1 00:00:54,637 --> 00:00:56,722 (WHISTLING) 2 00:01:03,063 --> 00:01:04,188 (THUNDER CLAPPING) 3 00:01:04,272 --> 00:01:05,981 (WIND HOWLING) 4 00:01:06,733 --> 00:01:08,650 And make a wish. . . 5 00:01:11,196 --> 00:01:12,821 But you'll be hurt. You'll be killed! 6 00:01:12,906 --> 00:01:15,115 John Henry's dead! 7 00:01:17,368 --> 00:01:18,535 (TRAIN WHISTLE BLOWING) 8 00:01:20,497 --> 00:01:22,289 ELMER FUDD: That was the wabbit. 9 00:01:23,666 --> 00:01:25,501 Fifteen puppies! 10 00:01:42,018 --> 00:01:44,895 To infinity and beyond! 11 00:02:08,086 --> 00:02:11,547 NARRATOR: For the last 20 years, a group of artists and scientists 12 00:02:11,631 --> 00:02:14,091 have transformed two-dimensional drawings 13 00:02:14,175 --> 00:02:16,969 into their own three-dimensional worlds. 14 00:02:19,514 --> 00:02:20,722 BOO: Kitty! SULLEY: Boo! 15 00:02:20,807 --> 00:02:22,975 CELIA: Oh, Googly Bear. 16 00:02:23,518 --> 00:02:25,352 SYNDROME: It's Syndrome. 17 00:02:25,436 --> 00:02:26,728 MR. INCREDIBLE: Show time! 18 00:02:28,189 --> 00:02:30,149 DORY: Just keep swimming. Just keep swimming. Whee! 19 00:02:30,233 --> 00:02:31,150 MARLIN: Dory! 20 00:02:31,234 --> 00:02:33,235 DORY: Gotta go faster if you wanna win! 21 00:02:34,154 --> 00:02:36,280 JESSlE: Yee-haw! 22 00:02:36,364 --> 00:02:39,825 WOODY: (GASPS) Ride like the wind, Bullseye! 23 00:02:40,493 --> 00:02:42,661 (HORSE GALLOPING) 24 00:02:45,999 --> 00:02:48,208 JOHN LASSETER: The art challenges technology, 25 00:02:48,293 --> 00:02:50,752 technology inspires the art. 26 00:02:50,837 --> 00:02:52,713 STEVE JOBS: The best scientists and engineers 27 00:02:52,797 --> 00:02:55,507 are just as creative as the best storytellers. 28 00:02:55,592 --> 00:02:58,760 ED CATMULL: We've got characters that we want to come alive. 29 00:03:02,348 --> 00:03:04,141 NARRATOR: Transforming the hand-drawn line 30 00:03:04,225 --> 00:03:07,060 into a new art form was no easy task. 31 00:03:07,145 --> 00:03:10,105 Over the last 20 years, these artists faced struggles 32 00:03:10,190 --> 00:03:13,275 and the risk of failure every step of the way. 33 00:03:14,944 --> 00:03:19,364 This marriage of art and science was the combined dream of three men, 34 00:03:19,449 --> 00:03:22,826 a creative scientist, Ed Catmull, 35 00:03:22,952 --> 00:03:26,121 a visionary entrepreneur, Steve Jobs, 36 00:03:26,206 --> 00:03:29,541 and a talented artist, John Lasseter. 37 00:03:29,626 --> 00:03:32,586 Together they have revolutionized an industry 38 00:03:32,670 --> 00:03:36,715 and blazed an unprecedented record in Hollywood history. 39 00:03:36,799 --> 00:03:38,967 This is The Pixar Story. 40 00:03:43,890 --> 00:03:45,432 LASSETER: Ford's has a bullet nose. 41 00:03:45,516 --> 00:03:48,143 NARRATOR: The creative force behind Pixar Studios 42 00:03:48,228 --> 00:03:51,271 and the director of Toy Story , John Lasseter, 43 00:03:51,356 --> 00:03:53,315 helped pioneer this new art form 44 00:03:53,399 --> 00:03:56,985 from an early love of bringing drawings to life. 45 00:03:57,070 --> 00:03:58,403 LASSETER: When I was growing up, 46 00:03:58,488 --> 00:04:01,406 I loved cartoons more than anything else. 47 00:04:01,491 --> 00:04:03,825 And when I was in high school, 48 00:04:03,910 --> 00:04:07,996 I found this book, this old, ratty book, called The Art of Animation. 49 00:04:08,498 --> 00:04:12,501 And it was about the Disney Studios and how they made animated films. 50 00:04:12,585 --> 00:04:15,796 And it was one of those things, that it just dawned on me, 51 00:04:16,464 --> 00:04:20,050 people make cartoons for a living. 52 00:04:20,134 --> 00:04:23,553 They actually get paid to make cartoons. 53 00:04:23,638 --> 00:04:25,389 And I thought, "That's what I wanna do." 54 00:04:25,473 --> 00:04:28,350 Right then, right there, it was like I knew that's what I wanted to do. 55 00:04:29,727 --> 00:04:33,105 NARRATOR: In 1975, John applied to CalArts, 56 00:04:33,189 --> 00:04:36,775 an art college founded by Walt Disney in 1961 . 57 00:04:36,859 --> 00:04:38,986 John was accepted into the first program 58 00:04:39,070 --> 00:04:42,614 that taught Disney-style character animation. 59 00:04:42,699 --> 00:04:45,242 LASSETER: What they were doing is bringing out of retirement 60 00:04:45,326 --> 00:04:48,870 all of these amazing Disney artists 61 00:04:48,955 --> 00:04:52,082 to teach this class, to get this program started. 62 00:04:52,166 --> 00:04:55,544 It dawned on me pretty quickly how special this was. 63 00:04:57,380 --> 00:04:58,797 NARRATOR: Among John's classmates 64 00:04:58,881 --> 00:05:02,801 were future directors Tim Burton, John Musker 65 00:05:04,220 --> 00:05:06,596 and Brad Bird. 66 00:05:06,681 --> 00:05:09,099 Everyone was kind of on fire about animation. 67 00:05:09,183 --> 00:05:10,976 We didn't wanna leave it at the end of the day. 68 00:05:11,644 --> 00:05:13,603 And none of us had cars, 69 00:05:13,688 --> 00:05:15,772 so, we were kind of stuck there. 70 00:05:16,566 --> 00:05:19,735 When the teachers went home, we taught ourselves. 71 00:05:22,530 --> 00:05:24,698 MUSKER: It was a very collaborative spirit at CalArts. 72 00:05:24,782 --> 00:05:27,034 Everybody showed everybody their film 73 00:05:27,118 --> 00:05:29,077 and everybody was kind of their own director. 74 00:05:29,162 --> 00:05:31,455 But it was totally supportive 75 00:05:31,539 --> 00:05:33,457 and you'd get creative ideas from the other people. 76 00:05:33,541 --> 00:05:35,334 And we all learned as much from each other 77 00:05:35,418 --> 00:05:37,169 as we did from the instructors. 78 00:05:37,253 --> 00:05:39,421 NARRATOR: The teachers at CalArts were none other 79 00:05:39,505 --> 00:05:42,716 than Disney's legendary collaborators from the 1930s, 80 00:05:42,800 --> 00:05:44,801 known as the "Nine Old Men," 81 00:05:44,886 --> 00:05:48,638 who taught the essence of great character animation. 82 00:05:48,765 --> 00:05:50,265 FRANK THOMAS: We call it the warmth. 83 00:05:50,350 --> 00:05:53,727 We call it the inner feelings of the character. 84 00:05:53,978 --> 00:05:57,814 It all comes back to their heart, and then how they think about it. 85 00:05:58,441 --> 00:05:59,524 And all those things. 86 00:05:59,609 --> 00:06:03,612 How does a character feel, and why does he feel that way? 87 00:06:06,282 --> 00:06:08,033 BlRD: The Nine Old Men, 88 00:06:08,117 --> 00:06:12,329 these guys were unbelievable masters of this art form, 89 00:06:12,413 --> 00:06:15,791 and yet every single one of them had the attitude of a student. 90 00:06:19,337 --> 00:06:22,798 NARRATCR: As a student, John immersed himself in everything Disney, 91 00:06:22,882 --> 00:06:25,801 getting a summer job as a sweeper in Tomorrowland. 92 00:06:25,885 --> 00:06:29,554 ANNOUNCER: Tomorrowland Station! All out for the Magic Kingdom. 93 00:06:29,639 --> 00:06:31,890 LASSETER: Disneyland was a fantastic place to work. 94 00:06:31,974 --> 00:06:34,017 Everybody was young working there and it was just. . . 95 00:06:34,102 --> 00:06:37,396 We had a blast. It was really, really fun. 96 00:06:37,480 --> 00:06:38,688 NARRATOR: And he was soon promoted 97 00:06:38,773 --> 00:06:41,983 to a ride operator on Disneyland Jungle Cruise, 98 00:06:42,068 --> 00:06:44,903 before returning to studies at CalArts. 99 00:06:46,697 --> 00:06:47,823 LASSETER: There's a few times in my life 100 00:06:47,907 --> 00:06:49,825 I feel like I'm in the right place at the right time. 101 00:06:49,909 --> 00:06:53,662 And definitely when we were at CalArts, that was it. 102 00:06:53,746 --> 00:06:55,747 Okay, everybody. Wake up, wake up. 103 00:06:55,832 --> 00:06:57,833 Come on, everybody. Wake up! 104 00:06:57,917 --> 00:07:00,585 NARRATOR: John animated two short films at CalArts. 105 00:07:00,670 --> 00:07:03,422 Lady and the Lamp is about a lamp in a lamp store 106 00:07:03,506 --> 00:07:07,676 who accidentally replaces its broken bulb with a bottle of gin. 107 00:07:07,760 --> 00:07:09,511 (SPUTTERING) 108 00:07:09,846 --> 00:07:11,054 Oh, no. 109 00:07:11,305 --> 00:07:12,305 (STAMMERS) 110 00:07:12,390 --> 00:07:14,558 My lamps! My shop! 111 00:07:14,892 --> 00:07:15,934 (SOBS) 112 00:07:16,018 --> 00:07:17,686 My gin! 113 00:07:18,521 --> 00:07:19,521 (HlCCUPS) 114 00:07:20,982 --> 00:07:22,983 NARRATOR: John's second short film, Nitemare, 115 00:07:23,067 --> 00:07:27,279 is about a boy who sees monsters when he turns out the lights. 116 00:07:27,363 --> 00:07:31,032 Both films received back-to-back Student Academy Awards, 117 00:07:31,117 --> 00:07:32,617 an unprecedented record 118 00:07:32,702 --> 00:07:36,288 that instantly propelled John into the animation spotlight. 119 00:07:36,372 --> 00:07:37,330 JOHN DAVlDSON: This is your second year winning? 120 00:07:37,415 --> 00:07:38,415 LASSETER: Yeah. 121 00:07:38,499 --> 00:07:42,627 ls there a knack to making an award-winning short film for a contest, 122 00:07:42,712 --> 00:07:45,547 or is this the real world, could this film make it commercially? 123 00:07:45,673 --> 00:07:47,090 I think it could make it commercially, 124 00:07:47,175 --> 00:07:49,342 because I think the knack that you're talking about 125 00:07:49,427 --> 00:07:51,636 is basically entertainment. I think that's what. . . 126 00:07:51,721 --> 00:07:53,472 People pay money to go see a film that's entertaining. 127 00:07:57,477 --> 00:08:00,687 NARRATOR: John's success landed him his dream job 128 00:08:00,771 --> 00:08:02,731 at the Walt Disney Studios. 129 00:08:04,525 --> 00:08:05,984 Hello. 130 00:08:06,068 --> 00:08:07,569 I'm Randy Cartwright. 131 00:08:07,653 --> 00:08:10,989 -And this is Ron Miller! -Randy, how are you? 132 00:08:11,073 --> 00:08:12,657 -How are you? -Good to see you. This is Randy. 133 00:08:12,742 --> 00:08:14,034 Great way to start the film! 134 00:08:15,203 --> 00:08:17,329 Well, we're off to a good start. 135 00:08:17,413 --> 00:08:19,998 Here it is, April 9, 1980. 136 00:08:20,583 --> 00:08:23,210 This is the past to all you folks out there, 137 00:08:23,586 --> 00:08:26,630 and we're gonna go inside and see what it's like. 138 00:08:26,756 --> 00:08:28,298 Come on. Come on! 139 00:08:30,051 --> 00:08:32,594 GLEN KEANE: Walking into the animation building 140 00:08:32,678 --> 00:08:35,514 that was built with the money from Snow White and the Seven Dwarves, 141 00:08:35,765 --> 00:08:37,766 when I came in there in the '70s, 142 00:08:38,559 --> 00:08:41,019 I just sensed this history around. 143 00:08:41,103 --> 00:08:43,355 All of the experience that had gone on before 144 00:08:43,439 --> 00:08:46,483 was somehow impermeated into the walls. 145 00:08:46,567 --> 00:08:47,859 LASSETER: Hi, Glen. How are you? This is... 146 00:08:47,944 --> 00:08:48,944 CARTWRlGHT: Glen. Glen Keane. 147 00:08:49,028 --> 00:08:50,070 -Thanks, John. -LASSETER: ...Glen Keane. 148 00:08:50,154 --> 00:08:51,947 He is our directing animator. 149 00:08:52,031 --> 00:08:54,157 CARTWRlGHT: Cur cameraman, John Lasseter. 150 00:08:54,242 --> 00:08:56,034 KEANE: It was so great to meet John. 151 00:08:56,118 --> 00:08:58,537 There was this immediate sharing of information 152 00:08:58,621 --> 00:09:00,747 of your passion and excitement for animation, 153 00:09:00,831 --> 00:09:03,708 and he knew a lot about the history and the past. 154 00:09:03,793 --> 00:09:05,752 NARRATOR: As his first animation at Disney, 155 00:09:05,836 --> 00:09:07,879 John handled the introduction of a lead character 156 00:09:07,964 --> 00:09:11,299 in the 1981 feature The Fox and the Hound. 157 00:09:11,384 --> 00:09:15,428 Together, John and Glen collaborated on the climactic fight scene. 158 00:09:15,513 --> 00:09:17,055 But increasing budget cutbacks 159 00:09:17,139 --> 00:09:20,267 had severely limited the multi-plane dimensional look 160 00:09:20,351 --> 00:09:23,144 Walt Disney had achieved decades earlier. 161 00:09:23,229 --> 00:09:25,772 KEANE: Animation was really at a point 162 00:09:25,856 --> 00:09:28,483 where it seemed like it was a dying art form. 163 00:09:28,568 --> 00:09:31,152 All of the richness and the atmosphere 164 00:09:31,237 --> 00:09:34,864 was budgeted out of our films, and it was so frustrating. 165 00:09:35,992 --> 00:09:37,367 (BUZZING) 166 00:09:38,286 --> 00:09:40,996 NARRATOR: While the animation department felt stagnant, 167 00:09:41,080 --> 00:09:45,417 Tron, a live-action feature using the latest computer technology, 168 00:09:45,501 --> 00:09:48,295 was screened for employees at the studio. 169 00:09:49,839 --> 00:09:51,464 (ENGINES REWING) 170 00:09:51,549 --> 00:09:54,134 Watch it, watch it! Auuughhh! 171 00:09:55,011 --> 00:09:58,096 There Tron was, these light-cycles. . . 172 00:09:58,180 --> 00:10:00,765 Moving in and out of the scene and it's. . . 173 00:10:00,850 --> 00:10:03,643 And we came back to my room and just sat there 174 00:10:03,728 --> 00:10:07,272 and the depression started to turn towards a frustration, 175 00:10:07,356 --> 00:10:09,107 like, "Well, why can't we?" 176 00:10:09,191 --> 00:10:12,652 "Why can't we do that? Wouldn't it be cool, if?" 177 00:10:12,737 --> 00:10:15,030 LASSETER: Computer animation excited me so much, 178 00:10:15,114 --> 00:10:16,448 and not excited about what I was seeing, 179 00:10:16,532 --> 00:10:17,741 but the potential I saw in all this. 180 00:10:17,825 --> 00:10:19,242 I was just amazed by it. 181 00:10:19,327 --> 00:10:21,494 And we started thinking, "Wouldn't it be cool if 182 00:10:21,579 --> 00:10:24,581 "we had a background that was moving like Tron did, 183 00:10:24,665 --> 00:10:27,208 "but we animated the character by hand." 184 00:10:27,293 --> 00:10:29,085 It had never been done before, 185 00:10:29,170 --> 00:10:30,503 but there's something about John 186 00:10:30,588 --> 00:10:32,547 that you kind of get the feeling that that doesn't matter 187 00:10:32,632 --> 00:10:33,923 I mean, if it had never been done before, 188 00:10:34,008 --> 00:10:35,675 doesn't mean it can't be done. 189 00:10:35,760 --> 00:10:37,510 NARRATOR: John and Glen soon got approval 190 00:10:37,595 --> 00:10:41,139 to experiment with animation and computerized backgrounds. 191 00:10:41,223 --> 00:10:43,433 But at the studio there was a growing fear 192 00:10:43,517 --> 00:10:46,811 that the computer was going to make animators obsolete. 193 00:10:46,896 --> 00:10:50,565 THOMAS: I'd say 95% of the fellas at the studio were saying, 194 00:10:50,650 --> 00:10:55,445 "You'd never get me to do anything like that, they're ruining everything!" 195 00:10:55,529 --> 00:10:59,240 And I talked to John Lasseter about the things he was doing, 196 00:10:59,325 --> 00:11:01,743 I said, "'Gee, if you get that much imagination 197 00:11:01,827 --> 00:11:04,746 "and new types of movement done on a computer, 198 00:11:04,830 --> 00:11:07,874 "but not by the pencil, you'll be ahead of the game." 199 00:11:07,958 --> 00:11:10,168 The potential was there at that time, 200 00:11:10,252 --> 00:11:13,838 but no one wanted to do it except for Lasseter. 201 00:11:14,674 --> 00:11:16,007 NARRATOR: John and his story team 202 00:11:16,092 --> 00:11:18,134 were given the approval to develop a script 203 00:11:18,219 --> 00:11:21,262 based on the short story, The Brave Little Toaster. 204 00:11:21,347 --> 00:11:24,182 It would mark John's feature directorial debut, 205 00:11:24,266 --> 00:11:25,809 and his own opportunity 206 00:11:25,893 --> 00:11:30,522 to further explore the blending of computer and traditional animation. 207 00:11:30,606 --> 00:11:31,856 After eight months of development, 208 00:11:31,941 --> 00:11:35,694 John was finally asked to present the story to the head of the studio. 209 00:11:35,778 --> 00:11:37,237 LASSETER: They'd said, "Okay, it's time to show 210 00:11:37,321 --> 00:11:39,948 "the head of the studio at the time Brave Little Toaster." 211 00:11:40,032 --> 00:11:43,034 So we got the presentation together, he walks in with Ed Hansen, 212 00:11:43,119 --> 00:11:46,246 and he had this scowI on his face from the beginning, no laugh, 213 00:11:46,330 --> 00:11:47,706 we pitched the whole thing 214 00:11:47,790 --> 00:11:50,834 and he stood up and he asked, "Well, how much is this gonna cost?" 215 00:11:50,918 --> 00:11:54,045 And I said, "Well, it's with computer animation, 216 00:11:54,130 --> 00:11:59,342 "it's gonna be, you know, no more than the regular budget of a film." 217 00:11:59,427 --> 00:12:02,220 And he went, "The only reason to do computer animation 218 00:12:02,304 --> 00:12:05,932 "is if we could do it faster or cheaper." 219 00:12:06,016 --> 00:12:08,226 And he walked up and he walked out. 220 00:12:08,310 --> 00:12:11,146 And it was like, "What?" You know? 221 00:12:11,230 --> 00:12:15,567 And so about five minutes later I get this call, 222 00:12:15,651 --> 00:12:18,820 and Ed Hansen calls me down to his office. 223 00:12:18,904 --> 00:12:22,866 And I come down, and he said, 224 00:12:22,950 --> 00:12:25,744 "Well, John, your project is now complete, 225 00:12:25,828 --> 00:12:29,831 "so your employment with the Disney Studios is now terminated." 226 00:12:34,628 --> 00:12:36,254 DON HAHN: He got let go, he got fired, 227 00:12:36,338 --> 00:12:39,090 because, honestly, the studio didn't know what to do with him. 228 00:12:39,175 --> 00:12:40,759 Even at that early day, 229 00:12:40,843 --> 00:12:43,094 this Disney Studio that he dreamed about working at, 230 00:12:44,138 --> 00:12:47,265 turned out to be a really dysfunctional place, in reality. 231 00:12:47,349 --> 00:12:49,976 And he was a born director, he was a born leader, 232 00:12:50,060 --> 00:12:51,603 and his expectation and passion 233 00:12:51,687 --> 00:12:54,439 excelled what the studio was doing then. 234 00:12:55,858 --> 00:12:59,444 During a lot of the early days, artists were frightened of the computer, 235 00:12:59,528 --> 00:13:01,279 because they were under the impression 236 00:13:01,363 --> 00:13:03,364 that it somehow was gonna take their jobs away. 237 00:13:03,449 --> 00:13:05,408 And we spent a lot of time telling people, 238 00:13:05,493 --> 00:13:07,452 "No, it's just a tool, it doesn't take. . . 239 00:13:07,536 --> 00:13:09,621 "It doesn't do the creativity, that's a misconception." 240 00:13:09,705 --> 00:13:13,124 But there was this fear, and it was everywhere. 241 00:13:14,376 --> 00:13:15,418 ANNOUNCER: We interrupt this program 242 00:13:15,503 --> 00:13:16,878 for an important announcement. 243 00:13:16,962 --> 00:13:18,546 A state of emergency has been declared 244 00:13:18,631 --> 00:13:20,340 and the entire police force put on 24-hour duty, 245 00:13:20,424 --> 00:13:21,758 (CROWD SCREAMING) 246 00:13:21,842 --> 00:13:23,718 in an effort to stop the mounting hysteria. 247 00:13:25,554 --> 00:13:28,556 ANNOUNCER 2: There is no reasonable cause for alarm. 248 00:13:28,641 --> 00:13:31,059 These rumors are absolutely false! 249 00:13:38,234 --> 00:13:39,234 (BEEPING) 250 00:13:39,902 --> 00:13:43,822 NARRATOR: The reality of technology was very different from the fear. 251 00:13:43,906 --> 00:13:47,492 It was the computer that would take us to new frontiers. 252 00:13:47,576 --> 00:13:51,371 JOHN F. KENNEDY: I believe that this nation should commit itself 253 00:13:51,455 --> 00:13:55,333 to achieving the goal, before this decade is out, 254 00:13:55,417 --> 00:13:59,504 of landing a man on the moon and returning him safely to the Earth. 255 00:13:59,588 --> 00:14:01,548 ASTRONAUT: Lift off on Apollo 11 . 256 00:14:02,633 --> 00:14:05,385 NARRATOR: The space race ignited funding in computer research 257 00:14:05,469 --> 00:14:08,596 for a select number of universities around the country. 258 00:14:08,681 --> 00:14:10,181 In the 1960s, 259 00:14:10,266 --> 00:14:14,686 the University of Utah set up one of the first labs in computer graphics, 260 00:14:14,770 --> 00:14:17,230 headed by the top scientists in the field. 261 00:14:17,314 --> 00:14:19,524 Ed Catmull, an aspiring artist, 262 00:14:19,608 --> 00:14:23,444 was among the few drawn to the potential in computer graphics. 263 00:14:23,529 --> 00:14:25,905 CATMULL: I drew a lot, I wanted to be an animator. 264 00:14:25,990 --> 00:14:27,115 I wanted to be an artist. 265 00:14:27,199 --> 00:14:29,534 But at the same time, I believed that 266 00:14:29,618 --> 00:14:32,537 I wasn't good enough to be an animator, 267 00:14:32,621 --> 00:14:36,040 so I switched over to physics and computer science. 268 00:14:36,125 --> 00:14:38,710 As soon as I took the first class, I just fell in love with it, 269 00:14:38,794 --> 00:14:40,003 it just blew everything else away. 270 00:14:40,087 --> 00:14:45,049 'Cause here was a program in which there was art, science, programming, 271 00:14:45,134 --> 00:14:49,387 all together in one place, in a new field, and it was wide open. 272 00:14:49,471 --> 00:14:52,181 You could just go out and discover things and explore, 273 00:14:52,266 --> 00:14:54,142 you were right at the frontier. 274 00:14:55,978 --> 00:14:59,230 NARRATOR: Ed's computer-animated film of his own left hand 275 00:14:59,315 --> 00:15:03,276 was the first step in the development of creating curved surfaces, 276 00:15:03,360 --> 00:15:05,820 wrapping texture around those surfaces, 277 00:15:05,905 --> 00:15:07,989 and eliminating jagged edges. 278 00:15:09,408 --> 00:15:13,745 The footage debuted years later in the science-fiction film Futureworld, 279 00:15:13,829 --> 00:15:17,999 which became the first use of 3-D animation in a live-action film. 280 00:15:18,417 --> 00:15:22,670 Ed graduated with a PhD in a new technology ahead of its time. 281 00:15:23,088 --> 00:15:25,423 There was only one institution in the country 282 00:15:25,507 --> 00:15:28,927 willing to put millions of dollars into its further development. 283 00:15:29,053 --> 00:15:31,930 The word of any center of activity spread rapidly, 284 00:15:32,014 --> 00:15:36,517 and it quickly became known that the place was New York Tech. 285 00:15:36,852 --> 00:15:38,227 CATMULL: There the charter was 286 00:15:38,312 --> 00:15:42,273 "Let's make computer graphics usable in filmmaking." 287 00:15:42,358 --> 00:15:44,567 That's exactly what I wanted to do. 288 00:15:44,693 --> 00:15:47,445 NARRATCR: Alex Schure, the president of New York Tech, 289 00:15:47,529 --> 00:15:50,531 hired Ed to spearhead the new computer graphics department 290 00:15:50,616 --> 00:15:52,867 to develop paint programs and other tools 291 00:15:52,952 --> 00:15:56,663 to create art and animation using the computer. 292 00:15:56,747 --> 00:15:59,499 Ed himself developed software called "Tween" 293 00:15:59,583 --> 00:16:03,795 that transformed hand-drawn animation into a digital medium. 294 00:16:03,879 --> 00:16:07,757 Artists could now draw and paint directly into the computer. 295 00:16:09,551 --> 00:16:11,886 We were creating a revolution 296 00:16:11,971 --> 00:16:16,474 and the older techniques were really gonna be passé. 297 00:16:17,059 --> 00:16:20,687 NARRATOR: These developments led Ed to the far-reaching goal of someday 298 00:16:20,771 --> 00:16:25,149 creating the first feature-length, computer-animated film. 299 00:16:25,234 --> 00:16:28,236 SCHURE: We were impacting the conventional industry 300 00:16:28,570 --> 00:16:29,946 and it was gonna be tremendous 301 00:16:30,030 --> 00:16:32,782 because of the applications that it would have. 302 00:16:35,911 --> 00:16:37,704 NARRATOR: The applications of Ed's developments 303 00:16:37,788 --> 00:16:40,164 led Stor Wars director, George Lucas, 304 00:16:40,249 --> 00:16:43,167 to see their potential in live-action filmmaking. 305 00:16:43,252 --> 00:16:44,752 LUCAS: After I did Stor Wars, 306 00:16:44,837 --> 00:16:48,840 I decided that I would begin to move into the world of computer animation. 307 00:16:48,924 --> 00:16:52,218 We had made this computer controlled, motion-control camera, 308 00:16:52,302 --> 00:16:54,303 but I really wanted to get to the next level. 309 00:16:54,388 --> 00:16:55,680 I had a lot of ideas 310 00:16:55,764 --> 00:17:00,143 that couldn't be conquered in the traditional film technology. 311 00:17:00,227 --> 00:17:02,520 NARRATOR: George Lucas brought Ed Catmull aboard 312 00:17:02,604 --> 00:17:05,314 to form a new computer division at Lucasfilm 313 00:17:05,399 --> 00:17:07,316 to invent digital production tools, 314 00:17:07,401 --> 00:17:11,404 including a new digital-editing system called EditDroid, 315 00:17:11,488 --> 00:17:14,198 a digital sound system, a laser scanner 316 00:17:14,283 --> 00:17:16,868 and a powerful graphics computer. 317 00:17:19,288 --> 00:17:22,665 Ed recruited the most talented team of computer scientists 318 00:17:22,750 --> 00:17:25,626 to create the futuristic tools for Lucas. 319 00:17:27,254 --> 00:17:29,922 ROB COOK: Everybody who did it got there in some really odd way. 320 00:17:30,007 --> 00:17:32,633 People came from architecture, from physics, 321 00:17:32,718 --> 00:17:35,344 from art, from computer science, from everywhere, 322 00:17:35,429 --> 00:17:38,222 and somehow ended up in this new area. 323 00:17:38,307 --> 00:17:40,224 At that time there was almost no graphics, 324 00:17:40,309 --> 00:17:42,143 it was a pretty small thing. 325 00:17:42,561 --> 00:17:46,397 And we were inventing the techniques we were using. 326 00:17:46,482 --> 00:17:47,857 We had no computers. 327 00:17:47,941 --> 00:17:51,694 My wife remembers those days because I came home at night, right? 328 00:17:51,779 --> 00:17:52,945 You know? I didn't have any computer 329 00:17:53,030 --> 00:17:55,031 to stay and hack on or anything like that, 330 00:17:55,115 --> 00:17:57,575 so I'd come home at regular hours 331 00:17:57,659 --> 00:17:59,702 and she woes the days when we started getting computers 332 00:17:59,787 --> 00:18:01,662 and I would get carried away. 333 00:18:03,165 --> 00:18:06,459 LUCAS: They really were kind of the outlaw outfit, the rebel group, 334 00:18:06,543 --> 00:18:07,710 and so that was kind of fun 335 00:18:07,795 --> 00:18:10,755 because, you know, we were doing all these things 336 00:18:10,839 --> 00:18:12,965 that nobody really understood the value of. 337 00:18:16,804 --> 00:18:18,429 COOK: There was a big breakthrough to start 338 00:18:18,514 --> 00:18:20,598 doing things that were more artistic. 339 00:18:20,682 --> 00:18:25,186 Vol Llbre, Loren Carpenter's film in 1980, was a huge deal, 340 00:18:25,270 --> 00:18:28,523 and not just because it illustrated his academic technique, 341 00:18:28,774 --> 00:18:31,359 but it was a huge deal because it was a work of art. 342 00:18:33,362 --> 00:18:35,029 CARPENTER: I've always been interested in what's possible, 343 00:18:35,114 --> 00:18:38,324 and, what's beyond the boundary of what's known. 344 00:18:38,408 --> 00:18:41,536 When I came to Lucasfilm, these people were all very good, 345 00:18:41,829 --> 00:18:44,789 and it was refreshing and exhilarating. 346 00:18:44,873 --> 00:18:46,791 COOK: Even in those days, everybody's dream 347 00:18:46,875 --> 00:18:49,460 was to make a feature-length movie with computers. 348 00:18:49,545 --> 00:18:52,130 At least all of us, that was what we wanted to do. 349 00:18:52,214 --> 00:18:54,048 Even though it seemed impossible at the time. 350 00:18:57,553 --> 00:18:59,804 If you wanna make a picture of the world, 351 00:18:59,888 --> 00:19:02,807 you somehow have to get all that data in the computer. 352 00:19:02,891 --> 00:19:06,477 All the geometry, no matter what, whether it's hairs or skin or whatever, 353 00:19:06,562 --> 00:19:09,480 is broken down into millions of little triangles 354 00:19:09,565 --> 00:19:13,860 that are so small they would just be a speck on the screen. 355 00:19:13,944 --> 00:19:16,821 NARRATOR: The group soon realized it would take not thousands, 356 00:19:16,905 --> 00:19:20,366 but millions of triangles to create the photo-realistic images 357 00:19:20,450 --> 00:19:23,202 that compose the animated films we see today. 358 00:19:23,287 --> 00:19:25,037 CATMULL: It was an absurd number. 359 00:19:25,122 --> 00:19:26,414 But it was meant to be an absurd number, 360 00:19:26,498 --> 00:19:29,375 because if you throw some big numbers at something 361 00:19:29,459 --> 00:19:31,377 and then you have to be able to handle them, 362 00:19:31,461 --> 00:19:34,297 then it makes you think about the problem in different ways. 363 00:19:34,840 --> 00:19:39,343 Right then and there, that changed our whole, you know, kind of mindset 364 00:19:39,428 --> 00:19:43,014 about the sort of problem that we were trying to solve. 365 00:19:44,433 --> 00:19:46,767 NARRATOR: The group got the chance to prove their abilities 366 00:19:46,852 --> 00:19:50,229 when Lucas' special-effects division, Industrial Light and Magic, 367 00:19:50,314 --> 00:19:52,523 could not achieve a shot using conventional film means. 368 00:19:52,608 --> 00:19:53,566 Summary, please. STAR TREK II THE WRATH OF KHAN 369 00:19:53,650 --> 00:19:57,361 Alvy Ray Smith led the group to create a spectacular sequence 370 00:19:57,446 --> 00:20:00,698 using all their talents and advanced techniques. 371 00:20:00,782 --> 00:20:03,784 The camera's spinning and spiraling and jerking and panning. 372 00:20:03,869 --> 00:20:05,786 It's going through amazing motions, 373 00:20:05,871 --> 00:20:09,332 completely impossible for a gravity-bound, real camera. 374 00:20:11,293 --> 00:20:14,795 PORTER: I think Ed and Alvy realized, in order to get in the game, 375 00:20:14,880 --> 00:20:17,548 we've got to put characters up on the screen, 376 00:20:17,633 --> 00:20:19,383 and that meant character animation, 377 00:20:19,468 --> 00:20:20,426 and that changed everything right there. 378 00:20:28,310 --> 00:20:32,271 I had gone to this computer graphics conference at the Queen Mary. 379 00:20:32,356 --> 00:20:35,191 I'll never forget it. We walk in and I was just so depressed, 380 00:20:35,275 --> 00:20:38,194 'cause, like, all these dreams for the last two or three years 381 00:20:38,278 --> 00:20:40,154 kind of were shattered. 382 00:20:40,572 --> 00:20:44,325 And Ed Catmull was a speaker at this conference, 383 00:20:44,409 --> 00:20:45,952 and he comes up and he was so excited, 384 00:20:46,036 --> 00:20:48,287 "How's Toaster going? How's Brave Little Toaster going?" 385 00:20:48,372 --> 00:20:52,667 You know, all that stuff, and I go, "Well, to be honest, they shelved it." 386 00:20:52,751 --> 00:20:55,586 He told me that he was leaving Disney. 387 00:20:55,671 --> 00:20:59,006 He didn't tell me the circumstances, but that he was leaving Disney. 388 00:20:59,508 --> 00:21:02,385 And we spent a long time talking about what we wanted to do, 389 00:21:02,469 --> 00:21:03,928 and what the possibilities were, 390 00:21:04,012 --> 00:21:05,429 because this is the first time 391 00:21:05,514 --> 00:21:08,557 we really had a chance of getting a real animator. 392 00:21:08,642 --> 00:21:10,810 We couldn't get them at Lucasfilm. 393 00:21:11,853 --> 00:21:13,771 NARRATOR: John was hired on the spot 394 00:21:13,855 --> 00:21:16,732 into Lucasfilm's Bay Area computer division, 395 00:21:16,817 --> 00:21:21,320 under the inconspicuous title of "interface designer." 396 00:21:21,405 --> 00:21:23,531 I came in there and immediately 397 00:21:23,615 --> 00:21:26,450 I was intimidated by all the people that were around me. 398 00:21:26,535 --> 00:21:29,620 I mean, there were PhDs everywhere around me. 399 00:21:29,705 --> 00:21:34,125 Our group was in love with animation, and we knew a lot about animation. 400 00:21:34,209 --> 00:21:37,545 We couldn't animate very well, but we understood it. 401 00:21:39,089 --> 00:21:41,924 LASSETER: And the first thing they did is they really challenged me 402 00:21:42,009 --> 00:21:44,468 with the idea of, "Let's try to do a little film 403 00:21:44,553 --> 00:21:47,638 "with characters that are done with a computer." 404 00:21:48,515 --> 00:21:52,518 I was inspired looking at the limitations of what I had to work with, 405 00:21:52,602 --> 00:21:55,980 and then I went back and looked at the early Mickey Mouse. 406 00:21:56,064 --> 00:21:57,440 It's geometric shapes. 407 00:21:57,524 --> 00:21:59,692 How more geometric can you get than Mickey Mouse? 408 00:21:59,776 --> 00:22:02,653 So I just started drawing, and I created this little character. 409 00:22:02,738 --> 00:22:04,530 His name is "André." 410 00:22:05,365 --> 00:22:06,324 (BUZZING) 411 00:22:06,408 --> 00:22:07,408 (SQUEAKING) 412 00:22:15,792 --> 00:22:17,084 (LAUGHS) 413 00:22:21,506 --> 00:22:24,508 NARRATOR: John inspired the technical team to create new software 414 00:22:24,593 --> 00:22:26,052 that would enable him to animate 415 00:22:26,136 --> 00:22:30,348 the squash and stretch movements he learned from traditional animation. 416 00:22:30,432 --> 00:22:33,517 The results were new flexibility, motion blur 417 00:22:33,602 --> 00:22:37,229 and character action never before achieved through the computer. 418 00:22:37,314 --> 00:22:40,399 LASSETER: I loved working with these guys, and I kept challenging them. 419 00:22:40,484 --> 00:22:43,694 And then I was so inspired by all the work that they were doing. 420 00:22:43,779 --> 00:22:47,698 So it's become this way of working that the art challenges technology, 421 00:22:47,783 --> 00:22:49,742 technology inspires the art. 422 00:22:50,452 --> 00:22:52,745 NARRATOR: John and computer scientist Bill Reeves 423 00:22:52,829 --> 00:22:54,914 put their animation skills to the test 424 00:22:54,998 --> 00:22:58,834 while working with Lucas' traditional special effects division, ILM, 425 00:22:58,919 --> 00:23:02,546 to bring a stained-glass man to life through the computer. 426 00:23:06,301 --> 00:23:07,343 It was really amazing, 427 00:23:07,427 --> 00:23:11,972 the meeting of these two completely different backgrounds coming together. 428 00:23:23,985 --> 00:23:25,820 (WHlMPERING) 429 00:23:27,280 --> 00:23:29,615 MUREN: You could just design the thing exactly 430 00:23:29,699 --> 00:23:31,283 the way that your mind conceived it, 431 00:23:31,368 --> 00:23:35,996 not only shape-wise but also lighting-wise, or anything. 432 00:23:37,040 --> 00:23:40,084 NARRATOR: The visual effects were nominated for an Academy Award, 433 00:23:40,168 --> 00:23:42,336 and many Hollywood special effects wizards 434 00:23:42,421 --> 00:23:44,797 had no idea how it was done. 435 00:23:44,881 --> 00:23:48,092 LUCAS: There were areas they could go to that they couldn't even consider 436 00:23:48,176 --> 00:23:49,927 in traditional special effects. 437 00:23:50,011 --> 00:23:53,097 Ed's group really equaled change. 438 00:23:53,181 --> 00:23:55,224 NARRATOR: To improve speed and resolution, 439 00:23:55,308 --> 00:23:58,185 Ed's team developed the Pixar Image Computer, 440 00:23:58,270 --> 00:24:00,938 the most powerful graphics computer of its day. 441 00:24:01,022 --> 00:24:04,900 lts software transformed high-resolution imagery into 3-D, 442 00:24:04,985 --> 00:24:08,654 and was used in medical imaging and satellite photo analysis. 443 00:24:08,738 --> 00:24:10,322 But after years of trying to sell 444 00:24:10,407 --> 00:24:13,451 their high-end computer software to limited markets, 445 00:24:13,535 --> 00:24:16,537 George Lucas' interest was growing thin. 446 00:24:16,663 --> 00:24:17,955 I think it was very esoteric 447 00:24:18,039 --> 00:24:19,832 and it was very hard to make a business out of that. 448 00:24:19,916 --> 00:24:23,294 So once we had the EditDroid and we had all the things we needed, 449 00:24:23,378 --> 00:24:27,214 then I decided that I didn't want to run a company that sold software. 450 00:24:28,008 --> 00:24:32,970 And John and Ed were dead set on making animated films, 451 00:24:33,054 --> 00:24:35,723 and their dream was to make an animated feature. 452 00:24:35,807 --> 00:24:38,976 And I said, "Great, but, you know, to do this on a grand scale, 453 00:24:39,060 --> 00:24:43,647 "it's gonna take at least, you know, $30 , $40 million investment, 454 00:24:43,732 --> 00:24:45,107 "which we don't have." 455 00:24:45,192 --> 00:24:46,192 (LAUGHS) 456 00:24:46,860 --> 00:24:48,235 NARRATOR: To keep the team together, 457 00:24:48,320 --> 00:24:50,404 Ed and Alvy gained Lucas' support 458 00:24:50,489 --> 00:24:53,240 to spin off the division and call it "Pixar." 459 00:24:53,867 --> 00:24:56,494 Over the next year they struggled to find the one investor 460 00:24:56,578 --> 00:24:58,996 who could foresee their potential. 461 00:25:01,333 --> 00:25:05,169 An unexpected visitor to Lucasfilm was Steve Jobs. 462 00:25:05,253 --> 00:25:08,464 Steve was 21 when he co-founded Apple Computer, 463 00:25:08,548 --> 00:25:11,008 revolutionizing the concept of user-friendly 464 00:25:11,092 --> 00:25:14,512 personal computing with the Apple ll and the Macintosh. 465 00:25:14,596 --> 00:25:17,515 By the age of 30, he had become a multimillionaire, 466 00:25:17,599 --> 00:25:20,809 selling his innovative computers all over the world. 467 00:25:20,894 --> 00:25:22,186 I was still at Apple at the time. 468 00:25:22,270 --> 00:25:24,605 I was turned onto it by a guy named Alan Kay, who I worked with. 469 00:25:25,148 --> 00:25:28,984 And, so Alan and I hopped in a car and rode up to Lucasfilm. 470 00:25:29,069 --> 00:25:31,028 KAY: So on the limousine ride up there, 471 00:25:31,112 --> 00:25:33,489 I explained to Steve what these guys were, 472 00:25:33,615 --> 00:25:35,533 what their history was, what the potential was. 473 00:25:35,617 --> 00:25:36,951 Then a very good thing happened. 474 00:25:37,035 --> 00:25:39,036 JCBS: That was the first time I met Ed, 475 00:25:39,120 --> 00:25:41,038 and he shared with me his dream 476 00:25:41,122 --> 00:25:44,124 to make the world's first computer-animated film. 477 00:25:44,209 --> 00:25:47,169 And l, in the end, ended up buying into that dream, 478 00:25:47,254 --> 00:25:49,129 both spiritually and financially. 479 00:25:51,633 --> 00:25:53,133 NARRATOR: Steve Jobs took a chance 480 00:25:53,218 --> 00:25:56,971 and invested $1 0 million to launch Pixar. 481 00:25:57,055 --> 00:26:00,516 The stuff that Ed and his team were doing was at the very high end, 482 00:26:00,600 --> 00:26:04,603 and I could see that it was way beyond what anyone else was doing. 483 00:26:04,854 --> 00:26:07,856 CATMULL: We had the fortune to have Steve Jobs, 484 00:26:07,941 --> 00:26:10,192 who believes in passion and vision. 485 00:26:10,277 --> 00:26:11,694 He was responding to this passion. 486 00:26:11,861 --> 00:26:16,323 It was really exciting when Steve was the one that bought our group. 487 00:26:19,202 --> 00:26:21,996 I remember Ed came to me, and he says, 488 00:26:22,080 --> 00:26:27,126 "Let's do a little animated film, something that says who we are." 489 00:26:27,210 --> 00:26:30,421 I wanted something simple and geometric, 490 00:26:30,505 --> 00:26:32,256 and I was sitting there at the desk kind of thinking. 491 00:26:32,340 --> 00:26:33,924 And I just kept staring at this lamp, 492 00:26:34,009 --> 00:26:38,762 and it was sort of like a classic Luxo lamp. 493 00:26:38,847 --> 00:26:41,432 I just started moving it around like it was alive. 494 00:26:41,516 --> 00:26:44,143 I love bringing inanimate objects to life, 495 00:26:44,227 --> 00:26:46,937 in maintaining the integrity of the object, 496 00:26:47,022 --> 00:26:51,317 and pull personality and movement and physics out of that. 497 00:26:57,073 --> 00:26:58,073 (SQUEAKING) 498 00:27:00,201 --> 00:27:02,828 NARRATCR: In 1987 , Luxo Jr . 499 00:27:02,912 --> 00:27:06,248 became the first three-dimensional computer-animated film 500 00:27:06,374 --> 00:27:09,126 nominated for an Academy Award. 501 00:27:09,210 --> 00:27:11,879 CATMULL: Luxo is the one that changed everything. 502 00:27:11,963 --> 00:27:14,298 It was a pure little story. 503 00:27:14,382 --> 00:27:17,092 And once we hit it with that, 504 00:27:17,177 --> 00:27:19,887 then it became a new goal for everybody. 505 00:27:20,388 --> 00:27:21,430 (SQUEAKS) 506 00:27:21,514 --> 00:27:22,514 (AlR ESCAPES) 507 00:27:34,277 --> 00:27:36,320 JOBS: It was the combination of the new medium 508 00:27:36,404 --> 00:27:38,864 and John really bringing a character to life 509 00:27:38,948 --> 00:27:41,200 that made people say, "Oh my God." 510 00:27:41,284 --> 00:27:43,911 You know, and the smart ones say, "Look at this potential here." 511 00:27:44,788 --> 00:27:46,038 NARRATOR: A hopping Luxo lamp 512 00:27:46,122 --> 00:27:49,875 would become a symbol of Pixar's optimism and determination. 513 00:27:51,544 --> 00:27:53,170 The image I remember most 514 00:27:53,254 --> 00:27:56,256 is John Lasseter sitting there in that graphics lab 515 00:27:56,883 --> 00:28:00,969 with deadlines approaching, struggling with the machine. 516 00:28:01,054 --> 00:28:05,224 Just one man, one machine, trying to produce this animation. 517 00:28:06,935 --> 00:28:09,603 LASSETER: Early in Pixar, when we were sitting in a hallway, 518 00:28:09,688 --> 00:28:13,732 sharing one computer, me and Eben and Bill and Ed, 519 00:28:13,817 --> 00:28:16,527 we'd sit there and just kind of be sharing time, 520 00:28:16,611 --> 00:28:18,904 and I would always take the midnight shift. 521 00:28:19,447 --> 00:28:21,740 Got most of my animation done on all the short films 522 00:28:21,825 --> 00:28:25,077 from about 10:30 at night until 4:00 or 5:00 in the morning. 523 00:28:26,204 --> 00:28:30,207 This evening I am animating a scene from the dream sequence. 524 00:28:30,291 --> 00:28:32,459 This is a rough level of detail. 525 00:28:33,336 --> 00:28:35,379 MAN: How come your car has the best parking spot? 526 00:28:35,463 --> 00:28:38,549 'Cause it hasn't moved in about three days. 527 00:28:38,633 --> 00:28:39,633 (MAN CHUCKLES) 528 00:28:39,718 --> 00:28:41,135 I've been sleeping here. 529 00:28:41,219 --> 00:28:43,220 He'd leave me a note on my desk. 530 00:28:43,304 --> 00:28:47,599 "D.W. , wake me up when you come in," and I would go to his common. 531 00:28:47,684 --> 00:28:48,726 Of course, the door would be closed. 532 00:28:48,810 --> 00:28:50,477 I'd have to bang on the door, and John'd be asleep. 533 00:28:50,562 --> 00:28:52,813 He used to bring in a mattress or a futon or something 534 00:28:52,897 --> 00:28:54,022 and sleep under his desk. 535 00:28:54,107 --> 00:28:56,775 And then he would get up and start animating again. 536 00:28:56,860 --> 00:28:58,193 And he did that for weeks. 537 00:29:01,740 --> 00:29:03,449 NARRATCR: Their next short, Red's Dream, 538 00:29:03,533 --> 00:29:07,745 was the story of a lonely unicycle longing to perform in the circus. 539 00:29:10,749 --> 00:29:13,417 OSTBY: We could show him what was easy for us to do 540 00:29:13,501 --> 00:29:15,669 and what was hard for us to do, and he'd also push us. 541 00:29:15,754 --> 00:29:19,631 We'd say, "Well, you know, John, it's kind of hard for us to do a human." 542 00:29:19,716 --> 00:29:20,799 Then first thing you'd know, 543 00:29:20,884 --> 00:29:22,926 he'd be thinking about human stuff he'd wanna do 544 00:29:23,011 --> 00:29:24,720 and he'd encourage us to try to do it. 545 00:29:26,681 --> 00:29:30,142 NARRATOR: Tin Tot , about a wind-up toy tormented by a baby, 546 00:29:30,226 --> 00:29:32,561 brought children's toys to life through the computer. 547 00:29:32,645 --> 00:29:33,645 (BABY BABBLES) 548 00:29:34,939 --> 00:29:36,440 And in 1989, 549 00:29:36,524 --> 00:29:37,983 Bill Reeves and John Lasseter 550 00:29:38,067 --> 00:29:41,695 took home their first Oscars for Best Animated Short Subject, 551 00:29:41,780 --> 00:29:45,616 and the first ever awarded to a computer-animated film. 552 00:29:45,700 --> 00:29:49,661 With each subsequent short film, John got more ambitious 553 00:29:49,746 --> 00:29:52,915 and the team got more experience and the software got better. 554 00:29:55,668 --> 00:29:59,338 NARRATOR: In 1990, Pixar applied their knowledge of animated shorts 555 00:29:59,422 --> 00:30:00,964 to make commercials. 556 00:30:01,049 --> 00:30:04,134 The new venture soon required bringing in new animators. 557 00:30:04,219 --> 00:30:07,095 John hired two recent CalArts graduates. 558 00:30:07,180 --> 00:30:09,890 PETE DOCTER: It was literally the day after I graduated I showed up. 559 00:30:10,642 --> 00:30:14,144 John sat down and showed me the way the animation software worked. 560 00:30:14,229 --> 00:30:15,479 It was pretty slow. 561 00:30:15,563 --> 00:30:17,815 There was a lot of kind of noodling and futzing around, 562 00:30:17,899 --> 00:30:19,441 but I loved that stuff. 563 00:30:19,526 --> 00:30:21,401 I didn't care what it was. I said, "Commercials? Fine. 564 00:30:21,486 --> 00:30:25,656 "I'll do, you know, soap bars, soda cans, whatever. I don't care." 565 00:30:25,740 --> 00:30:27,658 TRlDENT NARRATOR: Introducing new Freshmint Gum! 566 00:30:27,742 --> 00:30:28,742 The freshest mints. 567 00:30:30,078 --> 00:30:31,703 The coolest cool. 568 00:30:31,788 --> 00:30:32,996 For as simple as it was, 569 00:30:33,081 --> 00:30:35,082 it was probably the hardest learning experience I ever had, 570 00:30:35,166 --> 00:30:36,333 because it was archaic. 571 00:30:36,417 --> 00:30:37,835 I knew nothing about the computer. 572 00:30:37,919 --> 00:30:40,170 I had never touched one, never word-processed, 573 00:30:40,255 --> 00:30:43,257 never even really looked at one before I came up there. 574 00:30:43,424 --> 00:30:46,093 So I'm a testament that anybody can learn the computer. 575 00:30:46,177 --> 00:30:47,177 (LAUGHS) 576 00:30:49,764 --> 00:30:52,432 NARRATCR: At the same time, Pixar began a collaboration 577 00:30:52,517 --> 00:30:54,601 with the new leadership at the Walt Disney Studios 578 00:30:54,686 --> 00:30:57,104 headed by Michael Eisner, Frank Wells, 579 00:30:57,188 --> 00:30:59,857 Jeffrey Katzenberg and Roy Disney. 580 00:30:59,941 --> 00:31:03,277 In a renewed effort to bridge hand-drawn animation with computers, 581 00:31:03,778 --> 00:31:05,529 Pixar invented CAPS, 582 00:31:05,905 --> 00:31:07,406 a digital ink-and-paint system 583 00:31:07,490 --> 00:31:10,367 which brought new technical advances to 2-D animation. 584 00:31:10,994 --> 00:31:14,913 The techniques gained critical notice in Disney's Beauty and the Beast. 585 00:31:15,456 --> 00:31:18,125 PETER SCHNElDER: Roy Disney was a great champion of this. 586 00:31:18,209 --> 00:31:20,836 He spent a lot of money building the CAPS system, 587 00:31:20,920 --> 00:31:23,255 and it was just the basis of what was to come 588 00:31:23,339 --> 00:31:25,173 in terms of the 3-D animation process. 589 00:31:25,258 --> 00:31:28,010 It was the engine that drove everything else forward. 590 00:31:30,471 --> 00:31:32,556 NARRATCR: Pixar's software, Renderman, 591 00:31:32,640 --> 00:31:34,725 was also getting industry acclaim 592 00:31:34,809 --> 00:31:37,185 for the creation of photo-realistic special effects 593 00:31:37,270 --> 00:31:39,897 that allowed Hollywood filmmakers to tell stories 594 00:31:39,981 --> 00:31:41,982 that could not be told any other way. 595 00:31:43,651 --> 00:31:46,904 Renderman had become the new standard in special effects, 596 00:31:46,988 --> 00:31:48,238 and in 2000, 597 00:31:48,323 --> 00:31:50,657 the technical team garnered the first Oscar 598 00:31:50,742 --> 00:31:53,744 ever awarded for computer-animated software. 599 00:31:56,205 --> 00:31:58,999 But the research and development of all their technology 600 00:31:59,083 --> 00:32:02,294 was costing more money than the company was bringing in. 601 00:32:02,378 --> 00:32:07,007 Steve Jobs had been losing over a million dollars a year for five years. 602 00:32:08,092 --> 00:32:12,095 It was all great stuff to do, but none of it was a home run. 603 00:32:12,180 --> 00:32:14,181 None of it really. . . It was a struggle. 604 00:32:14,265 --> 00:32:16,058 Every step of the way, it was a struggle. 605 00:32:16,142 --> 00:32:20,020 We were trying to pay the bills and just buy time. 606 00:32:20,104 --> 00:32:24,316 And that strategy really turned out not to work. 607 00:32:24,400 --> 00:32:29,613 Steve was a very forgiving investor at that time 608 00:32:29,697 --> 00:32:34,076 and had a much longer term view than your average venture capitalist 609 00:32:34,160 --> 00:32:36,745 would've had about our young company. 610 00:32:38,831 --> 00:32:40,832 NARRATOR: With the survival of Pixar at stake, 611 00:32:40,917 --> 00:32:42,459 John pitched the Disney Company 612 00:32:42,543 --> 00:32:47,547 a half-hour Christmas TV special based on their short film Tin Tot . 613 00:32:47,632 --> 00:32:48,799 All the while, 614 00:32:48,883 --> 00:32:50,384 Disney executives had been trying 615 00:32:50,468 --> 00:32:53,845 to lure John back to the studio to direct a feature. 616 00:32:54,806 --> 00:32:56,723 John is being asked this for a third time, 617 00:32:56,808 --> 00:32:59,601 to come down and be a director at Disney. 618 00:32:59,686 --> 00:33:01,728 Or he can stay up in Northern California 619 00:33:01,813 --> 00:33:04,564 with this company that's bordering on collapse, 620 00:33:04,649 --> 00:33:06,942 because they're losing money. 621 00:33:07,026 --> 00:33:09,653 He stays up here with this company bordering on collapse, right? 622 00:33:13,616 --> 00:33:18,745 John came up with the idea of doing this story from a toy's point of view, 623 00:33:18,830 --> 00:33:24,209 done in this 3-D plastic world, and the idea was sensational. 624 00:33:24,293 --> 00:33:28,005 And they'd gone from commercials to a short film being six minutes. 625 00:33:28,089 --> 00:33:31,675 They felt they could expand the system to a 30-minute movie. 626 00:33:31,759 --> 00:33:34,594 And we said, "Oh, forget about that. Make it a full-length feature." 627 00:33:34,679 --> 00:33:37,014 NARRATOR: From John's initial pitch, 628 00:33:37,098 --> 00:33:41,143 Disney offered the Pixar team the chance to finally fulfill their dream 629 00:33:41,436 --> 00:33:45,022 of creating the world's first computer-animated feature film. 630 00:33:47,233 --> 00:33:49,901 LASSETER: I remember Bonnie Arnold, the producer, 631 00:33:49,986 --> 00:33:51,445 and Ralph Guggenheim, the producer, 632 00:33:51,529 --> 00:33:53,363 came around and they said... 633 00:33:53,448 --> 00:33:54,448 GUGGENHElM: We're making a movie. 634 00:33:54,532 --> 00:33:56,283 -Really? -GUGGENHElM: Green light. 635 00:33:56,367 --> 00:33:57,367 We got green light? 636 00:33:57,452 --> 00:33:58,410 ARNOLD: We got it. Just talked to Peter. 637 00:33:58,494 --> 00:33:59,536 LASSETER: It happened, and it was like, 638 00:33:59,620 --> 00:34:02,039 "'Oh, my God, we're actually gonna make this movie." 639 00:34:02,123 --> 00:34:03,790 And I was so excited. 640 00:34:03,875 --> 00:34:07,794 There was so much positive enthusiasm. It was great. 641 00:34:07,879 --> 00:34:08,879 (LAUGHING) 642 00:34:08,963 --> 00:34:10,338 -GUGGENHElM: All right. -ls that all right? 643 00:34:10,423 --> 00:34:14,092 It was an attempt to take the spirit of John Lasseter 644 00:34:14,802 --> 00:34:17,179 and see if we could make a full-length motion picture with it. 645 00:34:19,640 --> 00:34:20,640 JOBS: It was fantastic. 646 00:34:20,725 --> 00:34:23,185 There was no better partner to do it with than Disney. 647 00:34:23,269 --> 00:34:25,270 There was a lot we could learn from them, 648 00:34:25,354 --> 00:34:26,772 vast amounts we could learn from them. 649 00:34:26,856 --> 00:34:29,024 So it was the best thing that ever happened to the studio. 650 00:34:29,108 --> 00:34:30,150 You heard? 651 00:34:30,234 --> 00:34:32,319 None of us had done a movie ourselves before, 652 00:34:32,403 --> 00:34:34,404 and a large portion of us had never worked on a movie at all. 653 00:34:34,489 --> 00:34:35,572 GUGGENHElM: Green light. 654 00:34:35,656 --> 00:34:36,865 LASSETER: Ignorance was bliss. 655 00:34:37,200 --> 00:34:39,242 We did not know what we didn't know. 656 00:34:39,619 --> 00:34:42,496 It's like the Mickey Rooney/Judy Garland things, 657 00:34:42,580 --> 00:34:44,956 "Hey, my uncle's got a barn! Let's put on a show!" 658 00:34:45,041 --> 00:34:47,250 -Unpack. Unpack. -You mean I can stay? 659 00:34:47,335 --> 00:34:48,835 CATMULL: We were onto something big 660 00:34:48,920 --> 00:34:52,005 if we could just hold it together and make it happen. 661 00:34:57,428 --> 00:34:59,679 LASSETER: We did not want to do a musical. 662 00:34:59,764 --> 00:35:01,598 We did not want to do a fairy tale. 663 00:35:01,682 --> 00:35:03,975 We did not want to do what Disney was, 664 00:35:04,060 --> 00:35:06,937 from Little Mermaid and Beauty and the Beast 665 00:35:07,021 --> 00:35:08,063 and all those films. . . 666 00:35:08,147 --> 00:35:11,024 They had their thing going and we wanted to be different. 667 00:35:12,693 --> 00:35:15,570 NARRATOR: John set his sights on one particular actor 668 00:35:15,655 --> 00:35:17,531 for the voice of Woody. 669 00:35:17,657 --> 00:35:20,367 They said, "Look, we just wanna show you this thing, 670 00:35:20,910 --> 00:35:23,203 "'cause it's too hard to explain what it is." 671 00:35:24,539 --> 00:35:26,081 Oh, no, no, no! 672 00:35:26,165 --> 00:35:28,291 You're eating the car! 673 00:35:28,376 --> 00:35:30,794 Don't eat the car! Not the car! 674 00:35:30,878 --> 00:35:33,713 Oh, you stupid dog! 675 00:35:34,090 --> 00:35:37,092 When I saw this loop, it was startling, actually. 676 00:35:37,176 --> 00:35:38,927 It was kind of, like, hypnotic. 677 00:35:39,011 --> 00:35:40,470 "Let's see it again. Can I see that again?" 678 00:35:40,555 --> 00:35:42,347 I think we must have watched it three or four times. 679 00:35:42,431 --> 00:35:45,308 It didn't look like animation. It looked like Plasticine come to life. 680 00:35:45,393 --> 00:35:47,894 I couldn't explain it even to friends what it was like. 681 00:35:47,979 --> 00:35:49,855 I just said, "Well, it's gonna be this whole new thing. 682 00:35:49,939 --> 00:35:52,858 "They've just invented something that is a brand new way of doing this." 683 00:35:52,942 --> 00:35:53,942 (BEEPING) 684 00:35:54,569 --> 00:35:55,944 Hi, pal. What you doing? 685 00:35:56,028 --> 00:35:57,654 I'm Tempest from Morph! 686 00:35:57,738 --> 00:35:59,239 Yeah, yeah, what's this button? 687 00:35:59,323 --> 00:36:02,117 Say, you weren't thinking of flying, were you? 688 00:36:02,243 --> 00:36:05,162 You know, Andy loves toys that can fly! 689 00:36:05,246 --> 00:36:09,749 Really? Well, then, to infinity and beyond! 690 00:36:12,962 --> 00:36:16,423 You know, Andy loves toys that he can find! 691 00:36:17,675 --> 00:36:22,721 LASSETER: There was this desire at Disney to make Tot Story edgy. 692 00:36:22,805 --> 00:36:26,141 Make it edgy. Make it, like, something for adults. 693 00:36:26,267 --> 00:36:29,519 Jeffrey Katzenberg, who at the time was chairman of the Disney Studios 694 00:36:29,604 --> 00:36:31,605 and had great interest in animation 695 00:36:32,607 --> 00:36:37,194 would always in a story meeting be pushing for what he called "edge." 696 00:36:37,403 --> 00:36:41,948 Which really was code for snappy, adult, 697 00:36:42,200 --> 00:36:44,409 the edge of inappropriate, 698 00:36:44,493 --> 00:36:46,786 and not to feel too young. 699 00:36:46,913 --> 00:36:51,833 We were working our butts off and jumping through every hoop, 700 00:36:51,918 --> 00:36:54,336 addressing every note that was given to us. . . 701 00:36:54,462 --> 00:36:56,379 And that was the first year. 702 00:36:56,464 --> 00:36:58,757 NARRATOR: By December, 1993, 703 00:36:58,841 --> 00:37:00,926 John and his crew flew to Burbank 704 00:37:01,010 --> 00:37:03,887 to present their completed storyboards to Disney. 705 00:37:03,971 --> 00:37:07,307 Their approval would finally launch Pixar into production. 706 00:37:07,391 --> 00:37:11,228 But what was to come was a day they would never forget. 707 00:37:15,733 --> 00:37:16,733 SCHNElDER: Nothing of it was working. 708 00:37:16,817 --> 00:37:19,486 It wasn't funny, it wasn't emotional, it wasn't moving. 709 00:37:19,570 --> 00:37:21,446 Characters didn't quite work. 710 00:37:22,698 --> 00:37:26,243 Peter Schneider sent me this video, which was, like, two cassettes. 711 00:37:26,327 --> 00:37:27,285 It was so long. 712 00:37:27,370 --> 00:37:32,624 It was like two hours, and it went on and on and on and on and on and on 713 00:37:32,708 --> 00:37:34,417 and I was fast-forwarding through it 714 00:37:34,502 --> 00:37:36,920 and thinking, "Oh, my God. This'll never end." 715 00:37:37,004 --> 00:37:42,968 Which led to this horrible, horrible day when things came to a crashing halt. 716 00:37:43,970 --> 00:37:46,846 That was our Black Friday. Black Monday, Black Tuesday. . . 717 00:37:46,931 --> 00:37:49,391 I forget what day of the week it was, but it was sure black. 718 00:37:50,184 --> 00:37:52,185 WOODY: Hey, you wanna be Mr. Mashed Potato Head? 719 00:37:52,270 --> 00:37:53,853 You button your lip! 720 00:37:53,938 --> 00:37:55,146 Nobody's getting replaced! 721 00:37:55,231 --> 00:37:57,607 SCHUMACHER: It resulted in the Woody character 722 00:37:57,692 --> 00:38:00,110 being one of the most repellent things you've ever seen on screen. 723 00:38:00,194 --> 00:38:01,611 I mean, you couldn't watch it. 724 00:38:01,696 --> 00:38:06,283 It was smart-alecky. It was like a brand of insult humor. 725 00:38:06,367 --> 00:38:08,243 It was kind of, like, negative. 726 00:38:08,327 --> 00:38:10,161 WOODY: All right, that's enough! 727 00:38:10,246 --> 00:38:13,123 You're all acting like you've never seen a new toy before! 728 00:38:13,207 --> 00:38:14,332 Get a grip, okay? 729 00:38:14,417 --> 00:38:16,960 SCHUMACHER: Jeffrey said, "Well, why is this so terrible?" 730 00:38:17,044 --> 00:38:19,212 I said, "Well, because it's not their movie anymore. 731 00:38:19,297 --> 00:38:22,048 "It's completely not the movie that John set out to make." 732 00:38:22,758 --> 00:38:25,051 LASSETER: Disney forced us to shut production down. 733 00:38:25,136 --> 00:38:28,054 And they wanted us to lay people off, and we refused. 734 00:38:29,223 --> 00:38:30,223 (CLANGING) 735 00:38:30,391 --> 00:38:33,768 We just said, "All right, screw it. What do we want to do? 736 00:38:33,853 --> 00:38:35,312 "What would be the funniest thing?" 737 00:38:35,396 --> 00:38:39,149 We were also very brutally honest with each other about what we thought. 738 00:38:39,233 --> 00:38:40,275 LASSETER: We worked day and night. 739 00:38:40,359 --> 00:38:42,485 STANTON: And we just really went 100% with our gut. 740 00:38:42,570 --> 00:38:45,739 We knew it was sort of our last chance. We knew time was not on our side. 741 00:38:45,823 --> 00:38:50,243 It was so refreshing, 'cause we were making the movie we wanted to make. 742 00:38:50,369 --> 00:38:52,912 RANFT: We'd just sit on our knees, right on the floor 743 00:38:52,997 --> 00:38:55,123 and draw with Sharpies on pads and pin it all up. 744 00:38:55,207 --> 00:38:58,168 And then, like, "Oh, this is great!" We'd get all excited. "This is great." 745 00:38:58,252 --> 00:38:59,336 STANTON: And re-boarded the whole thing. 746 00:38:59,420 --> 00:39:03,089 We did it much faster, much rougher than anybody ever thought we could. 747 00:39:03,174 --> 00:39:05,300 LASSETER: And we turned the reels around 748 00:39:05,384 --> 00:39:07,385 in two weeks or three weeks, something like that, 749 00:39:07,470 --> 00:39:09,012 unheard of amount of time. 750 00:39:09,096 --> 00:39:10,430 And we showed it to Disney, 751 00:39:10,514 --> 00:39:14,517 and they were all ready to completely shut production down and call it a day. 752 00:39:14,602 --> 00:39:16,895 And you know what? It was good. 753 00:39:16,979 --> 00:39:18,271 It was not great, but it was good. 754 00:39:18,356 --> 00:39:20,648 It showed the potential of what Toy Story would be. 755 00:39:20,733 --> 00:39:21,816 And they said, "Okay." 756 00:39:21,901 --> 00:39:24,736 Then we started production back up and went from there. 757 00:39:33,996 --> 00:39:37,665 NARRATOR: The first scene animated was the army men sequence. 758 00:39:37,750 --> 00:39:40,710 It was an early glimpse of what was to come. 759 00:39:46,008 --> 00:39:48,134 (CHlLDREN CHATTERING) 760 00:39:48,302 --> 00:39:50,470 Go, go. Go on without me! Just go! 761 00:39:50,554 --> 00:39:53,306 A good soldier never leaves a man behind! 762 00:40:00,815 --> 00:40:03,358 LEE UNKRlCH: We were so flying by the seat of our pants. It was nuts. 763 00:40:03,442 --> 00:40:06,444 We would get all the stuff together and we would send it off to animation 764 00:40:06,529 --> 00:40:07,529 and let them animate it. 765 00:40:07,863 --> 00:40:09,656 We would then get it back into editorial 766 00:40:09,740 --> 00:40:11,741 and find that nothing was cutting together at all. 767 00:40:11,826 --> 00:40:13,034 It was so absolutely Stone Age, 768 00:40:13,119 --> 00:40:15,870 yet at the time we were, like, on the top of our mountain. 769 00:40:15,955 --> 00:40:17,414 We thought we were being so cool 770 00:40:17,498 --> 00:40:20,125 and no one was doing anything like what we were doing. 771 00:40:20,209 --> 00:40:21,835 REEVES: I think the biggest challenge in Tot Story 772 00:40:21,919 --> 00:40:24,754 was just dealing with the length of the film. 773 00:40:24,839 --> 00:40:27,507 Full of characters, full of sets, all sorts of stuff. 774 00:40:27,591 --> 00:40:29,717 And the story drove everything. 775 00:40:30,136 --> 00:40:32,512 Every frame of that story was in my head. 776 00:40:32,596 --> 00:40:35,181 Working with the art department, working with modeling, 777 00:40:35,266 --> 00:40:38,143 working with layout, working with the animators. 778 00:40:38,227 --> 00:40:39,519 I would talk about the story 779 00:40:39,603 --> 00:40:43,106 and tell them how it fit in the framework of that. 780 00:40:43,190 --> 00:40:44,190 CATMULL: And there's something about having 781 00:40:44,275 --> 00:40:47,277 the artists and the technical crew working together that is exciting. 782 00:40:47,361 --> 00:40:48,486 Even though we may do some things 783 00:40:48,571 --> 00:40:50,822 that don't always necessarily make the best sense, 784 00:40:50,906 --> 00:40:52,490 the mix is exciting. 785 00:40:52,575 --> 00:40:53,950 What did I tell you earlier? 786 00:40:54,034 --> 00:40:55,785 No one is getting replaced. 787 00:40:55,870 --> 00:40:59,706 Now, let's all be polite and give whatever it is up there 788 00:40:59,790 --> 00:41:02,625 a nice, big, Andy's room welcome! 789 00:41:02,710 --> 00:41:04,502 Woody was a pendulum swing 790 00:41:04,587 --> 00:41:06,629 from Woody being comfortable with his position 791 00:41:06,714 --> 00:41:10,467 to Woody being threatened by the arrival of Buzz Lightyear. 792 00:41:14,388 --> 00:41:15,430 (WOODY GULPS) 793 00:41:15,514 --> 00:41:16,639 TlM ALLEN: Lasseter called me and said, 794 00:41:16,724 --> 00:41:18,433 "Would you look at these sketches of this character? 795 00:41:18,517 --> 00:41:19,976 "We think you're the perfect guy for it." 796 00:41:20,561 --> 00:41:23,688 And the only thing that sold me was his enthusiasm. 797 00:41:23,772 --> 00:41:25,106 And I said, "What a neat idea." 798 00:41:25,191 --> 00:41:27,275 Had no idea visually what this would look like. 799 00:41:27,359 --> 00:41:30,195 He let me stretch it a little bit 800 00:41:30,279 --> 00:41:34,407 and really make it this really kind of a closed-head-injury type of guy. 801 00:41:34,492 --> 00:41:35,492 (BEEPS) 802 00:41:35,576 --> 00:41:36,784 Star Command, come in. Do you read me? 803 00:41:36,869 --> 00:41:38,411 Why don't they answer? 804 00:41:38,579 --> 00:41:40,246 (GASPS) My ship! 805 00:41:43,250 --> 00:41:44,292 Blast! 806 00:41:44,376 --> 00:41:45,793 This'll take weeks to repair! 807 00:41:45,878 --> 00:41:48,046 ALLEN: He's full of himself, but in a great way. 808 00:41:48,130 --> 00:41:49,964 I don't think of Buzz as really obnoxious. 809 00:41:50,049 --> 00:41:52,592 Obviously, 'cause I think he's the more popular of the toy. 810 00:41:52,676 --> 00:41:53,676 (LAUGHS) 811 00:41:53,761 --> 00:41:55,136 Buzz Lightyear Mission Log. 812 00:41:55,221 --> 00:41:56,679 The local sheriff and I seem to be 813 00:41:56,764 --> 00:41:59,098 at a huge refueling station of some sort. . . 814 00:41:59,183 --> 00:42:01,100 -HANKS (AS WOODY): You! -According to my nava-computer. . . 815 00:42:01,185 --> 00:42:02,227 Shut up, you idiot! 816 00:42:02,311 --> 00:42:04,020 Sheriff, this is no time to panic! 817 00:42:04,104 --> 00:42:05,772 This is the perfect time to panic! 818 00:42:05,856 --> 00:42:07,899 I'm lost, Andy is gone, 819 00:42:07,983 --> 00:42:10,068 and they're gonna move from the house in two days. 820 00:42:10,152 --> 00:42:12,487 And it's all your fault! 821 00:42:13,614 --> 00:42:14,697 RANFT: John. 822 00:42:16,367 --> 00:42:17,367 WOMAN: Tom. 823 00:42:17,451 --> 00:42:21,412 I think the hard part for me and probably for a lot of others was that 824 00:42:21,497 --> 00:42:27,085 it was really hard to know, from those story sketches to the finished product, 825 00:42:27,169 --> 00:42:28,503 what it was gonna look like. 826 00:42:28,921 --> 00:42:30,880 Which is really scary stuff. 827 00:42:30,965 --> 00:42:33,716 I remember, even halfway through the movie, 828 00:42:33,801 --> 00:42:36,803 and we were seeing most of the first half, say, 829 00:42:36,887 --> 00:42:39,222 in fairly completed form in color, 830 00:42:39,306 --> 00:42:43,226 I was still thinking, "I don't get how this is gonna work at the ending," 831 00:42:43,310 --> 00:42:45,562 because there was this huge chase through the streets 832 00:42:45,646 --> 00:42:48,106 and the truck and all of that kind of thing. 833 00:42:48,190 --> 00:42:50,608 It was like they did that all in one day. 834 00:42:50,693 --> 00:42:51,693 (WHOOSHING) 835 00:42:58,242 --> 00:43:03,621 And suddenly, it was all in there, and I remember saying to my wife, "I get it." 836 00:43:03,706 --> 00:43:06,791 BINOCULARS: Look, look, it's Woody and Buzz coming up fast! 837 00:43:07,835 --> 00:43:09,377 Woody! 838 00:43:10,087 --> 00:43:14,132 Some of the machines had to run 24/7 , three months straight. 839 00:43:14,216 --> 00:43:18,177 Any hiccup in there would've been disastrous, you know? 840 00:43:18,262 --> 00:43:20,346 And it was Band-Aids. That's the funny part. 841 00:43:21,223 --> 00:43:22,265 (SCREAMS) 842 00:43:22,349 --> 00:43:24,434 This is the part where we blow up! 843 00:43:24,518 --> 00:43:25,935 Not today! 844 00:43:29,607 --> 00:43:30,773 We were blown away with it, 845 00:43:30,858 --> 00:43:34,235 and we really felt strongly that the movie was gonna be a success. 846 00:43:34,320 --> 00:43:36,279 But even we didn't have a clue 847 00:43:36,363 --> 00:43:37,780 how much of a success it was gonna be. 848 00:43:38,324 --> 00:43:41,784 To infinity and beyond! 849 00:43:41,869 --> 00:43:43,369 NARRATOR: Tot Story opened nationwide 850 00:43:43,454 --> 00:43:46,080 on Thanksgiving weekend in 1995, 851 00:43:46,165 --> 00:43:47,707 and from a shoestring budget, 852 00:43:48,042 --> 00:43:52,295 went on to earn more than $350 million worldwide, 853 00:43:52,379 --> 00:43:57,550 and paved the path to an entirely new computer animation industry. 854 00:43:58,886 --> 00:44:01,137 Kids loved it, critics loved it, 855 00:44:01,221 --> 00:44:05,224 and people in the animation field were knocked out. 856 00:44:05,809 --> 00:44:09,270 DOCTER: I remember the reviews starting to come in and going, "Wow." 857 00:44:09,355 --> 00:44:12,106 First of all, the fact that this paper has even heard of this movie 858 00:44:12,191 --> 00:44:15,276 and they care about it is stunning, and then they gave it a good review! 859 00:44:15,361 --> 00:44:17,987 They were just glowing, and wow. 860 00:44:18,072 --> 00:44:20,823 The most amazing thing to me was that it was really, really good. 861 00:44:20,908 --> 00:44:23,951 It was really entertaining. Great story, great character. 862 00:44:24,036 --> 00:44:27,205 That was the part where I was saying, "Whoa, they really pulled this off." 863 00:44:27,289 --> 00:44:30,708 People began to realize that this was a big deal, 864 00:44:30,793 --> 00:44:33,211 that we, in fact, had hit our stride, 865 00:44:33,295 --> 00:44:35,713 and this was what we were destined to do. 866 00:44:36,465 --> 00:44:38,257 (YOU'VE GOT A FRlEND IN ME PLAYING) 867 00:44:43,180 --> 00:44:45,348 NARRATOR: The Academy of Motion Pictures honored John 868 00:44:45,432 --> 00:44:47,684 with a special achievement Oscar 869 00:44:47,768 --> 00:44:51,229 for creating the first computer-animated feature film. 870 00:44:56,944 --> 00:45:00,947 In spite ofTot Story's success, the original contract between Pixar 871 00:45:01,031 --> 00:45:04,826 and Disney left the majority of the profits and merchandising with Disney, 872 00:45:05,202 --> 00:45:07,328 a long-term disaster for Pixar. 873 00:45:07,413 --> 00:45:10,581 Financially, if one film did not do well, 874 00:45:10,666 --> 00:45:12,709 we would be wiped off the face of the earth. 875 00:45:12,793 --> 00:45:15,795 We realized then that we had to become a studio, 876 00:45:15,879 --> 00:45:17,547 rather than just a production company. 877 00:45:17,631 --> 00:45:21,050 And in order to do that, we were going to need capital. 878 00:45:21,135 --> 00:45:23,553 So that's when we decided we had to go public. 879 00:45:25,681 --> 00:45:27,640 It was a combination of things 880 00:45:27,725 --> 00:45:29,684 that really hadn't been accomplished before. 881 00:45:29,977 --> 00:45:34,814 Creativity, technology, business. And it was a small company 882 00:45:34,940 --> 00:45:38,109 with those capabilities going up against giants. 883 00:45:38,902 --> 00:45:41,070 NARRATOR: One week afterTot Story's release, 884 00:45:41,155 --> 00:45:43,948 Pixar became the highest lPO of the year. 885 00:45:44,616 --> 00:45:46,325 From a $1 0 million investment, 886 00:45:46,785 --> 00:45:49,662 Steve raised $1 32 million. 887 00:45:53,834 --> 00:45:58,045 It was a wildly successful lPO , we got the money in the bank. 888 00:45:58,130 --> 00:45:59,797 And then, shortly thereafter, 889 00:46:00,048 --> 00:46:02,425 Disney came to us and said, "We want to extend the contract." 890 00:46:02,509 --> 00:46:07,221 And Steve said, "Okay, we will extend it if we can be fifty-fifty partners." 891 00:46:07,556 --> 00:46:09,599 And they said, "Okay, we'll do that." 892 00:46:09,683 --> 00:46:13,060 So he actually nailed this right on the head. 893 00:46:13,145 --> 00:46:14,187 I was in awe. 894 00:46:22,321 --> 00:46:25,198 DARLA ANDERSON: It was just really surreal that we had gone from 895 00:46:25,282 --> 00:46:27,325 riding around on scooters past empty offices, 896 00:46:27,409 --> 00:46:29,243 looking for extra office supplies, 897 00:46:29,328 --> 00:46:31,913 to this meteoric success, really. 898 00:46:31,997 --> 00:46:33,790 JOBS: We were in a place called Point Richmond, 899 00:46:33,874 --> 00:46:36,542 which was two miles away from a few refineries. 900 00:46:36,668 --> 00:46:39,170 A few times a year, we'd have evacuation days 901 00:46:39,254 --> 00:46:41,005 'cause the refineries would spew some 902 00:46:41,089 --> 00:46:43,966 wonderful chemical concoction into the air. 903 00:46:44,468 --> 00:46:46,928 Pixar's facilities grew with the company, 904 00:46:47,012 --> 00:46:49,388 which meant that they were a hodgepodge. 905 00:46:49,473 --> 00:46:52,308 CATMULL: The animation bullpen was this amazing building, 906 00:46:52,643 --> 00:46:55,770 probably not legal at all because of fire code. 907 00:46:58,273 --> 00:46:59,357 RANDY NELSON: It looked like a playground. 908 00:46:59,441 --> 00:47:02,360 It was loose, it was free, it was rough. 909 00:47:02,444 --> 00:47:06,489 It was like 200 people sharing a college dorm room. 910 00:47:06,573 --> 00:47:08,825 It was a place where you could go and draw on the wall, 911 00:47:08,909 --> 00:47:11,911 or make a hole in the wall and not feel bad about it. 912 00:47:14,122 --> 00:47:16,707 There was this infectious enthusiasm in the building. 913 00:47:16,792 --> 00:47:18,543 It's like I imagined it must be like, say, 914 00:47:18,627 --> 00:47:19,919 for the guys in Monty Python 915 00:47:20,003 --> 00:47:22,213 to be sitting around a table, writing material. 916 00:47:22,297 --> 00:47:25,883 You'd expect there to be this great creative feeding frenzy at the table, 917 00:47:25,968 --> 00:47:27,885 and that's what we had. 918 00:47:30,055 --> 00:47:34,392 It was so innocent and so sweet, and it was really, really a great time. 919 00:47:36,562 --> 00:47:37,687 CATMULL: A lot of people said, 920 00:47:37,771 --> 00:47:40,648 "Congratulations. You guys did what you said you were gonna do, 921 00:47:40,732 --> 00:47:42,775 "and you spent your whole careers doing it." 922 00:47:42,860 --> 00:47:44,402 So there was this great feeling of elation, 923 00:47:44,486 --> 00:47:47,530 and then when it was done it was like, "Now what?" 924 00:47:47,614 --> 00:47:49,866 There's a classic thing in business, 925 00:47:49,950 --> 00:47:53,160 which is the second product syndrome, if you will, 926 00:47:53,245 --> 00:47:57,874 and that is companies that have a really successful first product, 927 00:47:57,958 --> 00:48:01,627 but they don't quite understand why that product was so successful. 928 00:48:01,712 --> 00:48:04,881 And their ambitions grow, and they get much more grandiose, 929 00:48:04,965 --> 00:48:06,382 and their second product fails. 930 00:48:06,466 --> 00:48:08,551 Believe it or not, Apple was one of those companies. 931 00:48:08,635 --> 00:48:11,304 The Apple ll, Apple's first real product in the marketplace, 932 00:48:11,388 --> 00:48:15,349 was incredibly successful and the Apple lll was a dud. 933 00:48:15,434 --> 00:48:16,726 And so I lived through that, 934 00:48:16,810 --> 00:48:19,687 and I've seen a lot of companies not make it through that. 935 00:48:20,522 --> 00:48:24,442 My feeling was if we got through our second film, we'd make it. 936 00:48:24,818 --> 00:48:28,529 The bigger fear was just, can you find that lightning in a bottle again? 937 00:48:28,614 --> 00:48:32,283 Can you make yourself as in love the second time around, 938 00:48:32,367 --> 00:48:35,161 and you realize you have to actually work now 939 00:48:35,245 --> 00:48:38,372 at making yourself as naive 940 00:48:38,457 --> 00:48:41,918 as you were in the first round without any effort. 941 00:48:42,002 --> 00:48:43,753 There's nothing worse than any artist 942 00:48:43,837 --> 00:48:46,213 facing their second big piece of work, right? 943 00:48:46,840 --> 00:48:49,425 'Cause it's the point at which you find out whether 944 00:48:49,509 --> 00:48:52,053 everything that's been written about you is just hype, 945 00:48:52,262 --> 00:48:53,888 and you're yesterday's news, 946 00:48:53,972 --> 00:48:56,098 or whether you maybe really are the real deal. 947 00:48:56,350 --> 00:48:59,060 One of the things I learned is the tricks that worked on the last movie 948 00:48:59,144 --> 00:49:01,145 don't necessarily work on this movie. 949 00:49:01,229 --> 00:49:03,606 You know, you think, "Oh, we made Toy Story. 950 00:49:03,690 --> 00:49:05,942 "This is good. Oh, we know how. . . What we're doing now!" 951 00:49:06,026 --> 00:49:08,402 And then you start on a movie like Bug's Life, 952 00:49:08,487 --> 00:49:10,696 and you're back in kindergarten again. 953 00:49:18,872 --> 00:49:20,790 LASSETER: Research was literally done 954 00:49:20,874 --> 00:49:23,501 out in front of Pixar, in our own backyard. 955 00:49:25,504 --> 00:49:27,463 We ordered this tiny little video camera. 956 00:49:27,547 --> 00:49:31,634 We called it the bug-cam, and put it on the end of a stick. 957 00:49:31,718 --> 00:49:34,845 And we put little wheels from Lego on the bottom of it, 958 00:49:34,930 --> 00:49:38,140 and we were able to wheel it around and literally look at things 959 00:49:38,225 --> 00:49:40,935 from a half an inch above the ground. 960 00:49:44,940 --> 00:49:47,525 The one thing we noticed from this bug-cam 961 00:49:47,609 --> 00:49:50,861 was how translucent everything was. 962 00:49:50,946 --> 00:49:52,780 It was breathtaking. 963 00:49:52,864 --> 00:49:54,532 (INSECTS BUZZING) 964 00:49:54,616 --> 00:49:56,325 NARRATOR: For their second film with Disney, 965 00:49:56,743 --> 00:49:58,911 Pixar set out to prove themselves again, 966 00:49:59,454 --> 00:50:02,873 with a bigger story, scope and organic characters. 967 00:50:03,125 --> 00:50:07,920 Here I go. For the colony! And for oppressed ants everywhere! 968 00:50:09,297 --> 00:50:10,840 NARRATOR: A Bug's Life was the first 969 00:50:10,924 --> 00:50:13,467 computer-animated wide-screen movie. 970 00:50:14,177 --> 00:50:16,262 Oh. The city! 971 00:50:21,101 --> 00:50:24,270 I represent a colony of ants, and I'm looking for tough bugs. 972 00:50:24,354 --> 00:50:25,855 You know, mean bugs. The sort of bugs. . . 973 00:50:25,939 --> 00:50:26,981 A talent scout! 974 00:50:27,065 --> 00:50:29,775 My colony's in trouble! Grasshoppers are coming. 975 00:50:29,860 --> 00:50:32,570 We've been forced to prepare all this food! 976 00:50:32,654 --> 00:50:34,697 -Dinner theater! -Food! 977 00:50:34,781 --> 00:50:37,700 Please! Will you help us? 978 00:50:37,784 --> 00:50:42,121 This is it! This is Ant Island! 979 00:50:42,205 --> 00:50:45,332 DOT: Flik! Over here! Flik! Flik! 980 00:50:45,417 --> 00:50:51,047 They seem to relish the idea, at Pixar, of doing something difficult 981 00:50:51,131 --> 00:50:53,883 and then seeing how to solve the problems 982 00:50:53,967 --> 00:50:56,802 in a creative and entertaining way. 983 00:50:57,179 --> 00:50:59,055 What did you do? 984 00:51:00,474 --> 00:51:01,849 It was an accident? 985 00:51:08,982 --> 00:51:09,982 ANDERSON: There's always something 986 00:51:10,067 --> 00:51:11,442 that we haven't invented yet. 987 00:51:11,526 --> 00:51:15,321 So, as a producer, you are trusting a lot of R&D 988 00:51:15,405 --> 00:51:16,655 to come through in the right time. 989 00:51:16,740 --> 00:51:18,949 And you're pushing a lot of things and you're gambling 990 00:51:19,034 --> 00:51:20,493 and you're looking at people's eyes and you're saying, 991 00:51:20,577 --> 00:51:22,495 "Can you do this for me?" 992 00:51:22,579 --> 00:51:25,372 LASSETER: It was just a giant story. 993 00:51:25,457 --> 00:51:28,250 Too many characters, too much going on 994 00:51:28,335 --> 00:51:31,003 and we were just drowning in this thing. 995 00:51:31,171 --> 00:51:33,172 ANDERSON: So the producer goes to John and says, 996 00:51:33,256 --> 00:51:36,592 "John, we technologically cannot do crowd shots 997 00:51:36,676 --> 00:51:38,219 "with more than 50 ants in them. 998 00:51:38,303 --> 00:51:40,513 "So can you design the movie around this limitation?" 999 00:51:40,597 --> 00:51:43,432 And he said, "I'm willing to accept that if that's all you can do, 1000 00:51:43,517 --> 00:51:44,934 "but I think you guys can do better." 1001 00:51:45,018 --> 00:51:48,104 So he helped formulate this crowd team. 1002 00:51:48,188 --> 00:51:50,272 He believed in them, he pushed them 1003 00:51:50,357 --> 00:51:52,108 and at the end of the day, they were the heroes of the movie. 1004 00:51:58,865 --> 00:52:00,616 You ants stay back! 1005 00:52:06,873 --> 00:52:08,958 NARRATOR: Through new technological advancements, 1006 00:52:09,042 --> 00:52:14,547 Pixar artists transformed 50 original crowd shots into 431 , 1007 00:52:14,631 --> 00:52:18,425 and brought an epic of miniature proportions to the screen. 1008 00:52:19,386 --> 00:52:22,138 Pixar broke through the second film syndrome 1009 00:52:22,222 --> 00:52:24,306 and A Bug's Life became the highest-grossing 1010 00:52:24,391 --> 00:52:26,767 animated film of 1998. 1011 00:52:31,773 --> 00:52:34,150 After directing two back-to-back films, 1012 00:52:34,234 --> 00:52:37,486 John returned home from the international promotional tour, 1013 00:52:37,571 --> 00:52:40,447 now ready for a much-needed break. 1014 00:52:40,532 --> 00:52:42,116 I was exhausted. 1015 00:52:42,200 --> 00:52:45,035 My family hadn't seen much of me 1016 00:52:45,120 --> 00:52:46,829 and we were going to take the summer off. 1017 00:52:46,913 --> 00:52:49,707 Coming down the home stretch of Bug's Life, 1018 00:52:49,791 --> 00:52:53,252 we were all feeling stressed. 1019 00:52:53,461 --> 00:52:57,173 And, you know, we had been sharing John a lot. 1020 00:52:57,883 --> 00:53:01,719 As a family, you know, we needed some family time. 1021 00:53:01,803 --> 00:53:04,305 NARRATOR: Meanwhile, a secondary production team at Pixar 1022 00:53:04,389 --> 00:53:07,600 was making a direct-to-video sequel ofTot Story , 1023 00:53:08,185 --> 00:53:11,687 the first project not supervised by John Lasseter. 1024 00:53:11,771 --> 00:53:13,731 In February 1998, 1025 00:53:13,815 --> 00:53:17,359 Disney decided to release Tot Story 2 theatrically. 1026 00:53:17,444 --> 00:53:21,447 But at Pixar, a creative crisis was growing within. 1027 00:53:22,324 --> 00:53:23,949 We knew Toy Story 2 was having troubles. 1028 00:53:24,034 --> 00:53:27,953 I don't think we realized how bad it was really going, 1029 00:53:28,038 --> 00:53:30,039 and then we found out. 1030 00:53:30,123 --> 00:53:32,708 It just was not shaping up to be 1031 00:53:33,752 --> 00:53:36,754 at the level that we thought it needed to be. 1032 00:53:37,464 --> 00:53:40,424 CATMULL: John came back from his European promotional trip 1033 00:53:40,508 --> 00:53:43,302 and then came in and saw the reels and said, 1034 00:53:43,386 --> 00:53:45,930 "You're right, it's not very good." 1035 00:53:46,598 --> 00:53:50,517 So at that point, we went down to Disney and said, 1036 00:53:50,602 --> 00:53:53,729 "The film isn't very good. We have to redo it." 1037 00:53:53,813 --> 00:53:57,274 And they said, "It actually is good enough, 1038 00:53:57,359 --> 00:54:01,195 "but more importantly, you literally do not have the time." 1039 00:54:01,821 --> 00:54:03,906 And what we said at the time was, 1040 00:54:03,990 --> 00:54:08,494 "We can't deliver it the way it is. We have to do it over again." 1041 00:54:09,829 --> 00:54:13,791 We decided that the only course of action 1042 00:54:13,875 --> 00:54:15,793 was to ask John to go in, 1043 00:54:15,877 --> 00:54:19,588 right after he'd come off of A Bug's Life, without any rest, 1044 00:54:19,673 --> 00:54:22,091 to go in and take over that film. 1045 00:54:25,011 --> 00:54:28,931 My feeling was I could not ask anybody at Pixar 1046 00:54:29,015 --> 00:54:31,684 to do something I was not willing to do myself. 1047 00:54:31,768 --> 00:54:35,229 I said to him, "Well, I support you all the way. 1048 00:54:35,313 --> 00:54:39,775 "I'd like to see you do this picture, but we also have a family here, 1049 00:54:39,859 --> 00:54:42,027 "and you're gonna have to 1050 00:54:43,029 --> 00:54:46,532 "make changes in your day-to-day routine. 1051 00:54:46,616 --> 00:54:48,450 "You're gonna have to work normal hours." 1052 00:54:48,535 --> 00:54:50,619 This is a movie that was already fully into production. 1053 00:54:50,704 --> 00:54:52,288 A lot of it was animated. 1054 00:54:52,372 --> 00:54:55,833 It was a bullet train heading towards a release date. 1055 00:54:56,293 --> 00:54:59,044 NARRATOR: Over a single weekend, John and his creative team 1056 00:54:59,129 --> 00:55:03,132 from the first Tot Story reworked the entire script. 1057 00:55:03,383 --> 00:55:06,302 John came back and pitched that story to the animation department. 1058 00:55:06,386 --> 00:55:09,638 Just in that pitch, he totally fired everyone up 1059 00:55:09,723 --> 00:55:11,932 and inspired everyone to really do the impossible. 1060 00:55:12,017 --> 00:55:13,767 Nine months before it's supposed to come out, 1061 00:55:13,852 --> 00:55:17,730 John threw the vast majority of the movie out and started over, 1062 00:55:17,814 --> 00:55:19,064 which is unheard of. 1063 00:55:19,566 --> 00:55:22,151 NARRATOR: With Tom Schumacher overseeing production for Disney, 1064 00:55:22,235 --> 00:55:25,863 even he knew this was beyond the studio's control. 1065 00:55:26,823 --> 00:55:29,283 LASSETER: After a while, he said, "Guys, you know better than I do 1066 00:55:29,367 --> 00:55:31,452 "what it's gonna take to make this, so just go. 1067 00:55:31,536 --> 00:55:33,537 "You have no time to wait for my approvals. 1068 00:55:33,621 --> 00:55:35,748 "Just go, go, go, go, go." 1069 00:55:37,500 --> 00:55:39,126 DOCTER: There's kind of a chemistry with us. 1070 00:55:39,210 --> 00:55:43,005 We just spin off each other well, or build on top of each other. 1071 00:55:43,089 --> 00:55:46,342 It's always this core group of guys keeping each other in check. 1072 00:55:46,426 --> 00:55:48,135 We were able to finish each other's sentences 1073 00:55:48,219 --> 00:55:50,262 and take each other's ideas and heighten them, 1074 00:55:50,347 --> 00:55:52,723 and someone else would heighten it even more. 1075 00:55:52,807 --> 00:55:55,017 NARRATOR: They broadened the scope of Toy Story 2, 1076 00:55:55,101 --> 00:55:57,853 introducing new characters and special effects, 1077 00:55:57,937 --> 00:56:00,939 rivaling those of the best live-action epics. 1078 00:56:01,024 --> 00:56:03,859 The animators were pushed to their limits. 1079 00:56:05,236 --> 00:56:06,236 (BUZZ LIGHTYEAR GRUNTS) 1080 00:56:14,579 --> 00:56:16,038 (BUZZ LIGHTYEAR SCREAMING) 1081 00:56:17,082 --> 00:56:18,082 (GRUNTS) 1082 00:56:18,249 --> 00:56:20,376 LASSETER: The amount of footage that was going through that studio 1083 00:56:20,460 --> 00:56:21,835 was staggering. 1084 00:56:21,920 --> 00:56:23,921 Seeing the work that's coming out of the animators, 1085 00:56:24,005 --> 00:56:26,465 it's actually inspired me as a director. 1086 00:56:26,716 --> 00:56:27,716 Give it to a good animator, 1087 00:56:27,801 --> 00:56:29,968 "Okay, make this special, make this funny, 1088 00:56:30,053 --> 00:56:32,054 "make this entertaining for this moment." 1089 00:56:32,138 --> 00:56:35,182 Some animators have the clear character stamps, 1090 00:56:35,266 --> 00:56:36,725 like Doug Sweetland. 1091 00:56:36,810 --> 00:56:39,019 I was thinking that Woody would be coming outta the saloon. 1092 00:56:39,104 --> 00:56:40,771 Give us something like. . .boof! 1093 00:56:41,314 --> 00:56:44,233 LASSETER: There's reasons for every single movement he does, 1094 00:56:44,317 --> 00:56:45,859 which is hilarious. 1095 00:56:45,944 --> 00:56:46,944 He's not, like, looking at her. 1096 00:56:47,028 --> 00:56:48,695 He's kind of, like, looking over her shoulder, like, 1097 00:56:48,780 --> 00:56:52,449 "Say, little missy, seen any trouble around these parts?" 1098 00:56:52,534 --> 00:56:56,161 Say, little missy, you notice any trouble around these parts? 1099 00:56:56,246 --> 00:56:58,956 (LAUGHS) Nary a bit! Not with Sheriff Woody around! 1100 00:56:59,040 --> 00:57:00,666 Wait, wait, wait! I got it, I got it. This is great. 1101 00:57:00,750 --> 00:57:02,751 Okay, the bandits got the critters tied up in the burning barn, 1102 00:57:02,836 --> 00:57:03,877 and now for the best part! 1103 00:57:03,962 --> 00:57:05,796 "Help us! The barn's on fire!" 1104 00:57:05,880 --> 00:57:10,676 "I've got you, critters. No need to worry. Woody saves the day again!" 1105 00:57:10,760 --> 00:57:14,513 RANFT: You're trying to find what you would hope the audience would feel 1106 00:57:14,597 --> 00:57:16,265 when they're watching this movie. 1107 00:57:16,349 --> 00:57:20,018 Every other department is on board to use the environment, 1108 00:57:20,103 --> 00:57:22,604 the color, the lighting, the animation, 1109 00:57:22,689 --> 00:57:25,315 to make the strongest possible statement 1110 00:57:25,400 --> 00:57:27,609 that when people are in a theater they're gonna, 1111 00:57:27,694 --> 00:57:28,986 "Wow, this is something special. 1112 00:57:29,070 --> 00:57:32,197 "This is something that really affected me." 1113 00:57:32,991 --> 00:57:37,369 Emily was just the same. She was my whole world. 1114 00:57:39,706 --> 00:57:40,831 (WHEN SHE LOVED ME PLAYING) 1115 00:57:40,915 --> 00:57:43,709 (SINGING) When somebody loved me... 1116 00:57:44,711 --> 00:57:46,962 RANDY NEWMAN: I thought it was a very brave thing for them to do, 1117 00:57:47,046 --> 00:57:51,717 to think that five-year-olds would sit still for three minutes of montage 1118 00:57:51,801 --> 00:57:55,387 and a ballad and something, you know, very sad, really. 1119 00:57:55,472 --> 00:57:57,806 (SINGING) And when she was sad 1120 00:57:58,516 --> 00:58:00,684 I was there to dry her tears 1121 00:58:02,395 --> 00:58:06,857 And when she was happy So was l 1122 00:58:07,734 --> 00:58:13,238 When she loved me 1123 00:58:14,574 --> 00:58:16,074 Tim Allen and I actually saw the movie 1124 00:58:16,159 --> 00:58:18,285 together at the same time when it was all done, 1125 00:58:18,369 --> 00:58:20,579 and we had an understanding of what everything goes on. 1126 00:58:20,663 --> 00:58:22,247 But then when Jessie's song came up, 1127 00:58:22,332 --> 00:58:24,666 we were just 40-year-old men crying our eyes out 1128 00:58:24,751 --> 00:58:27,211 over this abandoned cowgirl doll. 1129 00:58:28,796 --> 00:58:31,798 (SINGING) Every hour we spent together 1130 00:58:32,592 --> 00:58:35,636 lives within my heart 1131 00:58:36,387 --> 00:58:44,102 When she loved me 1132 00:58:46,606 --> 00:58:48,690 LASSETER: At that moment you know that no one's thinking 1133 00:58:48,775 --> 00:58:50,400 "Well, this is just a cartoon. 1134 00:58:50,860 --> 00:58:53,195 "It's just a bunch of pencil drawings on paper, 1135 00:58:53,279 --> 00:58:56,031 "or this is a bunch of just computer data." 1136 00:58:56,115 --> 00:59:00,285 You know. No. These characters are alive and they're real. 1137 00:59:01,287 --> 00:59:03,163 NARRATOR: Tot Story 2 made its debut 1138 00:59:03,248 --> 00:59:05,165 in theaters on its scheduled release date, 1139 00:59:05,250 --> 00:59:07,834 Thanksgiving Day, 1999, 1140 00:59:07,919 --> 00:59:09,545 joining that rare number of sequels 1141 00:59:09,629 --> 00:59:12,673 judged to be as good as or better than the original. 1142 00:59:12,757 --> 00:59:15,717 LASSETER: That was probably the greatest sense of accomplishment 1143 00:59:15,802 --> 00:59:18,845 I'd ever had, and I think the studio's ever had, in their life. 1144 00:59:22,475 --> 00:59:26,103 JOBS: Everybody was so dedicated to it and loved Tot Story 1145 00:59:26,187 --> 00:59:29,773 and those characters so much, and loved the new movie so much, 1146 00:59:29,857 --> 00:59:32,234 that we killed ourselves to make it. 1147 00:59:32,318 --> 00:59:36,029 And it, you know, it took some people a year to recover. 1148 00:59:36,114 --> 00:59:38,490 It was tough. It was too tough. 1149 00:59:38,950 --> 00:59:42,661 Toy Story 2 was the pivotal moment in this company. 1150 00:59:42,745 --> 00:59:45,205 It's when we actually defined who we were. 1151 00:59:45,290 --> 00:59:48,959 From that we learned the important thing is not the idea, 1152 00:59:49,502 --> 00:59:52,087 the important thing is the people. 1153 00:59:52,171 --> 00:59:54,756 It's how they work together, who they are, 1154 00:59:54,966 --> 00:59:57,092 that matters more than anything else. 1155 00:59:57,176 --> 01:00:00,053 JOBS: Our business depends upon collaboration, 1156 01:00:00,680 --> 01:00:03,682 and it depends upon unplanned collaboration. 1157 01:00:03,766 --> 01:00:07,185 And so we were just too spread out, and the groups were, you know, 1158 01:00:07,270 --> 01:00:08,895 developing their own styles. 1159 01:00:08,980 --> 01:00:12,482 We were growing into several divisions, instead of one company, 1160 01:00:12,567 --> 01:00:15,444 and so the goal was pure and simple. 1161 01:00:15,528 --> 01:00:18,280 We want to put everybody under one roof, 1162 01:00:18,364 --> 01:00:21,199 and we want to encourage unplanned collaborations. 1163 01:00:23,995 --> 01:00:26,496 NARRATOR: With Pixar's facilities bursting at the seams, 1164 01:00:26,581 --> 01:00:30,542 Steve set his sights on 20 acres in Emeryville, California, 1165 01:00:30,627 --> 01:00:33,629 where he envisioned a state-of-the-art animation facility, 1166 01:00:33,713 --> 01:00:36,298 a home for the best artists and scientists 1167 01:00:36,382 --> 01:00:38,842 to create and play under one roof. 1168 01:00:41,137 --> 01:00:42,638 LASSETER: Welcome, ladies and gentlemen, 1169 01:00:42,722 --> 01:00:47,184 to the first annual Pixar International Air Show! 1170 01:00:53,399 --> 01:00:55,275 LASSETER: The building itself has helped so much, 1171 01:00:55,360 --> 01:00:57,194 because Pixar is its people. 1172 01:00:57,278 --> 01:01:00,364 And we maintain the same philosophy 1173 01:01:00,448 --> 01:01:05,160 of "an office is an empty canvas," and it's so fun. 1174 01:01:09,332 --> 01:01:12,250 One of the things that we wanted to do with this studio 1175 01:01:12,335 --> 01:01:16,004 is to grow it so that we could be eventually 1176 01:01:16,089 --> 01:01:18,006 releasing one movie every year. 1177 01:01:18,091 --> 01:01:21,009 So that means we have to have a bunch of overlapping productions. 1178 01:01:21,094 --> 01:01:24,680 And so that gave the opportunity to where, some of my close colleagues, 1179 01:01:24,764 --> 01:01:26,890 give them a chance to direct their own films. 1180 01:01:26,974 --> 01:01:29,476 The second animator, after me, 1181 01:01:29,560 --> 01:01:31,978 who was ever hired at Pixar was Andrew Stanton. 1182 01:01:32,063 --> 01:01:34,022 And then Pete Docter was soon after that. 1183 01:01:34,107 --> 01:01:35,816 And I knew right away that these guys 1184 01:01:35,900 --> 01:01:38,610 are good enough to make their own films. 1185 01:01:39,779 --> 01:01:44,700 NARRATOR: John chose Pete Docter to direct the next feature film at Pixar, 1186 01:01:44,784 --> 01:01:47,786 a decision that did not come without doubts. 1187 01:01:48,746 --> 01:01:50,664 SCHUMACHER: I was not convinced that 1188 01:01:50,748 --> 01:01:52,874 he could hold up this weight without John. 1189 01:01:52,959 --> 01:01:54,042 He hadn't done it before. 1190 01:01:54,127 --> 01:01:56,169 He hadn't been an associate director before, 1191 01:01:56,254 --> 01:01:59,381 he hadn't been the number two, he hadn't been a co-director before. 1192 01:01:59,674 --> 01:02:02,092 It was really throwing him into the lion's den. 1193 01:02:02,802 --> 01:02:04,636 DOCTER: My biggest challenge was that I was 1194 01:02:04,721 --> 01:02:06,847 following in the footsteps of John Lasseter. 1195 01:02:06,931 --> 01:02:09,349 To come in and say, "Okay, now I'm gonna direct this," 1196 01:02:09,475 --> 01:02:11,476 it was a tough act to follow. 1197 01:02:11,769 --> 01:02:13,395 SCHUMACHER: Pete had this fundamental idea 1198 01:02:13,479 --> 01:02:15,188 that when children say, "'There's a monster in the closet," 1199 01:02:15,273 --> 01:02:16,940 they're actually telling the truth. 1200 01:02:17,024 --> 01:02:19,776 The rest of it was all over the map. 1201 01:02:21,320 --> 01:02:22,988 DOCTER: There were too many possibilities. 1202 01:02:23,072 --> 01:02:25,490 Monsters, it could be anything, anything in the world. 1203 01:02:25,575 --> 01:02:28,118 So, it was almost too much freedom. 1204 01:02:28,661 --> 01:02:32,164 We knew we wanted fur. We had no idea how to do it. 1205 01:02:32,248 --> 01:02:34,833 And that was, of course, one of the more difficult things to do. 1206 01:02:34,917 --> 01:02:36,334 (MlKE WAZOWSKI SHOUTS) 1207 01:02:37,378 --> 01:02:38,879 (SULLEY GRUNTING) 1208 01:02:42,175 --> 01:02:43,425 MlKE WAZOWSKl: Take that! 1209 01:02:43,509 --> 01:02:44,551 (BOTH GROWL) 1210 01:02:44,635 --> 01:02:45,635 (GASPS) 1211 01:02:48,848 --> 01:02:51,224 Welcome to the Himalayas! 1212 01:02:51,309 --> 01:02:55,020 These people think differently than normal people. 1213 01:02:55,813 --> 01:02:58,482 They're strange. In the best way. 1214 01:02:58,566 --> 01:02:59,941 DOCTER: When we thought of Billy Crystal, 1215 01:03:00,026 --> 01:03:01,693 we thought, "Wow, this is gonna be great." 1216 01:03:01,778 --> 01:03:04,446 Of course, he just added his own unique spin to it. 1217 01:03:04,530 --> 01:03:06,573 Mike was an appealing, 1218 01:03:06,657 --> 01:03:09,075 odd little guy who I thought was a combination 1219 01:03:09,160 --> 01:03:12,120 of Mr. Toad and Sammy Davis, Jr. 1220 01:03:12,205 --> 01:03:13,955 Think romantical thoughts. 1221 01:03:14,040 --> 01:03:17,417 (SINGING) You and me Me and you 1222 01:03:17,502 --> 01:03:19,377 Both of us together! 1223 01:03:19,462 --> 01:03:21,713 And the way he moves and his face and stuff like that. 1224 01:03:21,798 --> 01:03:25,217 And then, when I decided on a voice, it just all seemed to work. 1225 01:03:25,301 --> 01:03:26,635 Scary feet, scary feet, scary feet. Oh! 1226 01:03:26,719 --> 01:03:28,261 The kid's awake! Okay, scary feet, 1227 01:03:28,346 --> 01:03:30,555 scary feet, scary feet, scary feet, scar. . . Kid's asleep! 1228 01:03:30,640 --> 01:03:31,640 The whole little guy 1229 01:03:31,724 --> 01:03:33,642 was one of my favorite characters that I've ever played. 1230 01:03:33,726 --> 01:03:34,810 Twins! And a bunk bed! 1231 01:03:34,894 --> 01:03:36,311 (GROWLING) 1232 01:03:37,313 --> 01:03:38,688 Ooh, I thought I had you there. 1233 01:03:38,773 --> 01:03:42,943 What shocked me about the movie was the size of it. 1234 01:03:43,319 --> 01:03:44,402 (SULLEY GASPS) 1235 01:03:45,112 --> 01:03:47,948 CRYSTAL: I was astounded by the chase and the door sequence. 1236 01:03:48,032 --> 01:03:50,158 When you see the millions of doors moving, 1237 01:03:50,243 --> 01:03:52,911 and they're all individually done, that just blew me away. 1238 01:03:53,079 --> 01:03:54,496 Hold on! 1239 01:03:54,580 --> 01:03:55,914 (MlKE WAZOWSKI SCREAMING) 1240 01:03:56,123 --> 01:03:57,415 (SCREAMING) 1241 01:03:59,460 --> 01:04:03,505 SCHUMACHER: It was a wild ride, because it was such a complex movie, 1242 01:04:03,589 --> 01:04:06,174 and it didn't find its center for a very long time. 1243 01:04:06,259 --> 01:04:09,261 And then when it did, its center was so good, 1244 01:04:09,595 --> 01:04:10,846 people went nuts for it. 1245 01:04:10,930 --> 01:04:14,850 DOCTER: The last shot of Monsters, Incorporated animation 1246 01:04:14,934 --> 01:04:17,435 is now officially final! 1247 01:04:17,770 --> 01:04:19,104 (ALL CHEERING) 1248 01:04:21,190 --> 01:04:24,359 SCHUMACHER: Pete emerged as a remarkably sensitive, 1249 01:04:24,443 --> 01:04:28,864 smart, really great director, and he owns this movie. 1250 01:04:28,948 --> 01:04:31,366 He completely owns this movie. 1251 01:04:31,701 --> 01:04:34,119 NARRATOR: The historic success of Monsters, Inc. , 1252 01:04:34,203 --> 01:04:37,372 the highest-grossing animated film released to its date, 1253 01:04:37,456 --> 01:04:39,291 now placed added stress 1254 01:04:39,375 --> 01:04:41,877 on the next director in line, Andrew Stanton. 1255 01:04:41,961 --> 01:04:45,130 BlRD: So, the pressure. It's begun? 1256 01:04:45,882 --> 01:04:51,469 $62,577 ,067 . 1257 01:04:53,306 --> 01:04:55,098 (ALL CHEERING) 1258 01:04:57,059 --> 01:04:58,059 (WHlSTLING) 1259 01:05:00,771 --> 01:05:04,608 There's no reason, Andrew, to be feeling any more pressure. 1260 01:05:05,067 --> 01:05:07,027 I'm fine! I'm fine! 1261 01:05:12,283 --> 01:05:14,910 STANTCN: I remember in '92, when my son was just born, 1262 01:05:14,994 --> 01:05:18,371 going to Marine World, and they had this shark exhibit, 1263 01:05:18,456 --> 01:05:20,415 where you kind of walk through a tunnel and they swim over you. 1264 01:05:20,499 --> 01:05:21,458 It was like a glass tunnel. 1265 01:05:21,542 --> 01:05:22,751 You could get up really close, 1266 01:05:22,835 --> 01:05:24,836 see underwater and lose all your peripheral vision 1267 01:05:24,921 --> 01:05:28,089 of anybody around you in the man-made world. 1268 01:05:28,174 --> 01:05:30,884 And I remember thinking then, you know, this is 10 years ago, 1269 01:05:30,968 --> 01:05:32,594 "We could make this world." 1270 01:05:32,678 --> 01:05:36,556 CG would be perfect for this world, you could capture it so well. 1271 01:05:40,019 --> 01:05:43,772 MR. RAY: (SINGING) Oh, let's name the species the species, the species 1272 01:05:43,856 --> 01:05:45,273 Let's name the species that live in the sea 1273 01:05:45,358 --> 01:05:46,316 Whoa! 1274 01:05:46,400 --> 01:05:49,069 There's porifera... 1275 01:05:49,153 --> 01:05:51,488 STANTON: Without meaning to, I sort of made this epic journey 1276 01:05:51,572 --> 01:05:53,323 that takes you all over the ocean. 1277 01:05:53,407 --> 01:05:55,742 That meant every set piece had to be different. 1278 01:05:55,826 --> 01:05:58,787 The look of being underwater is actually quite simple 1279 01:05:58,871 --> 01:06:00,038 from a technical standpoint. 1280 01:06:00,122 --> 01:06:04,125 It was just really tough to dial all the different ingredients just right. 1281 01:06:04,210 --> 01:06:06,795 You know, I think if I had known that's what I was gonna be signing up for, 1282 01:06:06,879 --> 01:06:09,381 and everybody else, I don't think anybody would've done it. 1283 01:06:09,715 --> 01:06:11,132 (BREATHING THROUGH OXYGEN TANK) 1284 01:06:11,217 --> 01:06:12,258 Big. FINDING NEMO 1285 01:06:12,343 --> 01:06:14,803 NARRATOR: Seeing his son kidnapped before his eyes, 1286 01:06:14,887 --> 01:06:16,805 the overprotective father, Marlin, 1287 01:06:16,889 --> 01:06:20,642 travels across the vast ocean to find his son, Nemo. 1288 01:06:20,726 --> 01:06:23,478 And along the way, learns to become a better father. 1289 01:06:23,562 --> 01:06:25,188 DOLPHIN: So, these two little fish have been 1290 01:06:25,272 --> 01:06:26,856 searching the ocean for days 1291 01:06:26,941 --> 01:06:28,608 on the East Australian Current. . . 1292 01:06:28,693 --> 01:06:31,152 FEMALE BlRD: . . .which means that he may be on his way here right now. 1293 01:06:31,237 --> 01:06:32,570 That should put them in Sydney Harbor. . . 1294 01:06:32,655 --> 01:06:33,947 MALE BlRD: . . .in a matter of days! 1295 01:06:34,031 --> 01:06:36,408 I mean, it sounds like this guy's gonna stop at nothing till. . . 1296 01:06:36,492 --> 01:06:37,617 MALE BlRD 2: . . .until he finds his son. 1297 01:06:37,702 --> 01:06:38,952 I sure hope he makes it. 1298 01:06:39,036 --> 01:06:41,913 That's one dedicated father, if you ask me. 1299 01:06:42,623 --> 01:06:43,623 The challenge on Nemo 1300 01:06:43,708 --> 01:06:46,042 is the same challenge that we had on the first Toy Story, 1301 01:06:46,127 --> 01:06:49,004 which is making a good movie. It really comes down to that. 1302 01:06:49,088 --> 01:06:53,091 I mean, each film has its own technical hurdles that we have to overcome. 1303 01:06:53,551 --> 01:06:57,053 But we spend the first two-and-a-half years 1304 01:06:57,138 --> 01:07:00,181 making these films doing nothing but working out the stories. 1305 01:07:00,266 --> 01:07:02,809 SEAGULLS: Mine! Mine! Mine! Mine! Mine! Mine! Mine! Mine! Mine! Mine! 1306 01:07:02,893 --> 01:07:06,646 Would you just shut up! You're rats with wings! 1307 01:07:06,731 --> 01:07:08,857 This bloke's been looking for his boy, Nemo. 1308 01:07:08,941 --> 01:07:10,608 NlGEL: Nemo? PELlCAN: He was taken off the reef 1309 01:07:10,693 --> 01:07:13,111 -by divers and this. . . -NlGEL: There, take it! You happy? 1310 01:07:13,195 --> 01:07:15,196 Mine! Mine! Mine! Mine! 1311 01:07:15,948 --> 01:07:17,699 (MAKES MARTlAL ARTS FlGHTING SOUNDS) 1312 01:07:18,075 --> 01:07:19,075 Mine! 1313 01:07:19,952 --> 01:07:21,995 Every morning we get together in the screening room 1314 01:07:22,079 --> 01:07:23,580 with the directors and all the other animators 1315 01:07:23,664 --> 01:07:27,709 and we all show our shots in various stages of completion. 1316 01:07:27,793 --> 01:07:31,337 Everybody is entitled to their opinion and to say it out loud. 1317 01:07:31,422 --> 01:07:35,050 So it's a very healthy, and sometimes intimidating, forum. 1318 01:07:35,134 --> 01:07:36,134 (MAN LAUGHS) 1319 01:07:36,218 --> 01:07:37,802 WOMAN: Doug is next. 1320 01:07:38,554 --> 01:07:40,430 MARLIN: Hey, guess what. 1321 01:07:40,514 --> 01:07:42,515 NEMO:What? MARLIN: Sea turtles... 1322 01:07:43,184 --> 01:07:48,146 I met one, and he was 150 years old. 1323 01:07:49,190 --> 01:07:50,732 STANTON: You know, Nemo should be looking at his dad 1324 01:07:50,816 --> 01:07:52,233 at the beginning of the shot. 1325 01:07:52,318 --> 01:07:53,276 SWEETLAND: All the time? 1326 01:07:53,360 --> 01:07:54,486 STANTON: Yeah. He looks like he's dead. 1327 01:07:54,570 --> 01:07:55,570 (PEOPLE LAUGH) 1328 01:07:55,654 --> 01:07:56,905 STANTON: He looks like he's given up. SWEETLAND: Okay. 1329 01:07:56,989 --> 01:07:58,615 STANTON: I think he's, anyway, he looked at his dad, 1330 01:07:58,699 --> 01:08:00,200 and then looked at his fin, and he should be, like, 1331 01:08:00,284 --> 01:08:01,993 looking at him for acknowledgement the whole time. 1332 01:08:02,078 --> 01:08:03,328 SWEETLAND: Okay. STANTON: Like they touch the fin 1333 01:08:03,412 --> 01:08:04,662 and they stay looking at each other and. . . 1334 01:08:04,747 --> 01:08:06,414 SWEETLAND: Okay. STANTON: I think that's missing. 1335 01:08:06,499 --> 01:08:08,124 (LAUGHING CONTINUES) 1336 01:08:08,209 --> 01:08:09,709 SWEETLAND: All right. 1337 01:08:11,378 --> 01:08:14,756 NEMO: 'Cause Sandy Plankton said they only live to be 100. 1338 01:08:14,840 --> 01:08:17,425 MARLIN: Sandy Plankton? Do you think I would cross the entire ocean... 1339 01:08:17,510 --> 01:08:21,679 SWEETLAND: I was, focusing primarily on the father and not on... 1340 01:08:21,764 --> 01:08:22,847 Really not on Nemo. 1341 01:08:22,932 --> 01:08:26,684 So I just kind of had Nemo default to this kind of eyes forward pose, 1342 01:08:26,769 --> 01:08:29,521 not even thinking about, like, how it would read, 1343 01:08:29,605 --> 01:08:32,649 except that hopefully you're looking at father, right? 1344 01:08:32,733 --> 01:08:35,860 But Andrew read it, and he was totally right, 1345 01:08:35,945 --> 01:08:37,904 that it looks completely indifferent. 1346 01:08:37,988 --> 01:08:41,282 (LAUGHS) And, so now I have to give 1347 01:08:41,367 --> 01:08:43,368 the same treatment I gave father to Nemo. 1348 01:08:44,662 --> 01:08:47,580 But you know, it's, you know, it's not like starting over or anything, 1349 01:08:47,665 --> 01:08:50,333 but I have to imbue that character with something. 1350 01:08:51,001 --> 01:08:53,378 So now what I can do is just go back into the thumbnails 1351 01:08:53,462 --> 01:08:57,882 (LAUGHS) look, here's ghost of Nemo, ghost of Nemo. 1352 01:08:59,135 --> 01:09:02,053 I have, like, father doing all this acting to this lump. 1353 01:09:02,138 --> 01:09:06,057 So, now maybe what I could do is just use these same drawings. 1354 01:09:08,978 --> 01:09:11,521 It'll be good, this shot'll be a lot better. 1355 01:09:11,605 --> 01:09:14,023 I had done all this stuff, too, where 1356 01:09:16,277 --> 01:09:18,319 the fin is, like, the symbol of the movie. 1357 01:09:18,404 --> 01:09:20,238 His accepting of his son is also the letting go 1358 01:09:20,322 --> 01:09:22,574 of the past or the loss, the trauma. 1359 01:09:22,658 --> 01:09:25,368 And what is it. . . What is it to take someone's hand? 1360 01:09:25,452 --> 01:09:27,745 Not only is it an opportunity just to physically, 1361 01:09:27,830 --> 01:09:32,750 like touch and connect with his son, it also marks the new relationship. 1362 01:09:36,422 --> 01:09:38,131 I'm so sorry, Nemo. 1363 01:09:48,517 --> 01:09:51,102 -Hey, guess what. -What? 1364 01:09:51,187 --> 01:09:54,105 Sea turtles. . . I met one. 1365 01:09:54,940 --> 01:09:58,109 And he was 150 years old. 1366 01:09:59,111 --> 01:10:00,778 Hundred and fifty? 1367 01:10:01,113 --> 01:10:02,322 Yep. 1368 01:10:03,282 --> 01:10:07,035 'Cause Sandy Plankton said they only live to be 100. 1369 01:10:08,329 --> 01:10:09,537 Sandy Plankton? 1370 01:10:09,622 --> 01:10:11,497 Do you think I would cross the entire ocean 1371 01:10:11,582 --> 01:10:13,208 and not know as much as Sandy Plankton? 1372 01:10:13,292 --> 01:10:14,292 (NEMO CHUCKLES) 1373 01:10:14,376 --> 01:10:16,377 MARLIN: He was 150, not 100! 1374 01:10:16,462 --> 01:10:19,631 Who is this Sandy Plankton who knows everything? 1375 01:10:22,176 --> 01:10:26,554 NARRATOR: In 2003, Finding Nemo surpassed Pixar's own previous marks, 1376 01:10:26,639 --> 01:10:29,599 making it the new highest grossing animated film in history. 1377 01:10:29,683 --> 01:10:33,895 And director Andrew Stanton won the Oscar for best animated feature. 1378 01:10:33,979 --> 01:10:36,064 But the enormous success of Finding Nemo 1379 01:10:36,148 --> 01:10:38,566 meant that expectations were now even higher, 1380 01:10:38,651 --> 01:10:43,112 as Brad Bird, the first outside director, was invited in to direct a feature. 1381 01:10:43,572 --> 01:10:47,867 Well, here I am, pulling into Pixar, 1382 01:10:47,952 --> 01:10:52,455 first time, into Pixar. . . Yeah. 1383 01:10:52,539 --> 01:10:53,581 NARRATOR: Brad was an old classmate 1384 01:10:53,666 --> 01:10:55,416 of John Lasseter's from CalArts. 1385 01:10:55,501 --> 01:10:57,043 He had made the critically acclaimed 1386 01:10:57,127 --> 01:11:00,213 2-D hand animated film, The Iron Giant. 1387 01:11:02,216 --> 01:11:03,508 LASSETER: Brad and I stayed in touch, 1388 01:11:03,592 --> 01:11:07,011 and he pitched us on an idea called The Incredibles, 1389 01:11:07,096 --> 01:11:08,471 and it's a family of superheroes, 1390 01:11:08,555 --> 01:11:11,557 and originally he was thinking of it being cell-animated, 1391 01:11:11,642 --> 01:11:13,977 but he thought it could work in 3-D computer animation. 1392 01:11:14,061 --> 01:11:15,645 I fell in love with it right away, 1393 01:11:15,729 --> 01:11:19,899 but the thing I loved about it the most was this story of this family. 1394 01:11:19,984 --> 01:11:21,317 It's got so much heart to it. 1395 01:11:21,402 --> 01:11:23,194 I've just been given my card key. 1396 01:11:24,363 --> 01:11:28,700 Now I can get into all the secret chambers of Pixar. 1397 01:11:28,784 --> 01:11:33,079 This is where A Bug's Life was actually filmed, on location, right here. 1398 01:11:33,706 --> 01:11:34,956 (YELLING) 1399 01:11:35,040 --> 01:11:36,040 BlRD: Good to see you. 1400 01:11:36,125 --> 01:11:38,918 Any company that had four hits in a row 1401 01:11:39,003 --> 01:11:42,171 would not be open to changing anything. 1402 01:11:42,256 --> 01:11:44,924 This place was the exact opposite. 1403 01:11:45,009 --> 01:11:48,052 They were saying, "'Look, we've had four hits in a row. 1404 01:11:48,137 --> 01:11:51,472 "We are in danger of repeating ourselves, 1405 01:11:51,557 --> 01:11:56,561 "or of getting too satisfied and we need to shake this place up." 1406 01:11:56,645 --> 01:11:59,105 Keep it moving. Keep it, Kate, nice to see you. Keep it moving. 1407 01:11:59,189 --> 01:12:02,650 I'm here to tell you, you guys are kind of in your wood-fired pizza mode 1408 01:12:02,735 --> 01:12:05,069 and, a lot of you are, 1409 01:12:05,154 --> 01:12:09,532 "Yeah, I work at the place where we make hit after hit." 1410 01:12:10,451 --> 01:12:11,576 (AUDIENCE LAUGHS) 1411 01:12:11,660 --> 01:12:16,497 But, you know, I'm telling you, I've been out in that real world 1412 01:12:16,582 --> 01:12:18,374 as some of you also have been, 1413 01:12:18,459 --> 01:12:21,502 and you who have been out there know what I'm talking about. 1414 01:12:21,587 --> 01:12:23,129 This is an anomaly, 1415 01:12:23,213 --> 01:12:26,799 this place is, A, really freakishly 1416 01:12:26,884 --> 01:12:30,345 alone in this hit-after-hit aspect, 1417 01:12:30,429 --> 01:12:32,055 and, two, 1418 01:12:33,140 --> 01:12:38,061 you know, these kind of projects don't happen that often. 1419 01:12:38,145 --> 01:12:40,355 Grab this opportunity and run with it. 1420 01:12:40,439 --> 01:12:43,316 You know, film is forever, you know, pain is temporary. 1421 01:12:43,400 --> 01:12:44,650 (AUDIENCE LAUGHS) 1422 01:12:45,110 --> 01:12:48,780 LASSETER: Once we brought Brad into Pixar, we all were learning again. 1423 01:12:48,864 --> 01:12:52,992 And he has brought in his cldse colleborators on Iron Giant, 1424 01:12:53,077 --> 01:12:55,036 and they are amazing. 1425 01:12:55,120 --> 01:12:58,247 BlRD: The 2-D people that I brought up wrestled with the box, 1426 01:12:58,332 --> 01:13:01,417 you know, just trying to figure out how to make the computer 1427 01:13:01,502 --> 01:13:03,378 do what you want it to do. 1428 01:13:03,462 --> 01:13:05,755 The computer exists in two worlds, 1429 01:13:05,839 --> 01:13:08,966 it's either the most brilliant thing you've ever seen, 1430 01:13:09,051 --> 01:13:10,760 or it's completely mad. 1431 01:13:10,844 --> 01:13:12,136 (BEEPING) 1432 01:13:13,597 --> 01:13:16,557 NARRATOR: The 2-D animators took the traditional storyboarding process 1433 01:13:16,642 --> 01:13:18,559 into the third dimension, 1434 01:13:18,644 --> 01:13:21,813 providing dynamic new ways to visualize storytelling. 1435 01:13:21,897 --> 01:13:22,897 (CHUCKLES) 1436 01:13:30,072 --> 01:13:33,741 If you named the 10 most difficult things to do in animation, 1437 01:13:33,826 --> 01:13:37,787 we had them all, and large amounts of them all, humans. . . 1438 01:13:37,871 --> 01:13:39,205 POLlCE OFFlCER: Police officers! 1439 01:13:39,289 --> 01:13:41,791 BlRD: Hair, fabric. 1440 01:13:41,875 --> 01:13:43,960 Hair and fabric under water. 1441 01:13:44,044 --> 01:13:46,379 Hair and fabric blowing through the air. 1442 01:13:46,630 --> 01:13:47,964 It was just endless. 1443 01:13:52,803 --> 01:13:53,845 (GUN FlRING) 1444 01:13:55,431 --> 01:13:56,431 (GRUNTS) 1445 01:14:02,229 --> 01:14:03,479 -See that? -Yeah. 1446 01:14:03,564 --> 01:14:05,356 That's the way to do it. 1447 01:14:05,441 --> 01:14:06,774 That's old school. 1448 01:14:06,859 --> 01:14:07,859 (LAUGHS) 1449 01:14:07,943 --> 01:14:09,610 Yeah. No school like the old school. 1450 01:14:11,071 --> 01:14:14,574 NARRATOR: The Incredibles marked Pixar's sixth hit in a row, 1451 01:14:14,658 --> 01:14:16,284 and Brad Bird won his first 1452 01:14:16,368 --> 01:14:19,078 Academy Award for best animated feature. 1453 01:14:20,581 --> 01:14:23,624 BlRD: Now that I've made a Pixar film, a lot of people have asked, 1454 01:14:23,709 --> 01:14:25,334 "What is the secret formula?" 1455 01:14:25,419 --> 01:14:28,129 As if there's some magical calculation. 1456 01:14:28,213 --> 01:14:32,467 And I say, "It's really pretty simple, everyone here loves films. 1457 01:14:32,551 --> 01:14:36,762 "And they just wanna make something that they themselves wanna see." 1458 01:14:39,266 --> 01:14:42,351 NARRATOR: By 2004, the success ofThe Incredibles 1459 01:14:42,436 --> 01:14:44,645 and other computer-animated films 1460 01:14:44,730 --> 01:14:48,566 was leading to an industry-wide belief that making CG movies 1461 01:14:49,151 --> 01:14:51,360 was a foolproof formula for box office hits. 1462 01:14:53,113 --> 01:14:56,199 As many of the 2-D films failed at the box office, 1463 01:14:56,325 --> 01:15:00,578 hand-drawn animation now faced extinction for the first time in history. 1464 01:15:01,497 --> 01:15:03,831 There was this period in this country, 1465 01:15:03,916 --> 01:15:07,335 and it happened at Dreamworks and it happened at Disney Animation, 1466 01:15:07,419 --> 01:15:11,589 and that was that they had some films which hadn't done well. 1467 01:15:12,674 --> 01:15:16,093 The stories weren't strong, to be candid, 1468 01:15:17,137 --> 01:15:20,181 and the heads of the respective studios at the time said, 1469 01:15:20,265 --> 01:15:21,807 "Well, the problem is they're in 2-D, 1470 01:15:21,892 --> 01:15:24,727 "and the audience has lost the taste for 2-D." 1471 01:15:24,811 --> 01:15:26,437 And so they switched over to 3-D, 1472 01:15:26,522 --> 01:15:29,273 and basically shut down 2-D animation in this country. 1473 01:15:29,358 --> 01:15:34,278 The derived idea was, "Well, nobody wants to see 2-D anymore." 1474 01:15:36,323 --> 01:15:37,365 (STUTTERS) 1475 01:15:37,449 --> 01:15:39,700 The fact was, they'd love to see a good 2-D movie, 1476 01:15:39,785 --> 01:15:42,537 that was never the question, you know, but. . . 1477 01:15:45,082 --> 01:15:46,374 It was horrible, you know, 1478 01:15:46,458 --> 01:15:50,461 to come to this conclusion that only 3-D was 1479 01:15:51,964 --> 01:15:53,256 gonna be our future. 1480 01:15:53,799 --> 01:15:56,133 There was enormous loss of morale, 1481 01:15:56,218 --> 01:15:59,053 there was an enormous loss of the will to live, 1482 01:15:59,137 --> 01:16:01,389 in a sense, of making good product. 1483 01:16:01,473 --> 01:16:04,350 And they were selling off animation desks, 1484 01:16:04,434 --> 01:16:08,563 they were, you know, just leading talented artists out the door 1485 01:16:08,647 --> 01:16:11,857 by their nose and saying, you know, "We don't need you anymore." 1486 01:16:13,026 --> 01:16:15,236 CLEMENTS: And there was a very painful period 1487 01:16:15,320 --> 01:16:19,282 that was like someone dying, just to see what happened, 1488 01:16:19,366 --> 01:16:23,661 I mean it had to do with so many, many people losing their jobs. 1489 01:16:24,997 --> 01:16:27,540 But even more than that, just, a sort of art form 1490 01:16:27,624 --> 01:16:30,918 that had been built up over a period of decades, 1491 01:16:31,003 --> 01:16:37,425 was just abandoned, I think because it was not the hot ticket at the moment. 1492 01:16:38,969 --> 01:16:42,221 CATMULL: Everybody at Pixar loves 3-D animation, 1493 01:16:42,306 --> 01:16:46,100 you know, we helped develop it. But we also love 2-D animation, 1494 01:16:46,184 --> 01:16:50,396 and to think that 2-D was shut down, and that we were used as an excuse 1495 01:16:50,480 --> 01:16:52,231 to shut it down was awful. 1496 01:16:52,733 --> 01:16:56,152 We saw this art form being thrown away, 1497 01:16:56,236 --> 01:16:59,280 so, for us, it was just, it was a tragic time. 1498 01:17:00,532 --> 01:17:03,284 NARRATOR: As Pixar and Disney faced the end of their contract, 1499 01:17:03,535 --> 01:17:07,288 the two studios clashed over terms of a more equitable deal. 1500 01:17:07,414 --> 01:17:11,125 All the while, Disney prepared to develop direct-to-video sequels 1501 01:17:11,209 --> 01:17:14,337 of the Pixar films without Pixar's involvement. 1502 01:17:16,006 --> 01:17:19,383 Our belief is that, since we created the characters, 1503 01:17:19,468 --> 01:17:23,179 the original creators are the ones who should carry on with it, 1504 01:17:23,263 --> 01:17:24,805 and give them life. 1505 01:17:24,890 --> 01:17:27,642 And to turn it over to somebody else for short-term economic gain 1506 01:17:27,726 --> 01:17:29,310 just didn't make any sense. 1507 01:17:29,394 --> 01:17:33,356 It was like turning over your children to somebody else. 1508 01:17:33,440 --> 01:17:35,858 We were gonna lose those characters. 1509 01:17:35,942 --> 01:17:38,319 It was actually unfortunate at that time 1510 01:17:38,403 --> 01:17:40,655 because we'd had this phenomenal relationship 1511 01:17:40,739 --> 01:17:41,864 with Disney all these years, 1512 01:17:41,948 --> 01:17:43,282 where we were an independent company 1513 01:17:43,367 --> 01:17:44,867 and they did the distribution and the marketing. 1514 01:17:45,744 --> 01:17:49,830 NARRATOR: By 2004, Steve Jobs opened talks with other studios, 1515 01:17:49,915 --> 01:17:53,167 while at Pixar, a cloud of anxiety hung over employees 1516 01:17:53,251 --> 01:17:55,503 who felt that a merger with a larger company 1517 01:17:55,587 --> 01:18:00,007 could threaten the loss of their unique spirit and creative culture. 1518 01:18:00,092 --> 01:18:02,510 CATMULL: It was very clear that none of them wanted to do that. 1519 01:18:02,594 --> 01:18:04,512 They wanted to be an independent company, 1520 01:18:04,596 --> 01:18:06,263 whereas if we were to become independent, 1521 01:18:06,348 --> 01:18:07,556 we'd have to take on marketing 1522 01:18:07,641 --> 01:18:09,975 and distribution and get another partner. 1523 01:18:10,060 --> 01:18:14,355 And it would change the culture in ways that we didn't necessarily want. 1524 01:18:14,439 --> 01:18:16,774 NARRATOR: But by 2005, a corporate shake-up 1525 01:18:16,858 --> 01:18:19,694 within Disney led to the replacement of Michael Eisner. 1526 01:18:19,778 --> 01:18:22,446 Bob Iger was appointed as the new CEC, 1527 01:18:22,531 --> 01:18:24,323 and expectations ran high 1528 01:18:24,616 --> 01:18:27,952 that he might repair the broken relationship with Pixar. 1529 01:18:28,829 --> 01:18:32,039 As I neared the day that I was going to become CEO , 1530 01:18:32,124 --> 01:18:35,876 and I started to focus more and more about the future of the company, 1531 01:18:35,961 --> 01:18:38,003 it became more and more clear that 1532 01:18:38,463 --> 01:18:41,382 for Disney to truly be successful in the future, 1533 01:18:41,466 --> 01:18:44,301 we had to return to the glory days of animation. 1534 01:18:44,386 --> 01:18:46,887 So I began focusing on how to do that, 1535 01:18:46,972 --> 01:18:50,224 and it really begins with finding the right people. 1536 01:18:50,308 --> 01:18:52,935 The more I thought about it, the more I realized that 1537 01:18:53,019 --> 01:18:57,273 Pixar had more of the right people than probably any other 1538 01:18:58,233 --> 01:19:00,818 place in the world, from an animation perspective. 1539 01:19:00,986 --> 01:19:05,239 I then went to the opening of Hong Kong Disneyland in September, 1540 01:19:05,323 --> 01:19:06,741 and the parade went by. 1541 01:19:07,159 --> 01:19:10,536 It hit me that the characters that were in the parade 1542 01:19:10,620 --> 01:19:14,707 all came from films that had been made prior to the mid-'90s, 1543 01:19:14,791 --> 01:19:17,168 except for some of the Pixar characters. 1544 01:19:17,252 --> 01:19:20,379 I felt that I needed to think even more out of the box 1545 01:19:20,464 --> 01:19:21,672 than I had been thinking, 1546 01:19:21,757 --> 01:19:24,884 and I had a much greater sense of urgency. 1547 01:19:24,968 --> 01:19:27,219 I became CEO October 1st. 1548 01:19:27,304 --> 01:19:31,974 I called Steve around that time and said I thought we ought to talk, 1549 01:19:32,058 --> 01:19:33,851 I had some bigger ideas. 1550 01:19:33,935 --> 01:19:36,937 And that began a long period of discussion, 1551 01:19:37,022 --> 01:19:40,024 because it was very serious for both sides. 1552 01:19:41,109 --> 01:19:45,154 He really needed to feel comfortable that Pixar was in the right hands 1553 01:19:45,238 --> 01:19:48,949 and, more importantly, respect the talent and the culture. 1554 01:19:49,868 --> 01:19:54,079 We were extremely impressed with his view of where Disney could go. 1555 01:19:54,164 --> 01:19:57,124 This changed the equation dramatically, 1556 01:19:57,209 --> 01:19:59,293 and in the end with weighing everything, 1557 01:19:59,377 --> 01:20:00,419 we came to the conclusion 1558 01:20:00,504 --> 01:20:03,297 that the best thing we could do was to join up with Disney. 1559 01:20:05,342 --> 01:20:07,927 NARRATOR: The $7 .4 billion acquisition deal 1560 01:20:08,011 --> 01:20:10,471 provided Steve Jobs a seat on the Disney board 1561 01:20:10,555 --> 01:20:12,223 as the company's largest shareholder, 1562 01:20:12,307 --> 01:20:14,558 made John Lasseter Chief Creative Officer, 1563 01:20:14,643 --> 01:20:18,813 and Ed Catmull, President of Disney and Pixar Animation Studios. 1564 01:20:18,897 --> 01:20:21,732 We're convinced that Bob really understands Pixar, 1565 01:20:22,359 --> 01:20:26,028 and we think we have some appreciation of Disney 1566 01:20:26,112 --> 01:20:27,988 and love the unique Disney assets 1567 01:20:28,073 --> 01:20:30,157 like being able to get the characters in the theme parks 1568 01:20:30,242 --> 01:20:33,577 and really express them throughout all of Disney's incredible assets. 1569 01:20:33,662 --> 01:20:38,249 And we think we understand how to keep Pixar being Pixar 1570 01:20:38,542 --> 01:20:42,086 and how to spread some of that culture around and maybe, 1571 01:20:42,170 --> 01:20:44,129 you know, a few other parts of Disney as well. 1572 01:20:44,214 --> 01:20:46,298 "Cause we think we got something pretty good going here. 1573 01:20:47,217 --> 01:20:48,926 CATMULL: While we will make 3-D movies, 1574 01:20:49,010 --> 01:20:50,886 we're also gonna make 2-D movies 1575 01:20:50,971 --> 01:20:53,597 'cause it's part of this wonderful heritage that we've got here, 1576 01:20:53,682 --> 01:20:55,307 and it's a beautiful art form. 1577 01:20:55,392 --> 01:20:59,854 It feels like this is the true culmination of the building of Pixar 1578 01:20:59,938 --> 01:21:02,648 and this amazing company into something which will continue on 1579 01:21:02,732 --> 01:21:05,025 and continue to make waves in the future. 1580 01:21:05,110 --> 01:21:06,944 This deal is expected to close this summer 1581 01:21:07,028 --> 01:21:08,821 just about the time that Pixar will release 1582 01:21:08,905 --> 01:21:10,823 its seventh feature film, called Cars. 1583 01:21:10,907 --> 01:21:11,907 (LIGHTNING McQUEEN WHOOPS) 1584 01:21:16,746 --> 01:21:19,748 NARRATOR: John Lasseter's return to the director's chair 1585 01:21:19,833 --> 01:21:21,292 came with the release of Cars. 1586 01:21:22,711 --> 01:21:25,254 A film inspired by a cross-country road trip 1587 01:21:25,338 --> 01:21:27,840 he took with his family in 1999. 1588 01:21:28,258 --> 01:21:30,885 Hi, this is great. Blue Ridge Parkway. 1589 01:21:35,223 --> 01:21:38,225 NARRATOR: Set in a bygone town on Route 66, 1590 01:21:38,310 --> 01:21:41,437 John's personal love of cars and the racing world 1591 01:21:41,521 --> 01:21:43,647 inspired a new level of beauty, 1592 01:21:43,732 --> 01:21:47,151 speed and a heightened reality in computer animation. 1593 01:21:47,527 --> 01:21:48,611 Morning, Sleeping Beauty. 1594 01:21:48,695 --> 01:21:49,695 (GASPS) 1595 01:21:49,779 --> 01:21:50,821 (LAUGHS) 1596 01:21:52,365 --> 01:21:55,576 NARRATOR: Cars became the seventh hit in a row for Pixar. 1597 01:21:55,660 --> 01:21:57,578 And the new relationship with Disney 1598 01:21:57,662 --> 01:21:59,914 was starting off on the right foot. 1599 01:21:59,998 --> 01:22:02,291 Ed and John now looked to the future 1600 01:22:02,375 --> 01:22:05,377 with the challenge of guiding two animation studios. 1601 01:22:05,462 --> 01:22:09,089 And John, returning to his roots to creatively oversee 1602 01:22:09,174 --> 01:22:12,426 all of Disney's theme parks and attractions. 1603 01:22:12,510 --> 01:22:15,846 This. . . This is just, it's so beautiful. Flik up there. 1604 01:22:17,766 --> 01:22:19,516 John's a real big Disney fan. 1605 01:22:20,185 --> 01:22:21,852 I mean, he worked in the amusement parks, 1606 01:22:21,937 --> 01:22:23,479 he grew up on Disney. 1607 01:22:23,563 --> 01:22:26,273 (LAUGHS) Oh, look at. . . Look at this. This is amazing! 1608 01:22:26,358 --> 01:22:27,399 (CHlLDREN CHATTERING) 1609 01:22:27,484 --> 01:22:30,110 MlLLER: He's thrilled to be on that lot 1610 01:22:30,195 --> 01:22:33,614 and kind of be able to go everywhere he wants to go, and see what's there. 1611 01:22:33,698 --> 01:22:36,408 And bring things up from the past, explore. . . 1612 01:22:36,493 --> 01:22:39,119 1978, 27 years ago, 1613 01:22:39,204 --> 01:22:42,331 was the last time I skippered a Jungle Cruise. 1614 01:22:42,415 --> 01:22:43,749 And I want everybody as we go... 1615 01:22:43,833 --> 01:22:46,794 His feelings are so good about it. 1616 01:22:46,878 --> 01:22:50,381 You had such a remarkable man in Disney. 1617 01:22:51,216 --> 01:22:54,176 It was a great intuition that he had, 1618 01:22:54,260 --> 01:22:56,345 he seemed to know everything ahead of time. 1619 01:22:56,429 --> 01:22:59,306 I find the same thing there with Lasseter. 1620 01:22:59,391 --> 01:23:03,185 He's pretty much an image of Walt, I think. 1621 01:23:07,023 --> 01:23:09,733 WALT DISNEY: When planning a new picture, we don't think of grown-ups, 1622 01:23:09,818 --> 01:23:11,402 and we don't think of children. 1623 01:23:11,486 --> 01:23:14,738 But just of that fine, clean, unspoiled spot 1624 01:23:14,823 --> 01:23:16,407 down deep in every one of us 1625 01:23:16,491 --> 01:23:18,158 that maybe the world has made us forget, 1626 01:23:18,243 --> 01:23:21,495 and that maybe our pictures can help recall. 1627 01:23:27,377 --> 01:23:31,171 LASSETER: Well, the future of Pixar to me is going to be a continuing 1628 01:23:31,256 --> 01:23:32,715 making these great films, 1629 01:23:32,799 --> 01:23:35,342 with more and more visionary directors. 1630 01:23:35,427 --> 01:23:37,845 And then give them creative ownership of what they do, 1631 01:23:37,929 --> 01:23:41,432 so they can be proud of it for the rest of their life. 1632 01:23:42,434 --> 01:23:47,146 There are so many young people today that want to be animators, 1633 01:23:47,230 --> 01:23:50,983 that are fascinated by animation, more than ever before. 1634 01:23:51,067 --> 01:23:55,279 So it's a field that is inspiring and exciting. 1635 01:23:56,531 --> 01:23:59,366 There's a real advantage being in a new medium. 1636 01:23:59,451 --> 01:24:03,620 We're still setting ourselves up for things we've never done before. 1637 01:24:06,166 --> 01:24:09,543 HANKS: I feel like I'm in Dumbo, I feel like I'm in Pinocchio. 1638 01:24:09,627 --> 01:24:12,379 This is truly going to be timeless and forever 1639 01:24:12,464 --> 01:24:14,715 and will always land in the consciousness 1640 01:24:14,799 --> 01:24:17,634 of yet another generation of moviegoers. 1641 01:24:19,429 --> 01:24:23,223 JOBS: Pixar's seen by a lot of folks as an overnight success, 1642 01:24:23,308 --> 01:24:27,394 but if you really look closely, most overnight successes took a long time. 1643 01:24:28,521 --> 01:24:29,688 Kachow!