WEBVTT - The Pixar Story: Part 3 0:00:04.280 --> 0:00:12.480 Get in Tech Technology with Tech Stuff from hatt Com. 0:00:12.480 --> 0:00:15.160 Hey there, and welcome to Tech Stuff. I'm your host, 0:00:15.320 --> 0:00:20.360 Jonathan Strickland, and today the grand conclusion of the Pixar Story. 0:00:20.520 --> 0:00:23.599 It is part three. If you have not listened to 0:00:23.720 --> 0:00:27.320 the first two parts, I recommend you go back and 0:00:27.400 --> 0:00:31.080 do that thing, because otherwise you're gonna be starting right 0:00:31.200 --> 0:00:34.560 towards the two thirds mark. Actually, this episode is probably 0:00:34.560 --> 0:00:36.640 gonna be a little long. I'm not gonna lie to 0:00:36.720 --> 0:00:38.800 you because we still got a lot to cover. We 0:00:38.960 --> 0:00:42.280 left off last episode in two thousand and six, when 0:00:42.320 --> 0:00:47.600 Disney had officially announced its intent to acquire Pixar outright, 0:00:48.159 --> 0:00:51.720 it would no longer just be a partnership, a contractual partnership. 0:00:51.720 --> 0:00:55.639 It would be that the two companies would become united. 0:00:56.320 --> 0:00:58.280 So now we're gonna pick up in two thousand seven 0:00:58.640 --> 0:01:02.720 when Pixar would release first film it had as an 0:01:02.720 --> 0:01:07.240 official part of the Disney company itself. That film was Rattitui, 0:01:08.280 --> 0:01:12.760 with Patton Oswalt voicing the main character Patton Oswald, one 0:01:12.800 --> 0:01:17.319 of my favorite comedians. Now, Ratitui was again very successful. 0:01:17.680 --> 0:01:20.320 Like all the Pixar films that led up to this point, 0:01:20.400 --> 0:01:23.559 it was successful both financially and critically. It later would 0:01:23.560 --> 0:01:27.720 win the Oscar for Best Animated Feature. We're getting to 0:01:27.760 --> 0:01:32.320 a point now where the people were starting to ask 0:01:32.319 --> 0:01:35.160 the question are other movies ever going to have a 0:01:35.200 --> 0:01:39.360 real chance against Pixar movies in the category of animated feature? 0:01:40.480 --> 0:01:45.120 And we also see more and more push from companies 0:01:45.200 --> 0:01:50.760 like Pixar for the Academy to consider animated movies on 0:01:50.800 --> 0:01:55.640 the same playing ground as live action films. Now, Ratitui 0:01:55.720 --> 0:01:59.480 would be another Brad Bird directed film, although not Originally, 0:01:59.600 --> 0:02:04.400 brad was brought in to replace a director, Jan Pecava. 0:02:05.000 --> 0:02:08.440 I believe Jan might be Yon Jan Piccava was at 0:02:08.440 --> 0:02:12.360 the Helm and then Brad Bird took over. One of 0:02:12.360 --> 0:02:17.080 the big challenges facing the animators with Rattatui was finding 0:02:17.120 --> 0:02:21.840 a way to animate Linguini. That's the human character who's 0:02:21.919 --> 0:02:27.320 under then the control or partial control of Remy the rat. 0:02:28.200 --> 0:02:29.920 They're trying to figure out, well, how do we animate 0:02:30.000 --> 0:02:32.400 him where it's clear to the audience that he's not 0:02:32.520 --> 0:02:35.120 really in control of his own movements, or not in 0:02:35.200 --> 0:02:38.000 full control at any rate. That took a lot of work, 0:02:38.080 --> 0:02:41.080 so they ended up doing a lot of uh. They 0:02:41.080 --> 0:02:43.840 studied a lot of puppet puppets like marionettes and stuff 0:02:43.880 --> 0:02:49.280 like that. That movie did quite well and over at Disneyland. 0:02:49.280 --> 0:02:52.440 In two thousand and seven, a new attraction called the 0:02:52.600 --> 0:02:56.639 Finding Nemo Submarine Voyage opened up now that actually used 0:02:56.680 --> 0:03:00.960 the old Submarine Voyage ride, the twenty thousand leagues under 0:03:01.000 --> 0:03:05.760 the C type ride, which had closed in so almost 0:03:05.800 --> 0:03:10.560 a decade after the ride had closed, it reopens with 0:03:10.600 --> 0:03:14.600 a new theme with Finding Nemo. Disney World would get 0:03:14.639 --> 0:03:16.880 its own version of this ride, but that would be 0:03:16.919 --> 0:03:22.239 housed in the Living Seas and not used the submarines. Instead, 0:03:23.000 --> 0:03:27.960 you get a Little Mermaid Submarine ride now instead of 0:03:28.000 --> 0:03:34.440 the the Finding Nemo version. In two thousand eight, uh 0:03:34.600 --> 0:03:38.200 Pixar would debut the film Wally Could come out actually 0:03:38.240 --> 0:03:42.200 the day after my birthday that year, and Wally won 0:03:42.360 --> 0:03:46.320 the Oscar for Best Animated Feature the movies Adorable and 0:03:46.400 --> 0:03:50.400 also debuted with the short film Presto. Wally was the 0:03:50.480 --> 0:03:55.680 first Pixar film to feature scenes with live actors, and 0:03:55.720 --> 0:03:59.120 the experience was so much faster than computer animation that 0:03:59.160 --> 0:04:03.120 Picks her folks were really surprised and excited about it, 0:04:03.200 --> 0:04:07.960 because with animation, if you create a scene and you 0:04:08.040 --> 0:04:11.120 realize we need to have this character turn around a 0:04:11.120 --> 0:04:14.080 little faster, or we need to light this in a 0:04:14.120 --> 0:04:17.800 different way, or the entire pacing of the scene needs 0:04:17.839 --> 0:04:19.760 to slow down a bit for it to make sense. 0:04:20.880 --> 0:04:23.159 That requires animators to go back and do a ton 0:04:23.320 --> 0:04:28.000 more work, and it could be many, many many days 0:04:28.160 --> 0:04:32.200 before there's something else to look at, whereas with live action, 0:04:32.400 --> 0:04:34.520 if it doesn't work, you give the direction to the 0:04:34.520 --> 0:04:36.520 crew and to the cast, and you do it again 0:04:36.800 --> 0:04:40.560 and it's right there. So the animators were all kind 0:04:40.560 --> 0:04:45.440 of gaga over how different live action is to computer animation, 0:04:45.560 --> 0:04:48.160 and they said that the actors were kind of amused 0:04:48.560 --> 0:04:51.720 because that's what the actors were used to, but the animators, 0:04:51.720 --> 0:04:54.240 to them, is a whole new world. Oh. Also, the 0:04:54.279 --> 0:04:56.760 fact that the shoot was catered appeared to be a 0:04:56.800 --> 0:05:00.960 really big deal, which just tells you what kind of 0:05:01.000 --> 0:05:04.080 things people find important when they when they go to 0:05:04.240 --> 0:05:10.880 a film shoot. Man, I wish my shoots were catered. Anyway, 0:05:11.320 --> 0:05:14.000 it was an entertaining thing to see that this live 0:05:14.040 --> 0:05:17.040 action being incorporated into the movie had such an effect 0:05:17.240 --> 0:05:22.400 on the various Pixar employees. Uh, And it was also 0:05:22.520 --> 0:05:24.919 kind of interesting to just see live action showing up 0:05:24.920 --> 0:05:27.240 at a Pixar movie in the first place. But another 0:05:27.320 --> 0:05:29.800 big challenge with Wally was creating a story in which 0:05:29.839 --> 0:05:34.400 there's really no dialogue for the first act of the film. Now, 0:05:34.440 --> 0:05:38.239 obviously that makes the story much more of a story 0:05:38.320 --> 0:05:41.680 challenge rather than a technical challenge, but it also meant 0:05:41.720 --> 0:05:43.000 that the team had to put in a lot of 0:05:43.040 --> 0:05:46.360 personality in the animations. They had to figure out, how 0:05:46.400 --> 0:05:49.640 can we animate these characters in a way where we 0:05:49.720 --> 0:05:54.240 understand what their emotional reactions are, what their motivations are, 0:05:54.720 --> 0:05:58.440 what they're feeling and thinking at any given time, considering 0:05:58.480 --> 0:06:00.720 the fact they're not able to talk. They're not they 0:06:00.720 --> 0:06:03.840 have nothing to talk to, and that actually ends up 0:06:03.960 --> 0:06:08.039 creating a pretty tough technical challenge. It's not just how 0:06:08.080 --> 0:06:13.720 do you animate this character, but what what motions indicate 0:06:14.000 --> 0:06:20.240 those specific feelings and thoughts. So it involves animators studying 0:06:20.279 --> 0:06:23.560 themselves a lot, as they make different facial expressions and 0:06:23.680 --> 0:06:26.920 they have different body language in response to different types 0:06:27.000 --> 0:06:31.440 of ideas, like you know, you just gotta you just 0:06:31.520 --> 0:06:34.400 open the door, and you just found out your friends 0:06:34.400 --> 0:06:37.000 are throwing you a surprise birthday party, what's your reaction? 0:06:37.839 --> 0:06:41.600 Or you got home to find out that your dog 0:06:41.760 --> 0:06:44.480 got out of the backyard somehow and is missing. What's 0:06:44.480 --> 0:06:49.720 your reaction and studying yourself and then translating that into 0:06:50.200 --> 0:06:53.440 a character, and a character that's not human a robot 0:06:54.360 --> 0:06:57.920 is a big challenge, whether it's technical or just from 0:06:57.920 --> 0:07:03.160 a psychological standpoint. So pretty spectacular work that they were 0:07:03.160 --> 0:07:07.560 able to create characters that could give you that feeling 0:07:07.720 --> 0:07:11.280 that they wanted, even though they're not human or speaking. 0:07:13.360 --> 0:07:15.920 In two thousand eight, Pixar would finish work on the 0:07:15.960 --> 0:07:20.040 first set of Car Tunes, which are in fact short 0:07:20.600 --> 0:07:25.320 cartoons about the cars characters. Jim Morris, who produced Wally, 0:07:25.520 --> 0:07:29.160 would become the general manager of Pixar, and in two 0:07:29.200 --> 0:07:34.640 thousand nine, Up debuts at the can Film Festival, so 0:07:34.640 --> 0:07:38.280 the first animated film ever in the history of the 0:07:38.360 --> 0:07:42.360 festival to open the whole thing UP, and I imagine 0:07:42.400 --> 0:07:45.679 that festival attendees were just as devastated by the first 0:07:45.680 --> 0:07:48.920 ten minutes of that movie that I am. I still 0:07:48.960 --> 0:07:53.040 can't watch the first ten minutes of Up without turning 0:07:53.040 --> 0:07:57.640 into a blubbering mess. I know because I did it today. 0:07:58.600 --> 0:08:02.160 When I'm recording this, I was doing research on Pixar, 0:08:03.320 --> 0:08:06.559 specifically on UP and I watched it twice. I watched 0:08:06.560 --> 0:08:10.520 the original sequence in storyboard format, and then I watched 0:08:10.960 --> 0:08:14.520 the actual finished sequence, and I was so thankful that 0:08:14.600 --> 0:08:18.080 on Friday's our office is pretty dead because no one 0:08:18.160 --> 0:08:21.680 was there to hear me blubbering at my desk. I'm 0:08:21.680 --> 0:08:23.840 not ashamed of it. I just don't want to make 0:08:23.880 --> 0:08:27.840 other people feel uncomfortable. The whole idea for UP began 0:08:28.480 --> 0:08:31.440 with just the notion of an old man floating his 0:08:31.480 --> 0:08:33.400 house away with a bunch of balloons, which is just 0:08:33.480 --> 0:08:38.800 kind of a comedic image. But while the image was 0:08:38.880 --> 0:08:42.439 really evocative and people at Pixar thought, yeah, it's a 0:08:42.480 --> 0:08:44.880 really cool idea, they had to come up with, well, 0:08:44.920 --> 0:08:47.800 why is he doing that? Where is he going? What's 0:08:47.840 --> 0:08:50.440 the whole point? So they had to create a story 0:08:50.600 --> 0:08:54.120 around this this picture, and that's where they started working 0:08:54.160 --> 0:08:58.479 on the ideas for UP Now. The original opening had 0:08:58.600 --> 0:09:01.679 the character of car Earl, who's the main character, and 0:09:01.840 --> 0:09:05.280 UP and his wife Ellie, falling in love through a 0:09:05.320 --> 0:09:10.880 contentious and competitive relationship. It starts off when their kids. Originally, 0:09:11.240 --> 0:09:13.440 the two kids didn't get along with each other and 0:09:13.480 --> 0:09:17.560 would um kind of ambush one another and punch each 0:09:17.600 --> 0:09:22.520 other and it was sort of a violent behavior, and 0:09:22.520 --> 0:09:25.160 and it got to a point where those punches give 0:09:25.200 --> 0:09:30.640 way to the characters, uh, falling for each other, dating, 0:09:31.040 --> 0:09:34.280 getting married, and all the story beats that you see 0:09:34.360 --> 0:09:35.839 in the first ten minutes of Up that I'm not 0:09:35.840 --> 0:09:38.200 going to go over or I'll start crying on a podcast, 0:09:38.240 --> 0:09:40.800 and no one wants that. But at any rate, it's 0:09:40.800 --> 0:09:44.600 say same sort of progression, but in a different emotional 0:09:45.120 --> 0:09:50.000 impact because people are getting punched. Um. So they ended 0:09:50.080 --> 0:09:52.280 up reworking it because when they showed it to people, 0:09:52.600 --> 0:09:54.760 their reaction was pretty quiet and they said it's a 0:09:54.760 --> 0:09:57.640 little too violent. So they went back, reworked it and 0:09:57.760 --> 0:10:01.440 did a different take, which led to you what you 0:10:01.520 --> 0:10:06.200 saw in the film. Technical challenges included creating a system 0:10:06.240 --> 0:10:09.520 that could guide the behavior of a lot of balloons, 0:10:09.559 --> 0:10:14.199 because that's how Carl's House moves to South America. So 0:10:14.240 --> 0:10:18.439 how many balloons were used in like in the movie? 0:10:18.520 --> 0:10:20.320 How how are the balloons showing up? I mean not 0:10:20.440 --> 0:10:23.839 real balloons, obviously they're virtual balloons, but how many were 0:10:23.880 --> 0:10:28.400 on screen? According to one animator, two hundred eighty six 0:10:28.520 --> 0:10:32.600 balloons or somewhere in that neighborhood were used to get 0:10:32.679 --> 0:10:36.400 Carl's house off the ground. And those balloons had to 0:10:36.440 --> 0:10:40.360 behave in a believable way. They had to be buoyant, 0:10:40.760 --> 0:10:42.360 so they had to rise up in the air, but 0:10:42.400 --> 0:10:43.599 they had to rise up in the air in a 0:10:43.640 --> 0:10:45.839 way that was natural, Like if a breeze came by, 0:10:46.360 --> 0:10:48.240 it wouldn't be a straight line up, it would be 0:10:48.320 --> 0:10:51.280 moving off at an angle. They had to bounce off 0:10:51.360 --> 0:10:54.079 each other. They had to have presence. They had to 0:10:54.120 --> 0:10:57.920 be able to react off of each other's strings. So 0:10:58.040 --> 0:11:01.240 the first balloons that go up are followed by other balloons, 0:11:01.280 --> 0:11:04.800 but those balloons also have to move through strings, and 0:11:04.880 --> 0:11:07.800 that's going to restrict the way those balloons move. It 0:11:07.840 --> 0:11:10.160 all had to be believable or else it would just 0:11:10.240 --> 0:11:15.679 be distracting. So, uh, the modeling they did, the simulations 0:11:15.760 --> 0:11:19.040 they did to create the rules of physics for those 0:11:19.040 --> 0:11:22.360 balloons was pretty sophisticated. It was kind of like not 0:11:22.520 --> 0:11:25.640 on you not unlike the hair simulator that they had 0:11:25.720 --> 0:11:28.719 to build for monsters, inc. They needed to have a 0:11:28.800 --> 0:11:31.640 system there that would make all of this work in 0:11:31.679 --> 0:11:35.360 a way that was uh, you know, that behaved a 0:11:35.400 --> 0:11:39.679 set of rules and that wouldn't require animators to sit 0:11:39.760 --> 0:11:44.640 there and hand animate ten thousand balloons, which would for 0:11:44.840 --> 0:11:47.760 the number of shots, in the number of frames that 0:11:48.080 --> 0:11:50.959 it shows up on screen, it would be impossible. The 0:11:51.040 --> 0:11:54.280 movie would still be in development if all that had 0:11:54.320 --> 0:11:59.280 to be done by hand. The short partly Cloudy would 0:11:59.280 --> 0:12:03.400 accompany Up and Up would win the Oscar for Best 0:12:03.400 --> 0:12:06.600 Animated Feature Film. Also, it won an Oscar for Best 0:12:06.640 --> 0:12:10.640 Original Score. And that's really when people were beginning to ask, 0:12:10.840 --> 0:12:14.520 is any movie animated film besides Pisarre ever going to 0:12:14.600 --> 0:12:18.280 have a shot at winning that Best Animated category. The answer, 0:12:18.360 --> 0:12:20.360 by the ways, yes, but at the time it looked 0:12:20.360 --> 0:12:24.120 like Pixar could not produce anything but a surefire hit. 0:12:25.280 --> 0:12:28.000 Um In two thousand nine ed when cat Mole was 0:12:28.160 --> 0:12:31.079 honored by the Academy of Motion Pictures and Sciences with 0:12:31.280 --> 0:12:34.120 the Gordon E. Saw Your Award, which is an award 0:12:34.200 --> 0:12:37.120 for an individual in the motion picture industry whose technological 0:12:37.200 --> 0:12:41.640 contributions have brought credit to the industry as a whole. Now, 0:12:42.600 --> 0:12:45.079 cat Mole, of course, had been working on lots of 0:12:45.200 --> 0:12:50.720 different technologies related to film, not just directly to computer graphics, 0:12:50.840 --> 0:12:55.280 but other applications as well, and as a result, there 0:12:55.320 --> 0:12:57.280 were a lot of movie studios that were able to 0:12:57.360 --> 0:13:02.000 do some pretty incredible things using the technology he had invented, 0:13:02.600 --> 0:13:04.800 so it was not a big surprise that he was 0:13:04.880 --> 0:13:08.920 honored with this award. Also in two thousand nine, Pixar 0:13:09.040 --> 0:13:13.520 created a wholly owned subsidiary called Pixar Canada because it 0:13:13.600 --> 0:13:17.280 was located in Mexico, just kidding, it was in Vancouver. 0:13:17.920 --> 0:13:21.400 The main purpose for Pixar Canada was to create short 0:13:21.440 --> 0:13:25.719 films based off the characters from Pixar feature films, So 0:13:26.400 --> 0:13:31.160 Pixar Canada would be focusing on short cartoons that had 0:13:31.280 --> 0:13:34.679 characters from Toy Story or Monsters Incorporator that kind of thing, 0:13:35.520 --> 0:13:39.400 and uh it freed up animators at the main Pixar 0:13:39.440 --> 0:13:45.199 headquarters to to focus on feature length films. In Pixar 0:13:45.320 --> 0:13:50.079 debuts Toy Story three, which of course breaks even more records. 0:13:50.200 --> 0:13:53.160 It becomes the highest grossing animated film of all time 0:13:53.360 --> 0:13:57.240 at that point. It also became the first animated film 0:13:57.320 --> 0:14:00.360 to rake in a billion dollars at the box office. 0:14:01.000 --> 0:14:04.880 It won the Best Animated Feature Oscar, and the composer 0:14:05.040 --> 0:14:08.320 Randy Newman won an Oscar for the song We Belong Together. 0:14:09.320 --> 0:14:14.840 Um so very critically praised film, the first two films 0:14:14.840 --> 0:14:16.959 in the Toy Story series really explore the idea of 0:14:17.440 --> 0:14:19.720 if a toy could think and feel, what would it 0:14:20.160 --> 0:14:23.240 feel if it were lost or if it had been stolen. 0:14:24.040 --> 0:14:27.000 The third film explores the idea of how what a 0:14:27.080 --> 0:14:32.840 toy feel if the owner had outgrown the toy. Kind 0:14:32.880 --> 0:14:36.400 of explored a little bit in Toy Story two with Jesse, 0:14:36.920 --> 0:14:40.120 but now the characters of Woody and Buzz Lightyear have 0:14:40.280 --> 0:14:43.040 to deal with that. So some of these are pretty 0:14:43.080 --> 0:14:46.720 heavy concepts, the idea of being abandoned and mortality and 0:14:47.480 --> 0:14:52.520 purpose in life, and it's all being explored by three 0:14:52.600 --> 0:14:57.920 D animated toys. But what was the big challenge in 0:14:58.040 --> 0:15:00.000 this film? We've talked in some of the other movie 0:15:00.200 --> 0:15:02.840 is about you know, for in Monsters, Inc. Was a 0:15:02.880 --> 0:15:05.840 big challenge getting those underwater effects just right and finding 0:15:05.920 --> 0:15:09.760 Nemo that was a big challenge. Was there anything left 0:15:09.920 --> 0:15:12.560 to be challenging by the time they hit Toys Story three, 0:15:12.840 --> 0:15:15.920 well look going to Pixar. Yeah, And the big challenge 0:15:15.960 --> 0:15:19.200 they had at that point was creating a meaningful exchange 0:15:19.560 --> 0:15:24.720 between human characters. As Andy gives his toys away to 0:15:24.920 --> 0:15:27.920 the little girl Bonnie at the end. Spoiler alert, if 0:15:27.960 --> 0:15:30.040 you haven't watched Toy Story three by now, but it's 0:15:30.080 --> 0:15:32.800 been out for six years. To come on, uh, that 0:15:33.080 --> 0:15:35.480 that moment had to be really meaningful, and it's a 0:15:35.520 --> 0:15:40.600 moment between two human characters. Earlier Toy Story films had 0:15:40.680 --> 0:15:43.960 received criticism that the human characters looked kind of like 0:15:44.080 --> 0:15:47.760 toys too, they didn't really look like people. And Pixar 0:15:47.840 --> 0:15:50.920 had created human characters in previous films like Up and 0:15:51.040 --> 0:15:54.920 The Incredibles, but those characters have been pretty stylized, like 0:15:56.040 --> 0:15:59.400 they're not not so human, like, you know, they're supposed 0:15:59.400 --> 0:16:02.040 to be people, but they don't really look like people. 0:16:03.520 --> 0:16:06.520 But Picks are also new. They couldn't go too far 0:16:06.600 --> 0:16:09.320 in the other direction. They couldn't make Andy look too 0:16:09.560 --> 0:16:14.200 human or Bonnie look too human. And that's because of 0:16:14.560 --> 0:16:18.560 the uncanny valley problem. And if you've never heard that 0:16:18.760 --> 0:16:22.840 term before, it really started to be applied in robotics, 0:16:23.000 --> 0:16:26.160 but the same is true for computer animation. The idea 0:16:26.240 --> 0:16:29.680 is that uncanny valley is the closer you get to 0:16:29.880 --> 0:16:35.040 looking like a human without getting it absolutely right, the 0:16:35.200 --> 0:16:39.600 more unsettling it is. Typically, the real problem is with 0:16:39.720 --> 0:16:42.640 the eyes. The eyes, if they don't look like they're 0:16:42.720 --> 0:16:46.760 really like there's any life behind those eyes. It looks 0:16:46.800 --> 0:16:51.520 like there's a an animated corpse acting in front of you, 0:16:51.720 --> 0:16:55.160 which for most people is probably not something that is 0:16:55.320 --> 0:17:01.960 really entertaining or uh fun to watch. It's unsettling. So 0:17:02.520 --> 0:17:05.440 this has been a real issue with robotics and with animation. 0:17:06.000 --> 0:17:10.399 How do you create a character that is believable and 0:17:10.680 --> 0:17:15.919 realistic enough so that people can empathize with that character 0:17:16.280 --> 0:17:18.880 and feel something when they see that character going through 0:17:20.000 --> 0:17:24.879 various issues without going so realistic that you make everyone 0:17:25.160 --> 0:17:28.720 kind of squirm in their seats because it's something is 0:17:28.800 --> 0:17:33.840 almost but not quite perfect. It's just wrong enough to 0:17:34.000 --> 0:17:39.440 be not good right like like it's it's you don't 0:17:39.520 --> 0:17:41.760 want to look at it. And if you've seen certain 0:17:42.200 --> 0:17:47.240 computer animated films that have pretty realistic depictions of humans 0:17:48.880 --> 0:17:52.639 where things are just slightly off, polar Express jumps to 0:17:52.720 --> 0:17:55.960 mind for me, you know what I'm talking about. It 0:17:56.119 --> 0:17:59.520 just it's something doesn't look right and it is unsettling. 0:18:00.760 --> 0:18:04.720 So they had to get that uh fixed for Toy 0:18:04.800 --> 0:18:07.400 Story three because the scene is the end of the movie. 0:18:07.480 --> 0:18:09.800 It's it's really important that they got the scene right. 0:18:10.359 --> 0:18:12.800 So it took them a lot of time to work 0:18:12.920 --> 0:18:16.680 on designs for the characters that would work and do 0:18:16.800 --> 0:18:20.440 the story justice without making the audience feel uneasy in 0:18:20.600 --> 0:18:26.920 the process. And capturing that moment of Andy coming to 0:18:27.000 --> 0:18:30.160 the realization that he needs to let go of his toys. 0:18:31.440 --> 0:18:33.720 That was a huge challenge to that's that would be 0:18:33.800 --> 0:18:36.879 a tough acting gig to ask a human being. To 0:18:36.960 --> 0:18:41.040 ask a human I need you to show us that 0:18:41.200 --> 0:18:45.080 your character has realized it's time to let go of 0:18:45.160 --> 0:18:48.679 a beloved piece of childhood, because it's the right thing 0:18:48.800 --> 0:18:52.040 to do, both for the child you're giving the toy 0:18:52.160 --> 0:18:55.320 to and for the toy itself. I need to see that. 0:18:56.000 --> 0:18:58.159 That would be tough to ask a human actor to do. 0:18:58.359 --> 0:19:00.359 I mean, good human actors would be to do it, 0:19:00.600 --> 0:19:03.080 but it's not easy. It's even harder when you're talking 0:19:03.080 --> 0:19:06.480 about animation, because that's a huge group of people all 0:19:06.560 --> 0:19:10.200 working together to try and make that happen, and getting 0:19:10.280 --> 0:19:14.280 all those little details right is enormously challenging from a 0:19:14.359 --> 0:19:20.240 technical standpoint. Now and behind the scenes footage for Toy 0:19:20.359 --> 0:19:25.360 Story three, they reveal that the entire movie has one 0:19:26.320 --> 0:19:31.160 nine thousand, six hundred eighty frames in it, and each 0:19:31.480 --> 0:19:34.760 object in the film, every single thing you see in 0:19:34.840 --> 0:19:38.920 the movie had to be built in in several stages 0:19:39.000 --> 0:19:43.080 by several teams of people, even if it only appeared 0:19:43.359 --> 0:19:46.600 in a second or two of on screen time. So 0:19:47.280 --> 0:19:57.280 every single individual component had to be designed, sketched out, modeled, lit, textured, colored. 0:19:58.040 --> 0:20:01.400 All of these things all had to happen for all 0:20:02.520 --> 0:20:05.520 of the different pieces, for all the frames of the movie. 0:20:05.880 --> 0:20:08.160 And then you start to understand, Oh, now, I see 0:20:09.040 --> 0:20:13.520 why making a movie like this takes five years. Uh. 0:20:13.840 --> 0:20:17.040 That same year that Toy Story three came out, they 0:20:17.480 --> 0:20:21.320 published a short called Day and Night. And that also 0:20:21.359 --> 0:20:23.800 also that same year, John Laster would become the first 0:20:23.920 --> 0:20:27.040 producer of animated films to win the Producers Guild of 0:20:27.119 --> 0:20:32.320 America David O. Selznick Achievement Award in Motion Pictures. So 0:20:32.680 --> 0:20:36.520 Pixar again becomes a pioneer in the animation industry, really 0:20:36.720 --> 0:20:41.920 helping gain more legitimacy in the eyes of other parts 0:20:41.960 --> 0:20:44.040 of the industry. For a long time, I would argue 0:20:44.080 --> 0:20:46.600 that animated films have been kind of looked down upon 0:20:46.760 --> 0:20:51.040 by certain, uh, certain other areas of the film industry. 0:20:52.119 --> 0:20:55.000 I think that both Disney in general and picks Are 0:20:55.040 --> 0:20:57.800 in particular have done a lot to turn that around. 0:20:58.160 --> 0:21:01.600 Other studios also have done great work, DreamWorks among them. 0:21:01.960 --> 0:21:03.960 I mean, it's not like Pixar and Disney are the 0:21:04.040 --> 0:21:08.280 only two entities out there, but they really did pave 0:21:08.400 --> 0:21:12.120 the way for a lot of other successes. In two 0:21:12.160 --> 0:21:17.680 thousand eleven, Pixar turns twenty five and releases Cars To. Also, 0:21:17.800 --> 0:21:21.440 they released the first toy story short cartoon, Hawaiian Vacation, 0:21:22.160 --> 0:21:25.879 and another short film called La Luna that year. Now 0:21:26.000 --> 0:21:28.880 Lassner would direct Cars To, which was the first time 0:21:29.000 --> 0:21:31.880 he had directed a film since the original Cars, which 0:21:31.920 --> 0:21:35.159 came out I think two thousand six. Uh. He had 0:21:35.160 --> 0:21:37.800 directed some of the other shorter cartoons Pixar had produced 0:21:37.840 --> 0:21:40.639 between Cars and Cars Too, but he hadn't directed a 0:21:40.680 --> 0:21:46.000 feature length film since Cars. Out of the seventeen movies 0:21:46.119 --> 0:21:50.439 Pixar has made, Cars ranks number fifteen at the box 0:21:50.520 --> 0:21:53.480 office in the United States, so it's not at the 0:21:53.560 --> 0:21:57.000 very bottom, but it's two up from the very bottom. Uh. 0:21:57.160 --> 0:21:59.920 It ranks number nine globally, however, so nine on a 0:22:00.080 --> 0:22:03.960 seventeen when you look at worldwide box office, So what 0:22:04.119 --> 0:22:08.560 two films actually got less at the box office than 0:22:09.320 --> 0:22:12.800 Cars Too. That would be a Bug's Life, which was 0:22:13.000 --> 0:22:17.160 Pixar's second film made a little less than Toy Story did, 0:22:17.920 --> 0:22:20.639 and The Good Dinosaur, which is at the bottom of 0:22:20.760 --> 0:22:24.760 both the US and the global box office lists. We'll 0:22:24.800 --> 0:22:26.879 get to The Good Dinosaur in just a little bit 0:22:27.240 --> 0:22:34.360 and talk about the problems that movie had. In two 0:22:34.400 --> 0:22:39.240 thousand twelve, Brave is released by Pixar along with La Luna, 0:22:39.320 --> 0:22:42.160 which had been premiered the year before, but officially released 0:22:42.200 --> 0:22:45.200 with a movie in two thousand and twelve. Brave also 0:22:45.280 --> 0:22:48.159 would win the Oscar for Best Animated Feature. Brave was 0:22:48.280 --> 0:22:51.920 co directed by Brenda Chapman, who was the first woman 0:22:52.000 --> 0:22:55.680 to direct a Pixar film. She had previously been the 0:22:55.760 --> 0:22:59.560 first woman to direct a major studio animated picture, but 0:22:59.680 --> 0:23:02.440 that was with DreamWorks. She was one of three directors 0:23:02.520 --> 0:23:05.480 for The Prince of Egypt, and she was the first 0:23:05.560 --> 0:23:09.160 woman director to win an Academy Award for Best Animated 0:23:09.240 --> 0:23:13.680 Feature with Brave. That being said, she was not director 0:23:13.760 --> 0:23:17.119 from start to finish. She had the idea of for Brave. 0:23:17.320 --> 0:23:19.840 She based it off her own relationship with her daughter, 0:23:20.920 --> 0:23:24.959 but there were some real creative issues behind the scenes 0:23:25.119 --> 0:23:27.240 while they were working on the story. So during the 0:23:27.240 --> 0:23:31.720 production of the film, Chapman was essentially fired from the production. 0:23:31.840 --> 0:23:36.440 According to Chapman herself and Mark Andrews stepped in her place. 0:23:36.800 --> 0:23:40.560 They both got co director credit, but she was no 0:23:40.760 --> 0:23:44.399 longer part of the production, and she stayed on with 0:23:44.520 --> 0:23:48.440 Pixar until the movie came out, and then she left 0:23:49.119 --> 0:23:51.880 and for a while she worked as a consultant with Lucasfilm. 0:23:52.040 --> 0:23:54.080 She went back to dream Works for a while. She's 0:23:54.119 --> 0:23:57.359 done some other stuff since then, but yeah, she was 0:23:57.480 --> 0:24:00.720 not on for the entire film. Still was the first 0:24:00.760 --> 0:24:05.560 female director of a Pixar movie. Now, for Brave, they 0:24:05.600 --> 0:24:09.360 actually had to go back and create a new hair simulator. 0:24:09.640 --> 0:24:12.240 They built one for Monsters Inc more than a know 0:24:12.520 --> 0:24:16.760 around a decade earlier, but they needed a new one. 0:24:16.880 --> 0:24:23.280 Why because Meredith's hair is curly, and curly hair moves 0:24:23.320 --> 0:24:27.280 in a different way than straight hair, and they could 0:24:27.359 --> 0:24:31.399 not get curly hair to work properly using the old simulator, 0:24:32.960 --> 0:24:35.560 so they had to make a new one. In fact, 0:24:35.600 --> 0:24:37.879 it was so hard for them to get the curly 0:24:38.000 --> 0:24:40.840 hair to behave the way they wanted it to for 0:24:40.960 --> 0:24:43.960 a while, they actually talked about giving Merida a haircut, 0:24:44.680 --> 0:24:47.600 but that was met with an intense negative reaction for 0:24:47.720 --> 0:24:49.760 pretty much everyone else in the company, and they said, no, 0:24:49.840 --> 0:24:52.239 you gotta get this right. So it took more than 0:24:52.320 --> 0:24:56.200 a year just to get the hair right, to build 0:24:56.240 --> 0:25:00.239 a computer simulation that could take curly hair and make 0:25:00.280 --> 0:25:03.080 it behave in a natural way. When you think about 0:25:03.119 --> 0:25:05.480 the nature of curly hair, you can understand why. It's 0:25:05.520 --> 0:25:08.040 not like it's just a wire that's got some weight 0:25:08.160 --> 0:25:11.040 to it that needs to move around. That curl is 0:25:11.119 --> 0:25:14.600 going to extend or contract based upon the various forces 0:25:14.720 --> 0:25:18.240 that are acting upon it. It's a complicated thing to simulate, 0:25:19.320 --> 0:25:20.880 and you have to do it for a character who's 0:25:20.920 --> 0:25:24.840 in nearly every frame of the movie, and so there's 0:25:24.840 --> 0:25:27.520 a lot of motion that goes in that even when 0:25:27.600 --> 0:25:29.680 she has to have her hair pulled back, she still 0:25:29.720 --> 0:25:33.400