big deal, 78 00:05:10,200 --> 00:05:13,920 Speaker 1: which just tells you what kind of things people find 79 00:05:13,960 --> 00:05:19,640 Speaker 1: important when they go to a film shoot. Man, I 80 00:05:19,680 --> 00:05:24,799 Speaker 1: wish my shoots were catered. Anyway, it was an entertaining 81 00:05:24,839 --> 00:05:27,760 Speaker 1: thing to see that this live action being incorporated into 82 00:05:27,760 --> 00:05:32,320 Speaker 1: the movie had such an effect on the various Pixar employees, 83 00:05:33,920 --> 00:05:35,760 Speaker 1: and it was also kind of interesting to just see 84 00:05:35,760 --> 00:05:37,960 Speaker 1: live action showing up at a Pixar movie in the 85 00:05:37,960 --> 00:05:41,159 Speaker 1: first place. But another big challenge with Wally was creating 86 00:05:41,160 --> 00:05:43,760 Speaker 1: a story in which there's really no dialogue for the 87 00:05:43,800 --> 00:05:47,479 Speaker 1: first act of the film. Now, obviously that makes the 88 00:05:47,520 --> 00:05:51,080 Speaker 1: story much more of a a story challenge rather than 89 00:05:51,120 --> 00:05:54,159 Speaker 1: a technical challenge, but it also meant that the team 90 00:05:54,200 --> 00:05:56,880 Speaker 1: had to put in a lot of personality in the animations. 91 00:05:57,000 --> 00:05:59,520 Speaker 1: They had to figure out, how can we animate these 92 00:05:59,600 --> 00:06:04,120 Speaker 1: characters in a way where we understand what their emotional 93 00:06:04,160 --> 00:06:08,600 Speaker 1: reactions are, what their motivations are, what they're feeling and 94 00:06:08,680 --> 00:06:11,120 Speaker 1: thinking at any given time, considering the fact they're not 95 00:06:11,200 --> 00:06:13,320 Speaker 1: able to talk or they're not they have nothing to 96 00:06:13,360 --> 00:06:17,120 Speaker 1: talk too, And that actually ends up creating a pretty 97 00:06:17,200 --> 00:06:20,799 Speaker 1: tough technical challenge. It's not just how do you animate 98 00:06:20,800 --> 00:06:29,440 Speaker 1: this character, but what motions indicate those specific feelings and thoughts. 99 00:06:30,120 --> 00:06:33,920 Speaker 1: So it involves animators studying themselves a lot, as they 100 00:06:33,960 --> 00:06:37,440 Speaker 1: make different facial expressions and they have different body language 101 00:06:37,440 --> 00:06:41,440 Speaker 1: in response to different types of ideas like, you know, 102 00:06:41,680 --> 00:06:44,440 Speaker 1: you just got to you just open the door, and 103 00:06:45,400 --> 00:06:47,080 Speaker 1: you just found out your friends are throwing you a 104 00:06:47,120 --> 00:06:51,520 Speaker 1: surprise birthday party. What's your reaction? Or you got home 105 00:06:51,600 --> 00:06:54,479 Speaker 1: to find out that your dog got out of the 106 00:06:54,480 --> 00:06:59,640 Speaker 1: backyard somehow and is missing. What's your reaction? And studying 107 00:06:59,640 --> 00:07:03,200 Speaker 1: yourself and then translating that into a character, and a 108 00:07:03,279 --> 00:07:07,359 Speaker 1: character that's not human a robot is a big challenge, 109 00:07:07,720 --> 00:07:11,760 Speaker 1: whether it's technical or just from a psychological standpoint, So 110 00:07:12,320 --> 00:07:17,520 Speaker 1: pretty spectacular work that they were able to create characters 111 00:07:17,520 --> 00:07:21,400 Speaker 1: that could give you that feeling that they wanted, even 112 00:07:21,440 --> 00:07:26,280 Speaker 1: though they're not human or speaking. In two thousand and eight, 113 00:07:26,320 --> 00:07:30,320 Speaker 1: Pixar would finish work on the first set of Car Tunes, 114 00:07:30,840 --> 00:07:34,640 Speaker 1: which are in fact short cartoons about the car's characters. 115 00:07:35,480 --> 00:07:39,320 Speaker 1: Jim Morris, who produced Wally, would become the general manager 116 00:07:39,400 --> 00:07:44,240 Speaker 1: of Pixar, and in two thousand and nine, Up debuts 117 00:07:44,280 --> 00:07:48,080 Speaker 1: at the can Film Festival, So the first animated film 118 00:07:48,680 --> 00:07:52,080 Speaker 1: ever in the history of the festival to open the 119 00:07:52,120 --> 00:07:56,000 Speaker 1: whole thing up. And I imagine that festival attendees were 120 00:07:56,040 --> 00:07:58,600 Speaker 1: just as devastated by the first ten minutes of that 121 00:07:58,720 --> 00:08:02,800 Speaker 1: movie that I am I still can't watch the first 122 00:08:02,800 --> 00:08:06,760 Speaker 1: ten minutes of UP without turning into a blubbering mess. 123 00:08:07,240 --> 00:08:11,800 Speaker 1: I know because I did it today. When I'm recording this, 124 00:08:12,640 --> 00:08:17,200 Speaker 1: I was doing research on Pixar, specifically on UP, and 125 00:08:17,280 --> 00:08:20,560 Speaker 1: I watched it twice. I watched the original sequence in 126 00:08:20,680 --> 00:08:24,680 Speaker 1: storyboard format, and then I watched the actual finished sequence, 127 00:08:25,280 --> 00:08:28,040 Speaker 1: and I was so thankful that on Fridays our office 128 00:08:28,200 --> 00:08:30,960 Speaker 1: is pretty dead because no one was there to hear 129 00:08:31,040 --> 00:08:34,720 Speaker 1: me blubbering at my desk. I'm not ashamed of it. 130 00:08:34,920 --> 00:08:37,360 Speaker 1: I just don't want to make other people feel uncomfortable. 131 00:08:38,080 --> 00:08:41,600 Speaker 1: The whole idea for UP began with just the notion 132 00:08:41,720 --> 00:08:44,360 Speaker 1: of an old man floating his house away with a 133 00:08:44,360 --> 00:08:47,800 Speaker 1: bunch of balloons, which is just kind of a comedic image. 134 00:08:48,320 --> 00:08:53,400 Speaker 1: But while the image was really evocative and people at 135 00:08:53,400 --> 00:08:55,960 Speaker 1: Pixar thought, yeah, it's a really cool idea, they had 136 00:08:55,960 --> 00:08:58,160 Speaker 1: to come up with, well, why is he doing that, 137 00:08:58,520 --> 00:09:01,439 Speaker 1: where is he going? What's the whole point? So they 138 00:09:01,440 --> 00:09:05,000 Speaker 1: had to create a story around this picture, and that's 139 00:09:05,080 --> 00:09:08,040 Speaker 1: where they started working on the ideas for UP. Now. 140 00:09:08,080 --> 00:09:13,079 Speaker 1: The original opening had the character of Carl, who's the 141 00:09:13,120 --> 00:09:16,600 Speaker 1: main character in UP, and his wife Ellie falling in 142 00:09:16,679 --> 00:09:20,800 Speaker 1: love through a contentious and competitive relationship. It starts off 143 00:09:20,800 --> 00:09:24,680 Speaker 1: with their kids. Originally, the two kids didn't get along 144 00:09:24,720 --> 00:09:28,760 Speaker 1: with each other and would kind of ambush one another 145 00:09:28,800 --> 00:09:33,520 Speaker 1: and punch each other. It was sort of a violent behavior, 146 00:09:34,160 --> 00:09:37,240 Speaker 1: and it got to a point where those punches give 147 00:09:37,320 --> 00:09:43,920 Speaker 1: way to the characters falling for each other, dating, getting married, 148 00:09:44,600 --> 00:09:46,640 Speaker 1: and all the story beats that you see in the 149 00:09:46,679 --> 00:09:48,160 Speaker 1: first ten minutes of Up that I'm not going to 150 00:09:48,240 --> 00:09:50,440 Speaker 1: go over or I'll start crying on a podcast, and 151 00:09:50,480 --> 00:09:53,360 Speaker 1: no one wants that, but at any rate, it's same 152 00:09:53,400 --> 00:09:59,000 Speaker 1: sort of progression, but in a different emotional impact because 153 00:09:59,000 --> 00:10:02,840 Speaker 1: people are getting punched. So they ended up reworking it 154 00:10:02,880 --> 00:10:05,360 Speaker 1: because when they showed it to people, the reaction was 155 00:10:05,400 --> 00:10:07,680 Speaker 1: pretty quiet and they said it's a little too violent. 156 00:10:08,160 --> 00:10:11,400 Speaker 1: So they went back, reworked it and did a different take, 157 00:10:11,400 --> 00:10:16,560 Speaker 1: which led to what you saw in the film. Technical 158 00:10:16,640 --> 00:10:19,600 Speaker 1: challenges included creating a system that could guide the behavior 159 00:10:20,080 --> 00:10:24,439 Speaker 1: of a lot of balloons, because that's how Carl's House 160 00:10:24,559 --> 00:10:28,120 Speaker 1: moves to South America. So how many balloons were used, 161 00:10:29,160 --> 00:10:32,040 Speaker 1: like in the movie, how were the balloons showing up? 162 00:10:32,080 --> 00:10:35,040 Speaker 1: I mean, not real balloons obviously they're virtual balloons, but 163 00:10:35,360 --> 00:10:39,400 Speaker 1: how many were on screen? According to one animator, two 164 00:10:39,559 --> 00:10:43,720 Speaker 1: hundred and eighty six balloons or somewhere in that neighborhood 165 00:10:43,800 --> 00:10:47,680 Speaker 1: were used to get Carl's house off the ground. And 166 00:10:47,720 --> 00:10:51,600 Speaker 1: those balloons had to behave in a believable way. They 167 00:10:51,640 --> 00:10:53,920 Speaker 1: had to be buoyant, so they had to rise up 168 00:10:53,920 --> 00:10:55,280 Speaker 1: in the air, but they had to rise up in 169 00:10:55,320 --> 00:10:56,800 Speaker 1: the air in a way that was natural, like if 170 00:10:56,840 --> 00:10:59,960 Speaker 1: a breeze came by, it wouldn't be a straight line up, 171 00:11:00,040 --> 00:11:02,760 Speaker 1: it would be moving off at an angle. They had 172 00:11:02,760 --> 00:11:04,800 Speaker 1: to bounce off each other, They had to have presents. 173 00:11:05,840 --> 00:11:09,000 Speaker 1: They had to be able to react off of each 174 00:11:09,000 --> 00:11:12,120 Speaker 1: other's strings. So the first balloons that go up are 175 00:11:12,160 --> 00:11:15,760 Speaker 1: followed by other balloons, But those balloons also have to 176 00:11:15,800 --> 00:11:18,840 Speaker 1: move through strings, and that's going to restrict the way 177 00:11:18,920 --> 00:11:21,720 Speaker 1: those balloons move. It all had to be believable or 178 00:11:21,720 --> 00:11:26,800 Speaker 1: else it would just be distracting. So the modeling they did, 179 00:11:26,880 --> 00:11:30,800 Speaker 1: the simulations they did to create the rules of physics 180 00:11:30,840 --> 00:11:33,480 Speaker 1: for those balloons was pretty sophisticated. It was kind of 181 00:11:33,559 --> 00:11:37,880 Speaker 1: like not unlike the hair simulator that they had to 182 00:11:37,880 --> 00:11:41,200 Speaker 1: build for monsters, inc. They needed to have a system 183 00:11:41,240 --> 00:11:43,880 Speaker 1: there that would make all of this work in a 184 00:11:43,920 --> 00:11:48,200 Speaker 1: way that was, you know, that behaved a set of rules, 185 00:11:48,240 --> 00:11:52,760 Speaker 1: and that wouldn't require animators to sit there and hand 186 00:11:52,880 --> 00:11:57,920 Speaker 1: animate ten thousand balloons, which would for the number of shots, 187 00:11:57,920 --> 00:12:01,360 Speaker 1: in the number of frames that it shows up on screen, 188 00:12:01,600 --> 00:12:04,320 Speaker 1: it would be impossible. The movie would still be in 189 00:12:04,400 --> 00:12:08,120 Speaker 1: development if all that had to be done by hand. 190 00:12:09,040 --> 00:12:13,440 Speaker 1: The short Partly Cloudy would accompany Up and Up would 191 00:12:13,480 --> 00:12:17,480 Speaker 1: win the Oscar for Best Animated Feature Film. Also, it 192 00:12:17,520 --> 00:12:21,560 Speaker 1: won an Oscar for Best Original Score. And that's really 193 00:12:21,559 --> 00:12:24,880 Speaker 1: when people were beginning to ask, is any movie animated 194 00:12:24,880 --> 00:12:27,280 Speaker 1: film besides Pixar ever going to have a shot at 195 00:12:27,320 --> 00:12:30,800 Speaker 1: winning that best Animated category. The answer, by the way, 196 00:12:30,840 --> 00:12:32,920 Speaker 1: is yes. But at the time it looked like Pixar 197 00:12:33,000 --> 00:12:38,040 Speaker 1: could not produce anything but a surefire hit. In two 198 00:12:38,080 --> 00:12:40,840 Speaker 1: thousand and nine, Edwin cat Mole was honored by the 199 00:12:40,920 --> 00:12:44,120 Speaker 1: Academy of Motion Pictures and Sciences would the Gordon E. 200 00:12:44,480 --> 00:12:47,199 Speaker 1: Sawyer Award, which is an award for an individual in 201 00:12:47,240 --> 00:12:51,200 Speaker 1: the motion picture industry whose technological contributions have brought credit 202 00:12:51,240 --> 00:12:56,000 Speaker 1: to the industry as a whole. Now cat Mole, of course, 203 00:12:56,040 --> 00:12:59,760 Speaker 1: had been working on lots of different technologies related to film, 204 00:13:00,280 --> 00:13:05,040 Speaker 1: not just directly to computer graphics, but other applications as well, 205 00:13:05,720 --> 00:13:08,280 Speaker 1: and as a result, there were a lot of movie 206 00:13:08,320 --> 00:13:11,120 Speaker 1: studios that were able to do some pretty incredible things 207 00:13:11,760 --> 00:13:15,680 Speaker 1: using the technology he had invented, So it was not 208 00:13:15,760 --> 00:13:18,760 Speaker 1: a big surprise that he was honored with this award. 209 00:13:19,480 --> 00:13:22,160 Speaker 1: Also in two thousand and nine, Pixar created a wholly 210 00:13:22,240 --> 00:13:26,800 Speaker 1: owned subsidiary called Pixar Canada because it was located in Mexico, 211 00:13:28,080 --> 00:13:31,080 Speaker 1: just kidding, it was in Vancouver. The main purpose for 212 00:13:31,160 --> 00:13:34,960 Speaker 1: Pixar Canada was to create short films based off the 213 00:13:35,160 --> 00:13:39,840 Speaker 1: characters from Pixar feature films, So Pixar Canada would be 214 00:13:40,240 --> 00:13:44,680 Speaker 1: focusing on short cartoons that had characters from Toy Story 215 00:13:44,800 --> 00:13:48,280 Speaker 1: or Monsters Incorporator or that kind of thing, and it 216 00:13:48,320 --> 00:13:53,160 Speaker 1: freed up animators at the main Pixar headquarters to focus 217 00:13:53,160 --> 00:13:58,280 Speaker 1: on feature length films. In twenty ten, Pixar debuts Toy 218 00:13:58,360 --> 00:14:02,360 Speaker 1: Story three, which of course breaks even more records. It 219 00:14:02,360 --> 00:14:05,600 Speaker 1: becomes the highest grossing animated film of all time at 220 00:14:05,600 --> 00:14:09,480 Speaker 1: that point. It also became the first animated film to 221 00:14:09,679 --> 00:14:13,160 Speaker 1: rake in a billion dollars at the box office. It 222 00:14:13,280 --> 00:14:17,440 Speaker 1: won the Best Animated Feature Oscar, and the composer Randy 223 00:14:17,520 --> 00:14:20,440 Speaker 1: Newman won an Oscar for the song We Belong Together. 224 00:14:22,280 --> 00:14:26,920 Speaker 1: So a very critically praised film. The first two films 225 00:14:26,920 --> 00:14:29,120 Speaker 1: in the Toy Story series really explore the idea of 226 00:14:29,560 --> 00:14:31,840 Speaker 1: if a toy could think and feel, what would it 227 00:14:32,240 --> 00:14:35,360 Speaker 1: feel if it were lost or if it had been stolen. 228 00:14:36,160 --> 00:14:39,120 Speaker 1: The third film explores the idea of why would a 229 00:14:39,160 --> 00:14:44,960 Speaker 1: toy feel if the owner had outgrown the toy? Kind 230 00:14:45,000 --> 00:14:48,480 Speaker 1: of explored a little bit in Toy Story two with Jesse, 231 00:14:49,000 --> 00:14:52,280 Speaker 1: but now the characters of Woody and Buzz Lightyear have 232 00:14:52,360 --> 00:14:55,120 Speaker 1: to deal with that. So some of these are pretty 233 00:14:55,160 --> 00:14:59,400 Speaker 1: heavy concepts, the idea of being abandoned and mortality and 234 00:14:59,560 --> 00:15:04,600 Speaker 1: purpose in life, and it's all being explored by three 235 00:15:04,680 --> 00:15:10,120 Speaker 1: D animated toys. But what was the big challenge in 236 00:15:10,160 --> 00:15:12,320 Speaker 1: this film? We've talked in some of the other movies 237 00:15:12,360 --> 00:15:14,960 Speaker 1: about you know, fur in Monster z Inc was a 238 00:15:14,960 --> 00:15:17,960 Speaker 1: big challenge. Getting those underwater effects just right and finding 239 00:15:18,000 --> 00:15:21,880 Speaker 1: Nemo that was a big challenge. Was there anything left 240 00:15:22,000 --> 00:15:25,080 Speaker 1: to be challenging by the time they hit Toy Story three? Well, 241 00:15:25,080 --> 00:15:28,320 Speaker 1: according to Pixar, Yeah, and the big challenge they had 242 00:15:28,360 --> 00:15:32,520 Speaker 1: at that point was creating a meaningful exchange between human 243 00:15:32,680 --> 00:15:37,520 Speaker 1: characters as Andy gives his toys away to the little 244 00:15:37,520 --> 00:15:40,440 Speaker 1: girl Bonnie at the end. Spoiler alert if you haven't 245 00:15:40,440 --> 00:15:42,440 Speaker 1: watched Toy Story three by now, but it's been out 246 00:15:42,480 --> 00:15:46,080 Speaker 1: for six years, so come on. That moment had to 247 00:15:46,080 --> 00:15:49,480 Speaker 1: be really meaningful, and it's a moment between two human characters. 248 00:15:50,760 --> 00:15:54,480 Speaker 1: Earlier Toy Story films had received criticism that the human 249 00:15:54,600 --> 00:15:57,640 Speaker 1: characters looked kind of like toys too, they didn't really 250 00:15:57,680 --> 00:16:01,480 Speaker 1: look like people. And Pixar had created human characters in 251 00:16:01,520 --> 00:16:05,200 Speaker 1: previous films like Up and The Incredibles, but those characters 252 00:16:05,280 --> 00:16:10,600 Speaker 1: have been pretty stylized, like they're not not so human, like, 253 00:16:10,640 --> 00:16:12,880 Speaker 1: you know, they're supposed to be people, but they don't 254 00:16:13,000 --> 00:16:17,600 Speaker 1: really look like people. But pix are also new. They 255 00:16:17,600 --> 00:16:19,960 Speaker 1: couldn't go too far in the other direction. They couldn't 256 00:16:20,000 --> 00:16:24,080 Speaker 1: make Andy look too human or Bonnie look too human. 257 00:16:24,920 --> 00:16:29,920 Speaker 1: And that's because of the uncanny valley problem. And if 258 00:16:29,960 --> 00:16:33,600 Speaker 1: you've never heard that term before, it really started to 259 00:16:33,640 --> 00:16:36,200 Speaker 1: be applied in robotics, but the same is true for 260 00:16:36,280 --> 00:16:40,520 Speaker 1: computer animation. The idea is that uncanny valley is the 261 00:16:40,600 --> 00:16:45,240 Speaker 1: closer you get to looking like a human without getting 262 00:16:45,280 --> 00:16:50,680 Speaker 1: it absolutely right, the more unsettling it is. Typically the 263 00:16:50,720 --> 00:16:53,640 Speaker 1: real problem is with the eyes. The eyes if they 264 00:16:53,680 --> 00:16:56,760 Speaker 1: don't look like they're really like there's any life behind 265 00:16:56,760 --> 00:17:02,480 Speaker 1: those eyes, it looks like there's a and animated corpse 266 00:17:02,680 --> 00:17:05,359 Speaker 1: acting in front of you, which for most people is 267 00:17:05,520 --> 00:17:11,399 Speaker 1: probably not something that is really entertaining or fun to watch. 268 00:17:12,080 --> 00:17:16,000 Speaker 1: It's unsettling. So this has been a real issue with 269 00:17:16,119 --> 00:17:20,120 Speaker 1: robotics and with animation. How do you create a character 270 00:17:20,560 --> 00:17:25,280 Speaker 1: that is believable and realistic enough so that people can 271 00:17:26,280 --> 00:17:29,800 Speaker 1: empathize with that character and feel something when they see 272 00:17:29,800 --> 00:17:36,040 Speaker 1: that character going through various issues without going so realistic 273 00:17:36,040 --> 00:17:38,800 Speaker 1: that you make everyone kind of squirm in their seats 274 00:17:38,840 --> 00:17:45,080 Speaker 1: because something is almost but not quite perfect. It's just 275 00:17:45,200 --> 00:17:51,560 Speaker 1: wrong enough to be not good right. It's you don't 276 00:17:51,600 --> 00:17:53,879 Speaker 1: want to look at it. And if you've seen certain 277 00:17:54,320 --> 00:18:00,200 Speaker 1: computer animated films that have pretty realistic depictions of humans 278 00:18:00,960 --> 00:18:04,720 Speaker 1: where things are just slightly off, polar Express jumps to 279 00:18:04,800 --> 00:18:08,080 Speaker 1: mind for me, you know what I'm talking about. It 280 00:18:08,240 --> 00:18:12,919 Speaker 1: just something doesn't look right and it is unsettling. So 281 00:18:12,960 --> 00:18:17,400 Speaker 1: they had to get that fixed for Toy Story three 282 00:18:17,480 --> 00:18:19,960 Speaker 1: because the scene is the end of the movie. It's 283 00:18:20,040 --> 00:18:22,679 Speaker 1: really important that they got the scene right. So it 284 00:18:22,680 --> 00:18:25,879 Speaker 1: took them a lot of time to work on designs 285 00:18:25,880 --> 00:18:29,359 Speaker 1: for the characters that would work and do the story 286 00:18:29,560 --> 00:18:33,880 Speaker 1: justice without making the audience feel uneasy in the process. 287 00:18:35,480 --> 00:18:39,840 Speaker 1: And capturing that moment of Andy coming to the realization 288 00:18:40,040 --> 00:18:43,600 Speaker 1: that he needs to let go of his toys. That 289 00:18:43,720 --> 00:18:46,280 Speaker 1: was a huge challenge too. That would be a tough 290 00:18:46,359 --> 00:18:49,320 Speaker 1: acting gig to ask a human being. To ask a 291 00:18:49,440 --> 00:18:54,040 Speaker 1: human I need you to show us that your character 292 00:18:54,680 --> 00:18:57,920 Speaker 1: has realized it's time to let go of a beloved 293 00:18:57,960 --> 00:19:01,320 Speaker 1: piece of childhood, because it's the right thing to do, 294 00:19:01,960 --> 00:19:04,639 Speaker 1: both for the child you're giving the toy two and 295 00:19:04,880 --> 00:19:08,199 Speaker 1: for the toy itself. I need to see that. That 296 00:19:08,200 --> 00:19:10,360 Speaker 1: would be tough to ask a human actor to do. 297 00:19:10,440 --> 00:19:12,560 Speaker 1: I mean, good human actors would be able to do it, 298 00:19:12,680 --> 00:19:15,160 Speaker 1: but it's not easy. It's even harder when you're talking 299 00:19:15,200 --> 00:19:18,640 Speaker 1: about animation, because that's a huge group of people all 300 00:19:18,680 --> 00:19:22,359 Speaker 1: working together to try and make that happen, and getting 301 00:19:22,400 --> 00:19:26,439 Speaker 1: all those little details right is enormously challenging from a 302 00:19:26,480 --> 00:19:33,760 Speaker 1: technical standpoint. Now, behind the scenes footage for Toy Story three, 303 00:19:34,480 --> 00:19:38,000 Speaker 1: they reveal that the entire movie has one hundred and 304 00:19:38,000 --> 00:19:41,879 Speaker 1: thirty nine thousand, six hundred and eighty frames in it, 305 00:19:42,720 --> 00:19:46,399 Speaker 1: and each object in the film, every single thing you 306 00:19:46,560 --> 00:19:50,520 Speaker 1: see in the movie, had to be built in several 307 00:19:50,520 --> 00:19:54,720 Speaker 1: stages by several teams of people, even if it only 308 00:19:54,760 --> 00:19:58,520 Speaker 1: appeared in a second or two of on screen time. 309 00:19:58,680 --> 00:20:03,840 Speaker 1: So every single this old individual component had to be designed, 310 00:20:04,640 --> 00:20:10,920 Speaker 1: sketched out, modeled, lit, textured, colored. All of these things 311 00:20:11,080 --> 00:20:15,840 Speaker 1: all had to happen for all of the different pieces, 312 00:20:15,920 --> 00:20:18,320 Speaker 1: for all the frames of the movie. And then you 313 00:20:18,359 --> 00:20:21,840 Speaker 1: start to understand, Oh, now, I see why making a 314 00:20:21,880 --> 00:20:27,320 Speaker 1: movie like this takes five years. That same year that 315 00:20:27,400 --> 00:20:30,760 Speaker 1: Toy Story three came out, they published a short called 316 00:20:30,840 --> 00:20:34,480 Speaker 1: Day and Night. And that also that same year, John 317 00:20:34,560 --> 00:20:37,600 Speaker 1: Laster would become the first producer of animated films to 318 00:20:37,640 --> 00:20:41,920 Speaker 1: win the Producer's Guild of America David O. Selznik Achievement 319 00:20:41,960 --> 00:20:46,640 Speaker 1: Award in Motion Pictures. So Pixar again becomes a pioneer 320 00:20:46,800 --> 00:20:52,600 Speaker 1: in the animation industry, really helping gain more legitimacy in 321 00:20:52,640 --> 00:20:55,000 Speaker 1: the eyes of other parts of the industry. For a 322 00:20:55,000 --> 00:20:57,399 Speaker 1: long time, I would argue that animated films have been 323 00:20:57,480 --> 00:21:02,120 Speaker 1: kind of looked down upon by certain certain other areas 324 00:21:02,160 --> 00:21:06,119 Speaker 1: of the film industry. I think that both Disney in 325 00:21:06,160 --> 00:21:09,080 Speaker 1: general and Pixar in particular have done a lot to 326 00:21:09,119 --> 00:21:12,359 Speaker 1: turn that around. Other studios also have done great work, 327 00:21:12,440 --> 00:21:15,959 Speaker 1: DreamWorks among them. It's not like Pixar and Disney are 328 00:21:16,000 --> 00:21:19,520 Speaker 1: the only two entities out there, but they really did 329 00:21:20,160 --> 00:21:24,040 Speaker 1: pave the way for a lot of other successes. In 330 00:21:24,040 --> 00:21:29,800 Speaker 1: twenty eleven, Pixar turns twenty five and releases Cars Too. Also, 331 00:21:29,920 --> 00:21:33,440 Speaker 1: they released the first toy story short cartoon, Hawaiian Vacation, 332 00:21:34,240 --> 00:21:37,920 Speaker 1: and another short film called La Luna. That year, a 333 00:21:38,080 --> 00:21:41,000 Speaker 1: Lassiter would direct Cars Too, which was the first time 334 00:21:41,080 --> 00:21:44,000 Speaker 1: he had directed a film since the original Cars, which 335 00:21:44,000 --> 00:21:47,239 Speaker 1: came out I think two thousand and six. He had 336 00:21:47,280 --> 00:21:49,879 Speaker 1: directed some of the other shorter cartoons Pixar had produced 337 00:21:49,920 --> 00:21:52,760 Speaker 1: between Cars and Cars Too, but he hadn't directed a 338 00:21:52,760 --> 00:21:58,120 Speaker 1: feature length film since Cars. Out of the seventeen movies 339 00:21:58,200 --> 00:22:02,199 Speaker 1: Pixar has made, Car, Ours ranks number fifteen at the 340 00:22:02,240 --> 00:22:05,520 Speaker 1: box office in the United States, so it's not at 341 00:22:05,560 --> 00:22:08,680 Speaker 1: the very bottom, but it's two up from the very bottom. 342 00:22:09,280 --> 00:22:12,159 Speaker 1: It ranks number nine globally, however, so nine out of 343 00:22:12,160 --> 00:22:16,080 Speaker 1: seventeen when you look at worldwide box office. So what 344 00:22:16,240 --> 00:22:20,640 Speaker 1: two films actually got less at the box office than 345 00:22:21,440 --> 00:22:24,919 Speaker 1: Cars Two? That would be A Bugs Life, which was 346 00:22:25,040 --> 00:22:28,680 Speaker 1: Pixar's second film, which made a little less than Toy 347 00:22:28,720 --> 00:22:32,119 Speaker 1: Story did, and The Good Dinosaur, which is at the 348 00:22:32,160 --> 00:22:36,080 Speaker 1: bottom of both the US and the global box office lists. 349 00:22:36,680 --> 00:22:38,840 Speaker 1: We'll get to The Good Dinosaur in just a little 350 00:22:38,840 --> 00:22:42,720 Speaker 1: bit and talk about the problems that movie had. We're 351 00:22:42,720 --> 00:22:44,399 Speaker 1: going to take a quick break, and then we'll be 352 00:22:44,480 --> 00:22:57,400 Speaker 1: back with more about the Pixar story. In twenty twelve, 353 00:22:57,520 --> 00:23:01,640 Speaker 1: Brave is released by Pixar along with La Luna, which 354 00:23:01,680 --> 00:23:04,399 Speaker 1: had been premiered the year before, but officially released with 355 00:23:04,480 --> 00:23:07,960 Speaker 1: a movie in twenty twelve. Brave also would win the 356 00:23:07,960 --> 00:23:11,800 Speaker 1: Oscar for Best Animated Feature. Brave was co directed by 357 00:23:11,800 --> 00:23:14,800 Speaker 1: Brenda Chapman, who was the first woman to direct a 358 00:23:14,880 --> 00:23:18,600 Speaker 1: Pixar film. She had previously been the first woman to 359 00:23:18,640 --> 00:23:23,040 Speaker 1: direct a major studio animated picture, but that was with DreamWorks. 360 00:23:23,119 --> 00:23:25,679 Speaker 1: She was one of three directors for the Prince of Egypt, 361 00:23:26,760 --> 00:23:29,439 Speaker 1: and she was the first woman director to win an 362 00:23:29,440 --> 00:23:33,960 Speaker 1: Academy Award for Best Animated Feature with Brave. That being said, 363 00:23:34,240 --> 00:23:38,240 Speaker 1: she was not director from start to finish. She had 364 00:23:38,280 --> 00:23:40,600 Speaker 1: the idea for Brave. She based it off her own 365 00:23:40,640 --> 00:23:45,240 Speaker 1: relationship with her daughter, but there were some real creative 366 00:23:45,720 --> 00:23:48,720 Speaker 1: issues behind the scenes while they were working on the story, 367 00:23:48,880 --> 00:23:51,920 Speaker 1: so during the production of the film, Chapman was essentially 368 00:23:52,320 --> 00:23:57,000 Speaker 1: fired from the production. According to Chapman herself and Mark 369 00:23:57,040 --> 00:24:00,000 Speaker 1: Andrews stepped in her place. They both got co direc 370 00:24:00,000 --> 00:24:04,200 Speaker 1: director credit, but she was no longer part of the 371 00:24:04,440 --> 00:24:09,240 Speaker 1: production and she stayed on with Pixar until the movie 372 00:24:09,280 --> 00:24:12,200 Speaker 1: came out, and then she left and for a while 373 00:24:12,240 --> 00:24:14,640 Speaker 1: she worked as a consultant with Lucasfilm. She went back 374 00:24:14,640 --> 00:24:16,720 Speaker 1: to dream Works for a while. She's done some other 375 00:24:16,720 --> 00:24:20,439 Speaker 1: stuff since then, but yeah, she was not on for 376 00:24:20,480 --> 00:24:23,800 Speaker 1: the entire film. Still was the first female director of 377 00:24:23,800 --> 00:24:28,359 Speaker 1: a Pixar movie. Now, for Brave, they actually had to 378 00:24:28,400 --> 00:24:32,200 Speaker 1: go back and create a new hair simulator. They built 379 00:24:32,240 --> 00:24:35,080 Speaker 1: one for Monsters Inc More than a know around a 380 00:24:35,119 --> 00:24:41,119 Speaker 1: decade earlier, but they needed a new one. Why because 381 00:24:41,160 --> 00:24:45,639 Speaker 1: Meredith's hair is curly, and curly hair moves in a 382 00:24:45,680 --> 00:24:49,920 Speaker 1: different way than straight hair, and they could not get 383 00:24:49,920 --> 00:24:55,159 Speaker 1: curly hair to work properly using the old simulator, so 384 00:24:55,200 --> 00:24:57,840 Speaker 1: they had to make a new one. In fact, it 385 00:24:57,880 --> 00:25:00,440 Speaker 1: was so hard for them to get the curly hair 386 00:25:00,680 --> 00:25:03,480 Speaker 1: to behave the way they wanted it to. For a while, 387 00:25:03,520 --> 00:25:07,240 Speaker 1: they actually talked about giving Merita a haircut, but that 388 00:25:07,400 --> 00:25:10,359 Speaker 1: was met with an intense negative reaction for pretty much 389 00:25:10,400 --> 00:25:12,040 Speaker 1: everyone else in the company, and they said, no, you 390 00:25:12,119 --> 00:25:14,399 Speaker 1: got to get this right. So it took more than 391 00:25:14,440 --> 00:25:18,359 Speaker 1: a year just to get the hair right, to build 392 00:25:18,400 --> 00:25:22,360 Speaker 1: a computer simulation that could take curly hair and make 393 00:25:22,400 --> 00:25:25,240 Speaker 1: it behave in a natural way. When you think about 394 00:25:25,240 --> 00:25:27,640 Speaker 1: the nature of curly hair, you can understand why. It's 395 00:25:27,640 --> 00:25:30,240 Speaker 1: not like it's just a wire that's got some weight 396 00:25:30,280 --> 00:25:33,199 Speaker 1: to it that needs to move around. That curl is 397 00:25:33,240 --> 00:25:36,800 Speaker 1: going to extend or contract based upon the various forces 398 00:25:36,840 --> 00:25:40,400 Speaker 1: that are acting upon it. It's a complicated thing to simulate, 399 00:25:41,440 --> 00:25:43,000 Speaker 1: and you have to do it for a character who's 400 00:25:43,040 --> 00:25:46,920 Speaker 1: in nearly every frame of the movie, and so there's 401 00:25:46,960 --> 00:25:49,639 Speaker 1: a lot of motion that goes into that. Even when 402 00:25:49,720 --> 00:25:51,840 Speaker 1: she has to have her hair pulled back, she still 403 00:25:51,840 --> 00:25:55,560 Speaker 1: has a little curl that gets loose in the Witch's workshop. 404 00:25:55,600 --> 00:25:57,720 Speaker 1: By the way, if you pay attention, there's some easter 405 00:25:57,800 --> 00:26:01,199 Speaker 1: eggs with references to other Pixar films, including If You 406 00:26:01,240 --> 00:26:08,040 Speaker 1: look closely. A pizza Planet car is on the table 407 00:26:08,200 --> 00:26:11,760 Speaker 1: in the Witch's workshop before she clears it just a 408 00:26:11,960 --> 00:26:14,159 Speaker 1: Pixar loves to work in Little Easter Eggs and all 409 00:26:14,160 --> 00:26:15,840 Speaker 1: their movies, and I was going to talk about more 410 00:26:15,880 --> 00:26:17,600 Speaker 1: of those, but I realized that if I did that, 411 00:26:18,000 --> 00:26:21,520 Speaker 1: I'd have to do a three year or four more parts, 412 00:26:21,520 --> 00:26:26,399 Speaker 1: and that's stretching it even for you guys. Twenty thirteen, 413 00:26:26,480 --> 00:26:30,840 Speaker 1: Pixar releases Monsters University. Now. This is Pixar's first prequel film. 414 00:26:31,400 --> 00:26:34,159 Speaker 1: Monsters University tells a story about how Mike and Sully 415 00:26:34,240 --> 00:26:38,240 Speaker 1: met in college. The first pass at the story got 416 00:26:38,320 --> 00:26:41,960 Speaker 1: a note that was a killer, which was, this story's 417 00:26:42,040 --> 00:26:47,760 Speaker 1: too predictable. That's a hard, hard problem to overcome when 418 00:26:47,760 --> 00:26:50,120 Speaker 1: you're talking about a prequel, because you already know where 419 00:26:50,160 --> 00:26:54,320 Speaker 1: the characters end up. You've seen the original movie. In Monsters, Inc. 420 00:26:54,359 --> 00:26:58,040 Speaker 1: They're working on the scare floor. So how do you 421 00:26:58,080 --> 00:27:01,840 Speaker 1: create a movie where knowing how they end up is 422 00:27:02,280 --> 00:27:07,000 Speaker 1: not leading to a predictable outcome. It also became a 423 00:27:07,000 --> 00:27:10,760 Speaker 1: big challenge to define the character of Sully because in Monsters, Inc. 424 00:27:11,200 --> 00:27:14,480 Speaker 1: The character of Sully really comes out because he's interacting 425 00:27:14,560 --> 00:27:18,720 Speaker 1: with the human girl Boo. When he has Boo there, 426 00:27:18,840 --> 00:27:23,119 Speaker 1: that's where you see Sullivan's personality come forward. But Boo 427 00:27:23,160 --> 00:27:26,520 Speaker 1: is not in Monsters University. This is before Sullivan meets Boo. 428 00:27:26,720 --> 00:27:29,320 Speaker 1: So for a while they were trying to make Sullivan 429 00:27:29,400 --> 00:27:31,280 Speaker 1: the focus of the movie, but they couldn't figure out 430 00:27:31,400 --> 00:27:35,480 Speaker 1: what character was there. And eventually they realized, hey, wait 431 00:27:35,480 --> 00:27:39,080 Speaker 1: a minute, Mike Wazowski, maybe we focus on him instead. 432 00:27:40,240 --> 00:27:43,119 Speaker 1: And once they did that, then they were able to 433 00:27:43,160 --> 00:27:47,960 Speaker 1: really develop a story that they believed in. Now, in Monsters, Inc. 434 00:27:48,040 --> 00:27:52,240 Speaker 1: There were five notable characters that had for in Monsters University, 435 00:27:52,280 --> 00:27:55,679 Speaker 1: there were two hundred and fifty. So while they had 436 00:27:55,720 --> 00:27:58,520 Speaker 1: created the simulator more than a decade earlier, they had 437 00:27:58,600 --> 00:28:00,840 Speaker 1: to rely on it again, and they had to scale 438 00:28:00,880 --> 00:28:04,080 Speaker 1: it up, which required way more computer power than what 439 00:28:04,119 --> 00:28:08,520 Speaker 1: they were using ten years earlier. And like I said previously, 440 00:28:08,600 --> 00:28:12,720 Speaker 1: Sullivan had about a million hairs just on his own, 441 00:28:13,320 --> 00:28:16,320 Speaker 1: and animating all of those by hand is impossible. So 442 00:28:16,560 --> 00:28:19,359 Speaker 1: the simulation guided the way each hair would move depending 443 00:28:19,400 --> 00:28:22,760 Speaker 1: upon the forces acting on it, and it even included momentum, 444 00:28:23,000 --> 00:28:26,240 Speaker 1: which meant that once a character stops moving, the hair 445 00:28:26,280 --> 00:28:28,680 Speaker 1: would continue to move just a little bit because it 446 00:28:29,200 --> 00:28:32,919 Speaker 1: still had some momentum, some inertia keeping it going, and 447 00:28:34,080 --> 00:28:36,879 Speaker 1: or rather inertia would keep it still until it starts moving. 448 00:28:36,920 --> 00:28:40,200 Speaker 1: But you get what I'm saying. Like it behaved according 449 00:28:40,200 --> 00:28:43,280 Speaker 1: to physics. It wasn't just it moves when he moves 450 00:28:43,280 --> 00:28:45,479 Speaker 1: and stops when he stops. There's a little bit of 451 00:28:45,520 --> 00:28:48,080 Speaker 1: a lag there, which is realistic. It's kind of cool. 452 00:28:49,440 --> 00:28:51,760 Speaker 1: One of the problems they noticed was whenever Sullivan would 453 00:28:51,760 --> 00:28:54,600 Speaker 1: make really big fast movements, his hair would stretch out 454 00:28:54,640 --> 00:28:57,760 Speaker 1: across the screen. It would be like a rubber band 455 00:28:58,040 --> 00:29:00,160 Speaker 1: where it would extend all the way on to the 456 00:29:00,200 --> 00:29:02,560 Speaker 1: other end of the screen. And this was a problem. 457 00:29:02,800 --> 00:29:07,320 Speaker 1: It looked awful, you know. It wasn't like the hair 458 00:29:07,440 --> 00:29:11,360 Speaker 1: just looked elongated. It was looking grotesque. They eventually figured 459 00:29:11,400 --> 00:29:15,680 Speaker 1: out what the problem was. The simulation was calculating that 460 00:29:15,760 --> 00:29:18,440 Speaker 1: those hairs were being subjected to forces of up to 461 00:29:18,600 --> 00:29:22,920 Speaker 1: one hundred g's with Sullivan at the mass and speed 462 00:29:22,960 --> 00:29:26,120 Speaker 1: he moved was creating forces of one hundred g's and 463 00:29:26,160 --> 00:29:30,080 Speaker 1: so the hairs were stretching and deforming because of those 464 00:29:30,280 --> 00:29:33,880 Speaker 1: massive forces acting on them in the simulation. So they 465 00:29:33,880 --> 00:29:36,360 Speaker 1: came up with a way to solve this, they created 466 00:29:36,440 --> 00:29:41,520 Speaker 1: little kind of force field areas that they called inertial 467 00:29:41,760 --> 00:29:44,600 Speaker 1: field generators, which sounds like a Star Trek kind of 468 00:29:44,680 --> 00:29:49,240 Speaker 1: thing to me. And these ended up creating new rules 469 00:29:49,280 --> 00:29:53,800 Speaker 1: for those hairs, saying, even though Sullivan moves really fast 470 00:29:54,120 --> 00:29:58,640 Speaker 1: and he's a big, big monster, you never really experienced 471 00:29:58,640 --> 00:30:01,120 Speaker 1: more than ten g's of four, And that allowed the 472 00:30:01,160 --> 00:30:03,600 Speaker 1: hair to behave itself and not stretch across the screen 473 00:30:03,640 --> 00:30:10,280 Speaker 1: and ruin everything. In twenty thirteen, also Disney's film Planes 474 00:30:10,520 --> 00:30:15,800 Speaker 1: comes out. Now Planes is tied to Pixar's Cars series, 475 00:30:16,360 --> 00:30:21,120 Speaker 1: but Planes is not produced by Pixar, so instead the 476 00:30:21,120 --> 00:30:24,520 Speaker 1: Plane series comes out of Disney Tones Studios. If you 477 00:30:24,560 --> 00:30:28,600 Speaker 1: look at the movie Planes, it clearly is inspired by Cars. 478 00:30:28,680 --> 00:30:32,440 Speaker 1: The animation style is very much in keeping with Cars. 479 00:30:32,520 --> 00:30:41,080 Speaker 1: The character creation is unquestionably of that style, but it's 480 00:30:41,120 --> 00:30:44,280 Speaker 1: not Pixar. So I wanted to point that out just 481 00:30:44,280 --> 00:30:47,760 Speaker 1: because it was interesting to see that other elements of 482 00:30:47,800 --> 00:30:53,960 Speaker 1: Disney started to create movies that were leveraging the property 483 00:30:54,000 --> 00:30:57,640 Speaker 1: of Pixar but were not actually produced by Pixar itself. 484 00:30:59,600 --> 00:31:02,760 Speaker 1: Fourteen it was a weird year for Pixar. That was 485 00:31:02,800 --> 00:31:06,200 Speaker 1: the first year in a really long time that did 486 00:31:06,240 --> 00:31:10,720 Speaker 1: not have a feature film debut from the studio. The 487 00:31:10,760 --> 00:31:14,280 Speaker 1: reason why no movie came out in twenty fourteen was 488 00:31:14,320 --> 00:31:19,240 Speaker 1: because of huge problems that were happening with the films 489 00:31:19,240 --> 00:31:24,040 Speaker 1: that were currently in development at Pixar. There were some major, 490 00:31:24,120 --> 00:31:29,560 Speaker 1: major story issues happening that were holding up the release 491 00:31:29,720 --> 00:31:32,960 Speaker 1: of a couple of movies. In one case, the movie 492 00:31:32,960 --> 00:31:36,840 Speaker 1: that came out ended up being a success despite those problems. 493 00:31:36,840 --> 00:31:39,880 Speaker 1: In the other case, a movie came out and failed 494 00:31:39,960 --> 00:31:44,080 Speaker 1: to find that level of success. But in twenty fourteen 495 00:31:45,480 --> 00:31:48,400 Speaker 1: we did get some Pixar stuff. There was a TV 496 00:31:48,480 --> 00:31:51,360 Speaker 1: special that came out for the holidays and it aired 497 00:31:51,400 --> 00:31:55,680 Speaker 1: on ABC called Toy Story That Time Forgot. And also 498 00:31:55,760 --> 00:31:59,040 Speaker 1: Pixar released a free, non commercial version of its in 499 00:31:59,120 --> 00:32:04,120 Speaker 1: house renderings software called render Man. The company also licensed 500 00:32:04,120 --> 00:32:07,280 Speaker 1: a commercial version of this software to other parties. And 501 00:32:07,320 --> 00:32:10,280 Speaker 1: with render Man, you can create these virtual three dimensional 502 00:32:11,680 --> 00:32:17,920 Speaker 1: camera placements, you can define geometry, you can place lights 503 00:32:18,080 --> 00:32:19,959 Speaker 1: on lots of other stuff. Now, it's not a three 504 00:32:20,040 --> 00:32:22,920 Speaker 1: D modeling suite, you would need other programs to do that. 505 00:32:23,320 --> 00:32:26,160 Speaker 1: It's not an animating suite. You would need other programs 506 00:32:26,160 --> 00:32:28,840 Speaker 1: to do that. But it can act as a liaison 507 00:32:28,920 --> 00:32:34,040 Speaker 1: between those two types of softwarees modeling and animation, so 508 00:32:34,240 --> 00:32:38,440 Speaker 1: very useful, and now people have access to a non 509 00:32:38,480 --> 00:32:42,920 Speaker 1: commercial free version of it because of the release in 510 00:32:42,960 --> 00:32:47,400 Speaker 1: twenty fourteen. Now twenty fifteen would be when those movies 511 00:32:47,400 --> 00:32:51,720 Speaker 1: that had been in trouble during their development cycles finally 512 00:32:51,720 --> 00:32:57,480 Speaker 1: come out. The first was Inside Out. Pixar story department 513 00:32:58,000 --> 00:33:01,640 Speaker 1: had to research a lot of information in neuroscience and 514 00:33:01,640 --> 00:33:04,680 Speaker 1: psychology to get this story right, because of course, it's 515 00:33:04,680 --> 00:33:08,600 Speaker 1: all about how our brains process information and emotions. It's 516 00:33:08,680 --> 00:33:12,560 Speaker 1: really about how emotions can guide our decisions and affect 517 00:33:12,640 --> 00:33:16,160 Speaker 1: us and change over time. That's the heart of the story, 518 00:33:17,320 --> 00:33:21,800 Speaker 1: and several emotions were workshopped in the development process but 519 00:33:21,840 --> 00:33:25,040 Speaker 1: eventually dropped from the final version of the story. There 520 00:33:25,080 --> 00:33:29,760 Speaker 1: were emotions like hope and envy, pride on we even 521 00:33:29,840 --> 00:33:36,080 Speaker 1: Shotenfreude was part of the original story development, and at 522 00:33:36,080 --> 00:33:39,200 Speaker 1: one point the story had twenty seven different emotions as characters, 523 00:33:39,240 --> 00:33:42,280 Speaker 1: but that just wasn't manageable, so they had to figure 524 00:33:42,320 --> 00:33:45,200 Speaker 1: out what were the most important ones, what could you 525 00:33:45,240 --> 00:33:50,080 Speaker 1: peel away and have as your core of characters, And 526 00:33:50,160 --> 00:33:53,840 Speaker 1: that story was really hard to get right. Pete Doctor, 527 00:33:53,880 --> 00:33:57,480 Speaker 1: who was leading the project, even thought about giving up 528 00:33:57,840 --> 00:34:00,960 Speaker 1: after three years of working on the story and not 529 00:34:01,040 --> 00:34:04,560 Speaker 1: getting anywhere or feeling like it just wasn't heading in 530 00:34:04,600 --> 00:34:11,920 Speaker 1: the right direction. Originally, the prime story was not going 531 00:34:12,000 --> 00:34:14,960 Speaker 1: to be about an eleven year old girl's reaction when 532 00:34:15,000 --> 00:34:18,640 Speaker 1: her family moves from one part of the country to another. 533 00:34:19,320 --> 00:34:24,400 Speaker 1: That's kind of the event that precipitates all the action 534 00:34:24,800 --> 00:34:27,840 Speaker 1: of the film as it stands, but that wasn't the 535 00:34:27,880 --> 00:34:30,719 Speaker 1: original story. The original story was going to be that 536 00:34:30,880 --> 00:34:38,520 Speaker 1: Joy the emotion. Joy decides she doesn't want the girl Riley, 537 00:34:38,920 --> 00:34:41,560 Speaker 1: to grow up into an adult. She wants Riley to 538 00:34:41,560 --> 00:34:45,880 Speaker 1: be a kid because kids experienced Joy on a level 539 00:34:46,239 --> 00:34:51,480 Speaker 1: that is orders of magnitude greater than adults, and so 540 00:34:51,719 --> 00:34:55,680 Speaker 1: Joy was going to take every opportunity to keep Riley 541 00:34:55,719 --> 00:34:59,799 Speaker 1: from developing into an adult. But then they realize that 542 00:35:00,000 --> 00:35:04,359 Speaker 1: it turned Joy into a really unlikable character, so they 543 00:35:04,400 --> 00:35:06,600 Speaker 1: scrapped that. They had to go back to the drawing 544 00:35:06,719 --> 00:35:10,040 Speaker 1: board and they had to re storyboard the entire movie. 545 00:35:10,080 --> 00:35:12,560 Speaker 1: They had hit the point where they had storyboarded the film. Now, 546 00:35:12,600 --> 00:35:17,520 Speaker 1: typically Pixar doesn't start storyboarding until they feel that the 547 00:35:17,719 --> 00:35:21,279 Speaker 1: general story is pretty good. That the script is done, 548 00:35:22,160 --> 00:35:24,359 Speaker 1: then they would storyboard a movie, and then the next 549 00:35:24,400 --> 00:35:27,920 Speaker 1: step once the storyboard is approved is to go into animation, 550 00:35:28,120 --> 00:35:33,640 Speaker 1: modeling and animation. But this one had been storyboarded and 551 00:35:33,680 --> 00:35:36,839 Speaker 1: then they had to scrap it and redo it, so 552 00:35:37,040 --> 00:35:40,920 Speaker 1: it really was a dramatic change, and they still had 553 00:35:40,920 --> 00:35:43,520 Speaker 1: to try and get the movie out before it got 554 00:35:43,560 --> 00:35:47,200 Speaker 1: too late. On top of that, Inside that was the 555 00:35:47,239 --> 00:35:50,760 Speaker 1: first Pixar film made without the input of Steve Jobs. 556 00:35:51,400 --> 00:35:54,520 Speaker 1: Steve Jobs had passed away in twenty eleven, and while 557 00:35:54,600 --> 00:35:58,120 Speaker 1: Jobs hadn't really been in a real leadership role for 558 00:35:58,239 --> 00:36:00,560 Speaker 1: many years, he was still active in the process of 559 00:36:00,600 --> 00:36:03,399 Speaker 1: hearing story ideas and giving his input all the way 560 00:36:03,440 --> 00:36:08,720 Speaker 1: up to his death, and John Lassiter was also largely absent. 561 00:36:08,840 --> 00:36:12,480 Speaker 1: John Lassiter was over at Walt Disney Animation trying to 562 00:36:12,520 --> 00:36:15,879 Speaker 1: get that department to turn around because they had had 563 00:36:15,960 --> 00:36:20,040 Speaker 1: their own series of disappointing films, films that weren't necessarily 564 00:36:20,080 --> 00:36:22,440 Speaker 1: bad but were not performing well at the box office, 565 00:36:22,480 --> 00:36:25,080 Speaker 1: Movies like The Princess and the Frog, which is a 566 00:36:25,120 --> 00:36:28,920 Speaker 1: perfectly fine film but failed to capture an audience. So 567 00:36:29,080 --> 00:36:32,440 Speaker 1: Lassiter was trying to fix that and wasn't really around 568 00:36:32,440 --> 00:36:35,080 Speaker 1: to help out with Inside Out. There are also big 569 00:36:35,120 --> 00:36:37,840 Speaker 1: technical challenges with that movie. A big one being that 570 00:36:37,960 --> 00:36:40,560 Speaker 1: the character of Joy has these little particles that radiate 571 00:36:40,600 --> 00:36:44,160 Speaker 1: from her skin, and since Joy is the primary protagonist, 572 00:36:44,560 --> 00:36:47,640 Speaker 1: that meant having to replicate that effect for hundreds of 573 00:36:47,680 --> 00:36:49,600 Speaker 1: shots in the movie, and that took a lot of 574 00:36:49,600 --> 00:36:54,600 Speaker 1: computer power as well. Ultimately, all that hard work paid off. 575 00:36:54,680 --> 00:36:58,000 Speaker 1: The movie was a huge success. It was the third 576 00:36:58,080 --> 00:37:01,840 Speaker 1: highest grossing Pixar film in both US and global box 577 00:37:01,840 --> 00:37:06,279 Speaker 1: office numbers, so it worked. Also, it was released with 578 00:37:06,360 --> 00:37:09,919 Speaker 1: the short film Lava. We've got a little bit more 579 00:37:09,920 --> 00:37:13,879 Speaker 1: to say about Pixar circa twenty sixteen, but first let's 580 00:37:13,880 --> 00:37:26,399 Speaker 1: take another quick break. Twenty fifteen also saw the other 581 00:37:26,880 --> 00:37:32,440 Speaker 1: troubled movie come out, that is The Good Dinosaur, and 582 00:37:32,480 --> 00:37:36,520 Speaker 1: The Good Dinosaur is a black sheep in Pixar. It's 583 00:37:36,560 --> 00:37:38,520 Speaker 1: the movie that when I talked to my coworkers, they 584 00:37:38,719 --> 00:37:41,000 Speaker 1: some of them didn't even realize that was a Pixar movie. 585 00:37:41,880 --> 00:37:43,759 Speaker 1: Some of them hadn't even heard the movie at all. 586 00:37:45,960 --> 00:37:48,200 Speaker 1: So twenty fifteen is the first year in which two 587 00:37:48,280 --> 00:37:51,799 Speaker 1: different Pixar feature length films come out to theaters. But 588 00:37:51,880 --> 00:37:56,399 Speaker 1: the Good Dinosaur does not perform the way Inside Out did. 589 00:37:56,680 --> 00:37:59,080 Speaker 1: In the United States, it earned one hundred and twenty 590 00:37:59,120 --> 00:38:02,360 Speaker 1: three million. Now globally it earned almost three hundred and 591 00:38:02,360 --> 00:38:05,480 Speaker 1: thirty two million dollars. That's not chump change. That's a 592 00:38:05,560 --> 00:38:07,799 Speaker 1: lot of money, but it still makes the movie the 593 00:38:07,880 --> 00:38:11,800 Speaker 1: lowest performing film in Pixar's history as an animation studio. 594 00:38:12,760 --> 00:38:15,160 Speaker 1: That one hundred and twenty three million dollars, that's less 595 00:38:15,239 --> 00:38:18,600 Speaker 1: than what Toy Story one made at the box office. 596 00:38:19,280 --> 00:38:22,879 Speaker 1: If you adjust for inflation, it's much less than what 597 00:38:22,920 --> 00:38:26,440 Speaker 1: Toy Story made. And if you you know, not just inflation, 598 00:38:26,480 --> 00:38:29,640 Speaker 1: but the inflation of movie ticket prices much much less, 599 00:38:29,640 --> 00:38:34,520 Speaker 1: it means way fewer people saw that movie. The story 600 00:38:34,560 --> 00:38:37,040 Speaker 1: of the film, which if you haven't seen it, it's 601 00:38:37,120 --> 00:38:40,359 Speaker 1: about a dinosaur. It's it's the takes the premise of 602 00:38:40,400 --> 00:38:46,400 Speaker 1: what if the meteor that struck the Earth and helped 603 00:38:46,480 --> 00:38:49,960 Speaker 1: precipitate the mass extinction that led to all the dinosaurs 604 00:38:50,040 --> 00:38:51,680 Speaker 1: dying off? What if it never hit the Earth? What 605 00:38:51,719 --> 00:38:56,600 Speaker 1: if it missed and dinosaurs continued to live on Earth 606 00:38:56,719 --> 00:39:04,839 Speaker 1: and humans evolved least to caveman status, and you had 607 00:39:04,880 --> 00:39:08,879 Speaker 1: both coexisting on the same planet. That's kind of the world, 608 00:39:08,960 --> 00:39:10,840 Speaker 1: it said in and that's not the premise of the story, 609 00:39:10,880 --> 00:39:14,240 Speaker 1: but it is the world that the characters exist within. 610 00:39:16,200 --> 00:39:19,160 Speaker 1: That whole story was reworked several times. The idea of well, 611 00:39:19,200 --> 00:39:22,719 Speaker 1: what is the actual point A to point B two 612 00:39:22,719 --> 00:39:27,040 Speaker 1: point C storyline? We understand what the world is, but 613 00:39:28,360 --> 00:39:32,080 Speaker 1: what are we trying to say? It was a huge problem, 614 00:39:32,360 --> 00:39:34,920 Speaker 1: an enormous problem. It caused the film to miss its 615 00:39:34,960 --> 00:39:37,400 Speaker 1: original release date. It was supposed to come out in 616 00:39:37,480 --> 00:39:42,160 Speaker 1: twenty thirteen, It got pushed to twenty fourteen, and then 617 00:39:42,239 --> 00:39:47,120 Speaker 1: pushed again to twenty fifteen. So when the story was 618 00:39:48,400 --> 00:39:51,319 Speaker 1: not where it needed to be by twenty thirteen, when 619 00:39:51,360 --> 00:39:55,279 Speaker 1: it was supposed to debut, and it hadn't even been 620 00:39:55,600 --> 00:40:00,880 Speaker 1: finished or really gone beyond that story development stage, Bob 621 00:40:00,920 --> 00:40:03,839 Speaker 1: Peterson and John Walker, who were leading the project at 622 00:40:03,840 --> 00:40:07,879 Speaker 1: that time, were removed from the project. Peterson would remain 623 00:40:07,920 --> 00:40:11,959 Speaker 1: with Pixar but work on other things, and Denise Reim, 624 00:40:12,080 --> 00:40:16,560 Speaker 1: who was a producer in the film, would replace John Walker. Peterson, 625 00:40:17,320 --> 00:40:19,600 Speaker 1: who had first worked on the story when Bob Peterson 626 00:40:19,640 --> 00:40:21,759 Speaker 1: came up with the idea back in two thousand and nine, 627 00:40:21,880 --> 00:40:26,160 Speaker 1: would become the director of the movie, and things got 628 00:40:26,200 --> 00:40:31,759 Speaker 1: pretty dark for Pixar in twenty thirteen. It wasn't just 629 00:40:31,920 --> 00:40:35,759 Speaker 1: that The Good Dinosaur was having problems. There were other 630 00:40:35,800 --> 00:40:38,880 Speaker 1: issues as well. Pixar had closed down Pixar Canada in 631 00:40:38,920 --> 00:40:42,600 Speaker 1: twenty thirteen and laid off eighty employees as a result. 632 00:40:42,880 --> 00:40:45,640 Speaker 1: A few months later, the company laid off another sixty 633 00:40:45,640 --> 00:40:48,280 Speaker 1: seven employees from its main office, and by then Pixar 634 00:40:48,400 --> 00:40:52,440 Speaker 1: was up to more than twelve hundred employees. The movie 635 00:40:52,719 --> 00:40:56,239 Speaker 1: was reworked, and reworked, and reworked, and even recast. They 636 00:40:56,280 --> 00:40:59,920 Speaker 1: had cast the movie because they thought they were getting 637 00:41:00,080 --> 00:41:03,360 Speaker 1: toward a complete story in twenty thirteen, but it didn't happen, 638 00:41:04,960 --> 00:41:07,600 Speaker 1: so they had to recast it because when they came 639 00:41:07,680 --> 00:41:10,560 Speaker 1: up with the finished story, they had dropped a lot 640 00:41:10,560 --> 00:41:14,839 Speaker 1: of characters or replaced them with other characters. So there's 641 00:41:14,920 --> 00:41:17,480 Speaker 1: I think. Francis McDorman, I think, was the only actress 642 00:41:18,080 --> 00:41:22,319 Speaker 1: who was attached to the original film and remained on 643 00:41:22,360 --> 00:41:26,520 Speaker 1: the cast for the reworked version. A Monsters University short 644 00:41:26,560 --> 00:41:30,280 Speaker 1: called Party Central was supposed to premiere with The Good Dinosaur, 645 00:41:30,680 --> 00:41:33,320 Speaker 1: but eventually Pixar shifted that to go in front of 646 00:41:33,360 --> 00:41:37,160 Speaker 1: him up, it's most wanted. So instead, a different Pixar 647 00:41:37,239 --> 00:41:40,759 Speaker 1: short called Sanjay's Super Team debuted with The Good Dinosaur. 648 00:41:41,200 --> 00:41:43,080 Speaker 1: And I've seen The Good Dinosaur, but I haven't seen 649 00:41:43,160 --> 00:41:46,160 Speaker 1: Sanjay's Super Team because I saw The Good Dinosaur on 650 00:41:46,200 --> 00:41:49,799 Speaker 1: a plane and they didn't have the short film to 651 00:41:49,840 --> 00:41:52,280 Speaker 1: go in front of it. So I'm curious how Sanjay's 652 00:41:52,280 --> 00:41:55,600 Speaker 1: Superteam matches up. I've heard about it, I knew what 653 00:41:55,680 --> 00:41:58,200 Speaker 1: it was, but I had not seen the actual shorts. 654 00:41:58,239 --> 00:42:03,440 Speaker 1: I need to do that. Moving to twenty sixteen, wrapping 655 00:42:03,600 --> 00:42:08,920 Speaker 1: up this epic series on Pixar, we get the release 656 00:42:08,960 --> 00:42:13,680 Speaker 1: of Finding Dori, the sequel to Finding Nemo. Finding Dory 657 00:42:13,760 --> 00:42:16,400 Speaker 1: was originally supposed to come out on November twenty fourth, 658 00:42:16,480 --> 00:42:20,440 Speaker 1: twenty fifteen. That's when The Good Dinosaur actually premiered, so 659 00:42:20,520 --> 00:42:24,240 Speaker 1: Finding Dory was pushed back to the summer of twenty sixteen. 660 00:42:25,160 --> 00:42:28,000 Speaker 1: And it's the only feature length Pixar film I have 661 00:42:28,239 --> 00:42:32,880 Speaker 1: not seen yet. It's not because I didn't like Finding Nemo. Actually, 662 00:42:33,120 --> 00:42:36,040 Speaker 1: Finding Nemo might be my favorite Pixar movie to date. 663 00:42:37,239 --> 00:42:41,759 Speaker 1: I think it might be the top one for me. 664 00:42:43,040 --> 00:42:45,080 Speaker 1: It's tough because there are a lot of Pixar movies 665 00:42:45,080 --> 00:42:47,239 Speaker 1: I think are really really good, but Finding Nemo in 666 00:42:47,280 --> 00:42:51,480 Speaker 1: particular speaks to me. Finding Dory I have not seen yet. 667 00:42:51,480 --> 00:42:54,120 Speaker 1: It's only because I don't have a whole lot of times, 668 00:42:54,160 --> 00:42:56,240 Speaker 1: so I haven't been to the theater in several months. 669 00:42:56,239 --> 00:42:58,080 Speaker 1: There are a lot of movies that came out this 670 00:42:58,160 --> 00:43:01,080 Speaker 1: year that I have not yet seen, but a lot 671 00:43:01,120 --> 00:43:03,280 Speaker 1: of people did go see it. It had the largest 672 00:43:03,280 --> 00:43:06,640 Speaker 1: opening for an animated film of our third largest opening 673 00:43:06,680 --> 00:43:09,120 Speaker 1: I should say, third largest opening of an animated film 674 00:43:09,160 --> 00:43:12,040 Speaker 1: of all time, and grossed four hundred and fifty one 675 00:43:12,040 --> 00:43:16,080 Speaker 1: million dollars in North America alone to date as of 676 00:43:16,160 --> 00:43:19,279 Speaker 1: July twenty second, twenty sixteen, and it's probably more than 677 00:43:19,320 --> 00:43:21,319 Speaker 1: that at that point. And that's just North America, that's 678 00:43:21,320 --> 00:43:26,759 Speaker 1: not globally. So it has done incredibly well and I 679 00:43:26,800 --> 00:43:29,360 Speaker 1: can't wait to see it. I don't have any behind 680 00:43:29,360 --> 00:43:32,640 Speaker 1: the scenes information about Finding Dory, other than the fact 681 00:43:33,200 --> 00:43:35,480 Speaker 1: that it had been teased that there was going to 682 00:43:35,480 --> 00:43:38,480 Speaker 1: be a Finding Nemo sequel for a while. In fact, 683 00:43:39,400 --> 00:43:41,760 Speaker 1: there was originally going to be a Finding Nemo sequel 684 00:43:41,800 --> 00:43:45,480 Speaker 1: produced by that Circle seven group that had been formed 685 00:43:45,520 --> 00:43:49,480 Speaker 1: when Disney wanted to try and continue making films based 686 00:43:49,520 --> 00:43:53,480 Speaker 1: off Pixar movies but not made by Pixar itself, but 687 00:43:53,520 --> 00:43:58,160 Speaker 1: of course Circle seven had already been dissolved, and Finding 688 00:43:58,160 --> 00:44:00,920 Speaker 1: Dorry is not based off anything that Circle seven came 689 00:44:01,000 --> 00:44:04,719 Speaker 1: up with. Can't wait to see it. Future films that 690 00:44:04,719 --> 00:44:08,480 Speaker 1: Pixar has planned include Toy Story four, which I don't 691 00:44:08,480 --> 00:44:11,040 Speaker 1: think most people even thought was going to be a thing, 692 00:44:11,960 --> 00:44:16,920 Speaker 1: Cars three, The Incredibles two, It's another SEQUEA was never expecting, 693 00:44:17,640 --> 00:44:21,160 Speaker 1: and an original film that is not based off any 694 00:44:22,440 --> 00:44:25,880 Speaker 1: former Pixar or are previous I should say previous Pixar 695 00:44:25,920 --> 00:44:29,960 Speaker 1: movie called Coco, will come out in twenty seventeen. Coco 696 00:44:30,080 --> 00:44:35,360 Speaker 1: being inspired by Dia de Muertos, the Mexican holiday, the 697 00:44:35,440 --> 00:44:38,520 Speaker 1: Day of the Dead, the very colorful holiday, and in fact, 698 00:44:38,520 --> 00:44:43,480 Speaker 1: there was some some controversy around that not having anything 699 00:44:43,520 --> 00:44:45,719 Speaker 1: to do with Disney producing a Day of the Dead 700 00:44:45,760 --> 00:44:50,600 Speaker 1: holiday themed movie, in particular, especially once they started bringing 701 00:44:50,680 --> 00:44:55,640 Speaker 1: on cultural experts to make certain that the movie is 702 00:44:55,719 --> 00:45:02,120 Speaker 1: respectful and reflects the cultural values of people of Mexico 703 00:45:02,280 --> 00:45:06,319 Speaker 1: and not just exploit them, which would be horrible. But 704 00:45:06,440 --> 00:45:11,719 Speaker 1: also there was an issue when Disney moved to trademark 705 00:45:11,840 --> 00:45:16,560 Speaker 1: the phrase Dia de las Mortos, and a lot of people, 706 00:45:16,640 --> 00:45:24,280 Speaker 1: myself included, felt that that move was perhaps a little dumb. 707 00:45:24,640 --> 00:45:27,879 Speaker 1: Dumb is a fine word. It was a dumb move 708 00:45:28,120 --> 00:45:30,480 Speaker 1: on Disney's part. It would be like trying to trademark 709 00:45:31,480 --> 00:45:37,879 Speaker 1: Christmas or Halloween or Memorial Day, trademarking that so that 710 00:45:37,920 --> 00:45:40,000 Speaker 1: you can use it and no one else can. That 711 00:45:40,440 --> 00:45:46,560 Speaker 1: just it struck people as being incredibly shortsighted and insensitive. 712 00:45:47,600 --> 00:45:50,160 Speaker 1: Don't know who had Disney filed for that trademark. I'm 713 00:45:50,160 --> 00:45:53,719 Speaker 1: guessing it probably wasn't John Lassiter. It doesn't sound like 714 00:45:53,760 --> 00:45:57,400 Speaker 1: something he would have done. But at any rate, that 715 00:45:57,440 --> 00:45:59,439 Speaker 1: did not happen. Disney dropped it, and like I said, 716 00:45:59,440 --> 00:46:02,360 Speaker 1: they brought on and some cultural consultants to make sure 717 00:46:03,040 --> 00:46:07,040 Speaker 1: that the stuff that Pixar was developing was respectful while 718 00:46:07,040 --> 00:46:09,640 Speaker 1: still being an entertaining movie. And I'm really looking forward 719 00:46:09,680 --> 00:46:12,880 Speaker 1: to it. I love the artistic style of Dia de 720 00:46:13,000 --> 00:46:16,200 Speaker 1: Muertos and sugar skulls and things of that nature, and 721 00:46:16,239 --> 00:46:19,440 Speaker 1: I'm very curious to see what story they have. From 722 00:46:19,480 --> 00:46:22,279 Speaker 1: my understand and this is from a friend of mine, 723 00:46:22,320 --> 00:46:24,920 Speaker 1: so I apologize if I get this wrong. If I 724 00:46:24,920 --> 00:46:27,360 Speaker 1: get it wrong, it's because of me, not because of 725 00:46:27,360 --> 00:46:30,759 Speaker 1: my friend. It's because I misinterpreted. But as I understand it, 726 00:46:30,840 --> 00:46:34,040 Speaker 1: Coco sort of refers to the concept of a boogeyman, 727 00:46:34,239 --> 00:46:37,840 Speaker 1: so that's probably going to play some sort of role 728 00:46:38,000 --> 00:46:41,560 Speaker 1: within the story, which follows a character named Miguel. And 729 00:46:41,600 --> 00:46:44,399 Speaker 1: that's all I know about Coco, but I'm very much 730 00:46:44,400 --> 00:46:47,960 Speaker 1: looking forward to it. There's some unannounced films that are 731 00:46:48,000 --> 00:46:52,239 Speaker 1: on Pixar's slate. They have not publicly said what they 732 00:46:52,320 --> 00:46:56,960 Speaker 1: will be, but they have said that those movies are 733 00:46:57,120 --> 00:47:02,560 Speaker 1: original works. They are not sequels, which gave came as 734 00:47:02,600 --> 00:47:04,760 Speaker 1: something of a relief to a lot of people because 735 00:47:04,800 --> 00:47:10,000 Speaker 1: seeing Toy Story four, Cars three, and Incredibles two on 736 00:47:10,400 --> 00:47:13,759 Speaker 1: the schedule, people begin to ask, well, this Pixar just 737 00:47:13,800 --> 00:47:15,960 Speaker 1: going to be in the business of churning out sequels now, 738 00:47:16,080 --> 00:47:18,400 Speaker 1: or are we going to get more original works? Because 739 00:47:18,400 --> 00:47:21,920 Speaker 1: originally the idea was there would be an original movie 740 00:47:21,960 --> 00:47:25,200 Speaker 1: pretty much every year and a sequel every other year, 741 00:47:25,800 --> 00:47:29,839 Speaker 1: and that hasn't quite worked out, But maybe that will 742 00:47:29,920 --> 00:47:34,040 Speaker 1: change after this upcoming slate of films that wraps up 743 00:47:34,040 --> 00:47:39,000 Speaker 1: the Pixar Story Part three that catches us up to 744 00:47:39,239 --> 00:47:42,080 Speaker 1: present day, and maybe we will have more to say 745 00:47:42,080 --> 00:47:45,360 Speaker 1: about Pixar in the future. It is a fascinating company. 746 00:47:46,400 --> 00:47:51,359 Speaker 1: It's history with other major companies Disney and Apple make 747 00:47:51,440 --> 00:47:55,960 Speaker 1: it really fascinating from a technology standpoint. The business side 748 00:47:56,000 --> 00:48:01,520 Speaker 1: of things incredible. Also the idea that the animator who 749 00:48:01,560 --> 00:48:05,719 Speaker 1: was fired from Disney came on to Pixar became a 750 00:48:06,560 --> 00:48:10,040 Speaker 1: public face of Pixar. Even though he was not the 751 00:48:11,160 --> 00:48:14,040 Speaker 1: technical leader. He was the public face and a lot 752 00:48:14,040 --> 00:48:16,080 Speaker 1: of people look at John Lassiter as being the leader 753 00:48:16,080 --> 00:48:18,880 Speaker 1: of Pixar. Then going over to become a chief creative 754 00:48:19,040 --> 00:48:23,520 Speaker 1: officer of Walt Disney Animation, becoming an important voice in 755 00:48:23,560 --> 00:48:28,360 Speaker 1: the company that once fired him phenomenal. Also, never forget 756 00:48:28,719 --> 00:48:31,520 Speaker 1: he started off as a skipper on the Jungle Cruise 757 00:48:31,600 --> 00:48:35,640 Speaker 1: ride at Disneyland. We should all be so lucky. And 758 00:48:35,760 --> 00:48:38,880 Speaker 1: that concludes our three part series about the Pixar story. 759 00:48:38,920 --> 00:48:40,879 Speaker 1: As I have said a couple of times during these 760 00:48:41,239 --> 00:48:44,680 Speaker 1: classic episodes, I could go back and do a follow 761 00:48:44,760 --> 00:48:47,120 Speaker 1: up to talk about what Pixar has been doing since then. 762 00:48:47,760 --> 00:48:50,560 Speaker 1: There's also some interesting stuff to talk about with the 763 00:48:50,560 --> 00:48:54,320 Speaker 1: incorporation of Pixar into the various theme parks that Disney 764 00:48:54,360 --> 00:48:59,120 Speaker 1: has notably over in Disneyland. They have Pixar pere, but 765 00:48:59,440 --> 00:49:02,439 Speaker 1: their other wants to talk about as well, So maybe 766 00:49:02,440 --> 00:49:04,960 Speaker 1: I'll do that because that's always fun to chat about 767 00:49:04,960 --> 00:49:07,440 Speaker 1: as well. And let's just talk about some of the 768 00:49:07,480 --> 00:49:09,640 Speaker 1: movies that Pixar has pushed out and some of the 769 00:49:09,680 --> 00:49:14,080 Speaker 1: innovation the company has continued to pursue since twenty sixteen. 770 00:49:14,719 --> 00:49:17,880 Speaker 1: But until then, I hope you are all well, and 771 00:49:17,920 --> 00:49:26,960 Speaker 1: I'll talk to you again really soon. Tech Stuff is 772 00:49:27,000 --> 00:49:31,560 Speaker 1: an iHeartRadio production. For more podcasts from iHeartRadio, visit the 773 00:49:31,600 --> 00:49:35,239 Speaker 1: iHeartRadio app, Apple Podcasts, or wherever you listen to your 774 00:49:35,280 --> 00:49:39,799 Speaker 1: favorite shows.