The Pixar Story Page #9

fundamental idea

that when children say,

"'There's a monster in the closet,"

they're actually telling the truth.

The rest of it was all over the map.

DOCTER:
There were too many

possibilities.

Monsters, it could be anything,

anything in the world.

So, it was almost too much freedom.

We knew we wanted fur.

We had no idea how to do it.

And that was, of course,

one of the more difficult things to do.

(MlKE WAZOWSKI SHOUTS)

(SULLEY GRUNTING)

MlKE WAZOWSKl:
Take that!

(BOTH GROWL)

(GASPS)

Welcome to the Himalayas!

These people think differently

than normal people.

They're strange. In the best way.

DOCTER:
When we thought

of Billy Crystal,

we thought,

"Wow, this is gonna be great."

Of course, he just added his

own unique spin to it.

Mike was an appealing,

odd little guy who I thought

was a combination

of Mr. Toad and Sammy Davis, Jr.

Think romantical thoughts.

(SINGING) You and me

Me and you

Both of us together!

And the way he moves and his face

and stuff like that.

And then, when I decided on a voice,

it just all seemed to work.

Scary feet, scary feet, scary feet. Oh!

The kid's awake! Okay, scary feet,

scary feet, scary feet, scary feet, scar. . .

Kid's asleep!

The whole little guy

was one of my favorite characters

that I've ever played.

Twins! And a bunk bed!

(GROWLING)

Ooh, I thought I had you there.

What shocked me about the movie

was the size of it.

(SULLEY GASPS)

CRYSTAL:
I was astounded by the

chase and the door sequence.

When you see the millions

of doors moving,

and they're all individually done,

that just blew me away.

Hold on!

(MlKE WAZOWSKI SCREAMING)

(SCREAMING)

SCHUMACHER:
It was a wild ride,

because it was such a complex movie,

and it didn't find its center

for a very long time.

And then when it did,

its center was so good,

people went nuts for it.

DOCTER:
The last shot of

Monsters, lncorporated animation

is now officially final!

(ALL CHEERING)

SCHUMACHER:
Pete emerged as

a remarkably sensitive,

smart, really great director,

and he owns this movie.

He completely owns this movie.

NARRATOR:
The historic success

of Monsters, lnc. ,

the highest-grossing animated film

released to its date,

now placed added stress

on the next director in line,

Andrew Stanton.

BlRD:
So, the pressure. It's begun?

$62,577 ,067 .

(ALL CHEERING)

(WHlSTLING)

There's no reason, Andrew,

to be feeling any more pressure.

I'm fine! I'm fine!

STANTCN:
I remember in '92,

when my son was just born,

going to Marine World,

and they had this shark exhibit,

where you kind of walk through

a tunnel and they swim over you.

It was like a glass tunnel.

You could get up really close,

see underwater and lose

all your peripheral vision

of anybody around you

in the man-made world.

And I remember thinking then,

you know, this is 10 years ago,

"We could make this world."

CG would be perfect for this world,

you could capture it so well.

MR. RAY:
(SINGING) Oh, let's name

the species the species, the species

Let's name the species

that live in the sea

Whoa!

There's porifera...

STANTON:
Without meaning to,

I sort of made this epic journey

that takes you all over the ocean.

That meant every set piece

had to be different.

The look of being underwater

is actually quite simple

from a technical standpoint.

It was just really tough to dial

all the different ingredients just right.

You know, I think if I had known that's

what I was gonna be signing up for,

and everybody else,

I don't think anybody would've done it.

(BREATHING THROUGH

OXYGEN TANK)

Big.

FINDING NEMO:

NARRATOR:
Seeing his son kidnapped

before his eyes,

the overprotective father, Marlin,

travels across the vast ocean

to find his son, Nemo.

And along the way,

learns to become a better father.

DOLPHIN:
So, these two little fish

have been

searching the ocean for days

on the East Australian Current. . .

FEMALE BlRD:
. . .which means that he

may be on his way here right now.

That should put them

in Sydney Harbor. . .

MALE BlRD:
. . .in a matter of days!

I mean, it sounds like this guy's

gonna stop at nothing till. . .

MALE BlRD 2:
. . .until he finds his son.

I sure hope he makes it.

That's one dedicated father,

if you ask me.

The challenge on Nemo

is the same challenge that we had

on the first Toy Story,

which is making a good movie.

It really comes down to that.

I mean, each film has its own technical

hurdles that we have to overcome.

But we spend the first

two-and-a-half years

making these films doing nothing

but working out the stories.

SEAGULLS:
Mine! Mine! Mine! Mine!

Mine! Mine! Mine! Mine! Mine! Mine!

Would you just shut up!

You're rats with wings!

This bloke's been looking

for his boy, Nemo.

NlGEL:
Nemo?

PELlCAN:
He was taken off the reef

-by divers and this. . .

-NlGEL:
There, take it! You happy?

Mine! Mine! Mine! Mine!

(MAKES MARTlAL ARTS FlGHTING

SOUNDS)

Mine!

Every morning we get

together in the screening room

with the directors

and all the other animators

and we all show our shots

in various stages of completion.

Everybody is entitled to their opinion

and to say it out loud.

So it's a very healthy,

and sometimes intimidating, forum.

(MAN LAUGHS)

WOMAN:
Doug is next.

MARLIN:
Hey, guess what.

NEMO:
What?

MARLIN:
Sea turtles...

I met one, and he was 150 years old.

STANTON:
You know, Nemo should be

looking at his dad

at the beginning of the shot.

SWEETLAND:
All the time?

STANTON:
Yeah.

He looks like he's dead.

(PEOPLE LAUGH)

STANTON:
He looks like he's given up.

SWEETLAND:
Okay.

STANTON:
I think he's, anyway,

he looked at his dad,

and then looked at his fin,

and he should be, like,

looking at him for

acknowledgement the whole time.

SWEETLAND:
Okay.

STANTON:
Like they touch the fin

and they stay looking

at each other and. . .

SWEETLAND:
Okay.

STANTON:
I think that's missing.

(LAUGHING CONTINUES)

SWEETLAND:
All right.

NEMO:
'Cause Sandy Plankton said

they only live to be 100.

MARLIN:
Sandy Plankton? Do you

think I would cross the entire ocean...

SWEETLAND:
I was, focusing primarily

on the father and not on...

Really not on Nemo.

So I just kind of had Nemo default

to this kind of eyes forward pose,

not even thinking about, like,

how it would read,

except that hopefully

you're looking at father, right?

But Andrew read it,

and he was totally right,

that it looks completely indifferent.

(LAUGHS) And, so now I have to give

the same treatment I gave father

to Nemo.

But you know, it's, you know,

it's not like starting over or anything,

but I have to imbue that

character with something.

So now what I can do is just go

back into the thumbnails

(LAUGHS) look, here's ghost of Nemo,

ghost of Nemo.

I have, like, father doing

all this acting to this lump.

So, now maybe what I could do

is just use these same drawings.

It'll be good, this shot'll be a lot better.

I had done all this stuff, too, where

the fin is, like, the symbol of the movie.

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