Zitat des Tages von Lee Unkrich:
I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.
People loved the first two 'Toy Story' films so much, and the last thing I wanted to do was make a disappointing third film.
We go to movies to be taken away to another place, to be dazzled, to dream, to hopefully be filled with wonder. The design of the world and the look of the film is all in service of trying to create that feeling of wonder in the audience.
We try our best every time to make engaging films that we're interested in, and we just hope the rest of the world likes them.
'Coco' is shaping up to be one of the most beautiful films we've made.
I saw a lot of movies that I probably shouldn't have seen. I saw 'Dog Day Afternoon' when I was in first grade - that kind of thing.
Everyone looks at our films and thinks that we are somehow able to make movie after movie that does well and is entertaining, but there's an enormous amount of work that goes on under the hood and an enormous number of mistakes that are made along the way.
The question I get more than any other is, 'What does it mean to direct an animated film?' And the reality is that it's not a whole lot different from what you do in live action.
I never wanted 'Toy Story 3' to feel like another sequel just grafted on. We all know that if you put 3 after your title, it typically means garbage, and we knew that going in.
I'd really love to watch David Lynch work, to be a fly on the wall.
With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.
We hope 'Toy Story 3' looks amazing but still retains the character design of the first film. I like to think it looks like 'Toy Story' would have looked back then had we had the skills and the technology.
I just ended up focusing on film editing as I was getting my career started. I'm very passionate about editing and will continue to edit for the rest of my career, but it's not like that was all I did and then somehow I grew into directing a movie.
My favorite film is 'The Shining,' mostly because it was the film that inspired me to become a filmmaker myself.
You can be stuck for two weeks on a problem, and then you get the right couple of people in a room, and in five minutes, you get a great answer.
The walls between live-action and animation are becoming really porous, and it's interesting.
For anyone who's had a transition in their life - heading off to college, parents sending their kids off to college, people getting out of college and heading off into the workforce. Those are major transitions.
I love that people are still obsessively trying to understand and decode 'The Shining.' People want to find meaning in things that seemingly don't have meaning on the surface.
For 'Toy Story 3' to be recognized by the Academy as not only one of the best animated films of the year, but also as one of the 10 best pictures of the year, is both humbling and overwhelming.
When I was around 12 or so, I saw 'The Shining.' I just remember that being a turning point for me, where I started to think about the fact that there was a hand behind the film. That it wasn't just this magical story being told - there were actual people crafting these films, and they were works of art.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.
I'm lucky to be surrounded by incredibly talented people at Pixar, of course, and I learn a lot from them each and every day.
Any of us directing at Pixar, whether it's our first time or not, feel a lot of pressure to not make a bad Pixar film.
I didn't want to be the guy who screwed up 'Toy Story.'
If you ask any of us which movie we were making when one of our kids was born, we'll be able to tell you instantly. It's like our family lives are permanently woven into the movies.
When you think about it, the most important thing to a toy is to be played with by a child, and anything that keeps them from being played with gives them stress - things like getting lost, getting broken.
I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
It's a strange business, and unfortunately, what we do in animation is a mystery, especially the directors.
I ended up being exposed to cinema that a lot of other kids wouldn't have been exposed to.
I guess it's the fear of failure and not knowing how the films are going to do that just drives us to work really hard to make them the best they can possibly be.
The world does not want to see a Pixar film that's not great.
