American - Director | October 9, 1968 -
I remember as a kid having a balloon and accidentally letting the string go and watching it just float off and into the sky until it disappeared. And there's something about that, even, that feels very much like what life is, you know, that it's fleeting, and it's temporal.
Pete Docter
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It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
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Work hard! In the end, passion and hard work beats out natural talent.
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I loved 'Dumbo.' I watched Bugs Bunny time and again. The Muppets were big, too. All of those, they have this real, not darkness but poignancy, that's what makes it stick with you.
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I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
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When I was in fifth grade - so, about 11 - my folks moved us to Denmark. 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.
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'Toy Story' we found, sorta by accident, because we didn't know what we were doing, the idea of being replaced by somebody. Everybody has that fear, or encounters this jealousy at some point.
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Walt Disney wasn't making films for kids. Neither were the Muppets. A lot of the great, really cool films, they weren't making them for kids.
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When I was in middle school, I liked to make cartoons.
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I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.
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It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
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In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
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