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