And so not only did I have all new friends and all new surroundings, I didn't even understand what they were talking about, which was very difficult and kind of started me, I think, on my path to animation. It was a lot easier to draw people than to talk and interact with them.
And it's about a three-month process every screening. And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.
People are funny -- they are able to project personality onto anything. I remember as a kid I spent a $ 5 bill once and felt so bad because the other $ 5 bill was now going to be lonely without all the other bills I had in my wallet, you just invest these dead things with life and that is our tendency as people. So animation takes advantage of that, grabs on to it, and runs with it.
And usually I'm not watching the screen. I'm kind of sitting and looking off to the side, spying on people to see what they react to' cause it's - as Joe Ranft used to say, you know, animation is like telling a joke and waiting for three years to see if anyone laughs
A lot of the issues I faced in junior high was what got me into animation. It was easier to sit on the side and draw cartoons than to engage with people.
Traditionally, animation has been dominated by men in the past. I don't know why it attracted guys.
The idea kind of started with me just thinking about what would be fun to see in animation, you know - what have I not seen? For some reason, I got thinking about the human body and realizing, well, I've seen, like, traveling through the bloodstream and into the, you know, stomach and things.
Well, what if we did this in the mind as opposed to the brain? So instead of blood vessels and dendrites, what if it was consciousness and dream production? And that would allow us to have characters that represent emotions. And that felt like, man, that's exactly what animation does best - strong, opinionated, caricatured personalities. And that just got me excited.
Dr. Paul Ekman, who worked in San Francisco - still does - which is where Pixar Animation Studios is, he had early in his career identified six. That felt like a nice, manageable number of guys to design and write for. It was anger, fear, sadness, disgust, joy and surprise.
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