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The Pixar Story
- G
- Year:
- 2007
- 87 min
- 1,569 Views
(WHISTLING)
(THUNDER CLAPPING)
(WIND HOWLING)
And make a wish. . .
But you'll be hurt. You'll be killed!
John Henry's dead!
(TRAIN WHISTLE BLOWING)
ELMER FUDD:
That was the wabbit.Fifteen puppies!
To infinity and beyond!
NARRATOR:
For the last 20 years,a group of artists and scientists
have transformed
two-dimensional drawings
into their own
three-dimensional worlds.
BOO:
Kitty!SULLEY:
Boo!CELIA:
Oh, Googly Bear.SYNDROME:
It's Syndrome.MR. INCREDIBLE:
Show time!DORY:
Just keep swimming.Just keep swimming. Whee!
MARLIN:
Dory!DORY:
Gotta go fasterif you wanna win!
JESSlE:
Yee-haw!WOODY:
(GASPS) Ride like the wind,Bullseye!
(HORSE GALLOPING)
JOHN LASSETER:
The art challengestechnology,
technology inspires the art.
STEVE JOBS:
The best scientistsand engineers
are just as creative
as the best storytellers.
ED CATMULL:
We've got charactersthat we want to come alive.
NARRATOR:
Transforming thehand-drawn line
into a new art form was no easy task.
Over the last 20 years,
and the risk of failure
every step of the way.
This marriage of art and science was
the combined dream of three men,
a creative scientist, Ed Catmull,
a visionary entrepreneur, Steve Jobs,
and a talented artist, John Lasseter.
Together they have
revolutionized an industry
and blazed an unprecedented record
in Hollywood history.
This is The Pixar Story.
LASSETER:
Ford's has a bullet nose.NARRATOR:
The creative forcebehind Pixar Studios
and the director
of Toy Story , John Lasseter,
helped pioneer this new art form
from an early love
LASSETER:
When I was growing up,I loved cartoons
more than anything else.
And when I was in high school,
I found this book, this old, ratty book,
called The Art of Animation.
And it was about the Disney Studios
and how they made animated films.
And it was one of those things,
that it just dawned on me,
people make cartoons for a living.
They actually get paid
to make cartoons.
And I thought,
"That's what I wanna do."
Right then, right there, it was like
I knew that's what I wanted to do.
NARRATOR:
In 1975, John appliedto CalArts,
an art college founded
by Walt Disney in 1961 .
John was accepted
into the first program
that taught Disney-style
character animation.
LASSETER:
What they were doingis bringing out of retirement
all of these amazing Disney artists
to teach this class,
to get this program started.
It dawned on me pretty quickly
how special this was.
NARRATOR:
Among John's classmateswere future
directors Tim Burton, John Musker
and Brad Bird.
Everyone was kind of
on fire about animation.
at the end of the day.
And none of us had cars,
so, we were kind of stuck there.
When the teachers went home,
we taught ourselves.
MUSKER:
It was a very collaborativespirit at CalArts.
Everybody showed everybody their film
and everybody
was kind of their own director.
But it was totally supportive
and you'd get creative ideas
from the other people.
And we all learned as much
from each other
as we did from the instructors.
NARRATOR:
The teachers at CalArtswere none other
than Disney's legendary collaborators
from the 1930s,
known as the "Nine Old Men,"
who taught the essence
FRANK THOMAS:
We call it the warmth.
We call it
the inner feelings of the character.
It all comes back to their heart,
and then how they think about it.
And all those things.
How does a character feel,
and why does he feel that way?
BlRD:
The Nine Old Men,these guys were unbelievable masters
of this art form,
and yet every single one of them
had the attitude of a student.
NARRATCR:
As a student, Johnimmersed himself in everything Disney,
getting a summer job
as a sweeper in Tomorrowland.
ANNOUNCER:
Tomorrowland Station!All out for the Magic Kingdom.
LASSETER:
Disneyland wasEverybody was young working there
and it was just. . .
We had a blast. It was really, really fun.
NARRATOR:
And he was soonpromoted
to a ride operator
on Disneyland Jungle Cruise,
before returning to studies at CalArts.
LASSETER:
There's a few timesin my life
I feel like I'm in the right place
at the right time.
And definitely when we were at CalArts,
that was it.
Okay, everybody. Wake up, wake up.
Come on, everybody. Wake up!
NARRATOR:
John animatedLady and the Lamp
is about a lamp in a lamp store
who accidentally replaces
its broken bulb with a bottle of gin.
(SPUTTERING)
Oh, no.
(STAMMERS)
My lamps! My shop!
(SOBS)
My gin!
(HlCCUPS)
NARRATOR:
John's secondshort film, Nitemare,
is about a boy who sees monsters
when he turns out the lights.
Both films received back-to-back
Student Academy Awards,
an unprecedented record
into the animation spotlight.
JOHN DAVlDSON:
This is yoursecond year winning?
LASSETER:
Yeah.award-winning short film for a contest,
or is this the real world,
could this film make it commercially?
I think it could make it commercially,
because I think
the knack that you're talking about
is basically entertainment.
I think that's what. . .
People pay money
to go see a film that's entertaining.
NARRATOR:
John's successlanded him his dream job
at the Walt Disney Studios.
Hello.
I'm Randy Cartwright.
-And this is Ron Miller!
-Randy, how are you?
-How are you?
-Good to see you. This is Randy.
Great way to start the film!
Well, we're off to a good start.
Here it is, April 9, 1980.
This is the past
to all you folks out there,
and we're gonna go inside
and see what it's like.
Come on. Come on!
GLEN KEANE:
Walking intothe animation building
that was built with the money from
Snow White and the Seven Dwarves,
when I came in there in the '70s,
I just sensed this history around.
All of the experience
that had gone on before
was somehow impermeated
into the walls.
LASSETER:
Hi, Glen. How are you?This is...
CARTWRlGHT:
Glen. Glen Keane.-Thanks, John.
-LASSETER:
...Glen Keane.He is our directing animator.
CARTWRlGHT:
Cur cameraman,John Lasseter.
KEANE:
It was so great to meet John.There was this immediate
sharing of information
of your passion
and excitement for animation,
and he knew a lot about the history
and the past.
NARRATOR:
As his first animationat Disney,
John handled
the introduction of a lead character
in the 1981
teature The Fox and the Hound.
Together, John and Glen collaborated
But increasing budget cutbacks
had severely limited
the multi-plane dimensional look
Walt Disney had achieved
decades earlier.
KEANE:
Animation was really at a pointwhere it seemed like it was
a dying art form.
All of the richness and the atmosphere
was budgeted out of our films,
and it was so frustrating.
(BUZZING)
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"The Pixar Story" Scripts.com. STANDS4 LLC, 2024. Web. 3 Sep. 2024. <https://www.scripts.com/script/the_pixar_story_15938>.
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