for the radio have just in the spirit of feature films we thought we'd start with a short and this is a short film that i did back at school back before there were a lot of computers hand drawn bear with  good evening and welcome to a special collaboration between the minneapolis idea exchange mix and the westminster town hall forum i'm kathy worser and the host of morning edition on minnesota public radio news and yes moderator of tonight's for  event is being broadcast from westminster presbyterian church located on the liquid mall in downtown minneapolis it is my pleasure to introduce our speaker the doctor is a film director animator and screenwriter pixar animation studios he contributed to the story and characters of toy story pixar is first pulling animated feature film and served as the supervising animator for that film he wrote story treatments for toy story two and wall e me and directed monsters inc up and his latest release inside out he's been nominated for six academy awards and won best animated feature film for up born and raised in bloomington minnesota he graduated from the california institute of the arts or he received a student academy award in ninety nine day following his graduation he began work at pixar studios as its third animator time his show the great wisdom of their choice ladies and gentlemen please join me in welcoming to the westminster town hall format and back home pete doct slides to show you but of course we can't see that on the radio so i'm going to speak and it magically about them so that the home audience doesn't feel as though they're missing anything and really it's photos like this of my home growing up i grew up just a little while a ways away from here bloomington so nice there in may you know i was i was a happy kid i had a good fashion sense as you can see and for as long as i can remember i've always loved making things now the arts are full of people who have had to fight against their parents who for bid them from following their passion on the road to becoming artists but my parents  believe me i had no one to fight against so i had to develop a healthy sense of self doubt and insecurity which is which i nursed to this day actually this sort of started in junior high for me up until then everything was pretty up front but in junior high things started getting confusing you know suddenly i was aware of wearing the wrong thing what was cool and what wasn't i had no real idea for that so i was most happy alone in my room filling  electronics or making and watching cartoons i love cartoons i actually don't remember what the first cartoon was that got me hooked maybe pinocchio or fantasia but whatever it was i was absolutely amazing no i love the drawings what really hooked me was the fact that they moved right and i knew that they were just drawings up there but it just seemed so believable to me that it was also like magic or something and when i discovered i could do this when i made a flip book on the corner i map my math book was and i since then made a whole bucket full of flip books on three am no books no pads which i think my mom still hasn't closet and i still make them this is one that i made a couple of years ago instead of family christmas cards and it's you know the basic idea is that you can see that in cards as the joyous sounds of christmas so but from an early age i knew this was what i wanted to do this was what i wanted to know more about now as a kid i believed two things number one the people who made these cartoons were unapproachable a brilliant group of super geniuses and two that the stories they created must have formed fully and sprung forth from their brain like jules you know i imagine that walt disney lying in bed just sitting up in dumbo and the whole thing well as it turns out neither of these are true i left the blissful refuge of bloomington to attend college at the california institute year california which was at the time one of the few places that had a major in animation and when i graduated i was born at a good time which i credit my parents for it was a time when animation was just blooming and so this simpsons was just starting up disney was hiring and therefore it made no sense at all that i started at a small computer company called pixar and i have to remember this was a time before pixar was a name that people knew in fact if you' heard of it it was probably because of the pixar image computer which was their primary business actually i'm not even sure you could call it primary business because they were losing a million dollars a month making these things and in fact the first time i met steve jobs the owner was when he came to lay off half the company and i'd say that i really make the right choice coming to this studio i don't know but within a few years we started working on a feature joe raft myself john lasseter and understand  started to write and draw what would become a toy story and believe it or not when we started on this film we were sort of upset we were really angry because there was an unwritten rule that if there was if it with sorry if it was animated it had to be a musical this is the early ninety's and now i'm not against musicals i love musicals but we knew that animation was capable of so much more than this and we really wanted to push things and we swore to each other that we would do something new  fact when we first pitched this to disney they said great we love the story where do the songs go and we said no we're not going to do it's going to be you know music we're going to try a buddy film structure which had never been done before no cute animal sidekicks etc and so we really tried to push things and we've tried to do that in every film since then when the film came out it was a huge success which surprised the heck out of me because i you know it felt like just a bunch of guys making these things for fun but what was one of the greatest things for me a side benefit of this was that i got to meet some of my heroes like chuck jones who of course directed a lot of the bugs bunny cartoons roadrunner and so on i got to meet frank thomas and ali johnson two of disney's nine old  speak and really get to know quite well jo grant who co wrote dumbo and picked the music for fantasia this was i couldn't believe how fortunate i was at any rate the success of toy story meant that we were going to be more movies so i asked john lasseter if i could develop one and he said yes so one thing that surprised me i actually went to a story came out a lot of people came up to me and said you know i sort of secretly thought my toys came to life too when i wasn't around and i thought i wonder if there's anything else like that that we all know is true and i knew that there were monsters that were hiding in my closet waves night so what if we explored that world and we started messing around and we tried to explain why sometimes the monsters in your closet might look like an item of clothing we thought about pairing monsters with specific figures like the fear of heights but most exciting about we came of this idea that monsters scare kids for a living that's their job right these guys work at this giant factory that clock and they clock out they belong to a union and i was feeling really good about this concept when i pitched it people laughed we had a clever idea and i was feeling good and yet as i fleshed out the story somehow it just didn't work the audience was bored people told me you know i don't get what this movie is about what do you mean you don't get what you say some monsters scaring kids what is there to get i had this really clever two in the morning i'd wake her up and we would walk to our house which is only two three blocks away so i could be sure to be there first thing the next morning at nine o'clock and then what happened was around then my wife and i had a kid and this was an amazing experience and of course you guys you know it changed everything your brain just explodes and i was still having a great time at work but now i wanted to be at home and watch this amazing creature and so i was work home how do i want to be in both places how do i do this the answer is of course there is no answer and that conflict became the deeper story of what monsters inc is really about it's not a monster who loves to stay who scares kids it's a guy who loves his job and comes to care for a kid so to me that was a real lesson that these stories are most interesting to people when they're about real unsolvable life is through issues luckily the film was a success and they said alright you can do another one  so this time i wanted to do something really new and push something that you know do something nobody'd ever seen before and i had this idea about a floating city there were these two princes brothers who lived on it and they got in a fight and they fell off this floating cit and then to get back they had to follow this aboriginal bird creature you remember this one probably not actually it became up so the design work was really awesome and this whole story was to me click along in an interesting way but it really just didn't land with people i remember one one of the guys leon chris said you know i really have trouble relating to princes who get everything they want so i went back to the desk and as like ok this is not going to go what is it that keeps drawing me this to this story why do i like it one of the things that don't nobody told me when i was directing monsters was that as a director you don't actually do anything all you do is talk to people and so growing up as an introvert the idea of talking to provide the end of the day i would just crawl into my desk kind of rock to myself i found myself seriously draw doodling a lot about beings stranded on a tropical island i look back i had all these books about traveling to the south pole and jungles of south america and so i was really drawn to this idea of the scape in this idea that sometimes the world just gets too much and so i went back to the floating city and we replaced it with a single house and those princes became alone then and at its heart the feeling of getting away from it all which i think everybody can really relate to that sometimes the world is too much that would really became the central driver for the story thought it would be fun to do something with a grouchy old man character somebody who is kind of a jerk but could get away with it and you'd still like them so i did a bunch of drawings about things i did observed in real life you know details about not eating spicy food walking around with your mouth open and things old people do which sadly sadly as i get older i'm starting to do all these things that i so this might be as good a time as any to just talk a little bit about our process how we make our films of course it all starts with an idea and as we develop that idea we move into what we call story development which is basically a lot of talking research kicking it around talking to each other and sometimes that's really as far as they go they just and there but if an idea still has promise we move on to the writing phase which for us means treatment scripts and then thousands of drawings storyboards which even though they're drawings to us it's still right it's an expensive extension of the script process meanwhile at the same time we have a an amazing group the art department is figuring out what all this stuff is going to look like they do this by creating thousand of drawings and plans and then they give those plans to the technical department and they build those characters sets and props and pass along all that stuff to the lab department now the lab department is kind of like our camera group they set up everything they set up the camera they think in terms of wide shots masters overs all of this kind of thing and we assemble all this together into a cut so it's basically edited before we shoot it if it makes sense we know exactly what those shots are going to be before we give them to animation animation is the equivalent of our actors they create the movement expression the gestures and even it's too complicated to do by hand say for example thousands of balloons tied to a house that is handled by this simulation group so that gets folded into the mix and then of course you have effects like fire rain water explosions even glitter explosions so that's the effects group and then it goes to lighting which takes the flat plane colors that you that we see as we're making this thing and gives them shape and  shadows and so it starts to really look pretty spectacular then after a number of checkpoints make sure everything is behaving the way we thought it would we do the final render which brings everything together the model the movement that the lighting and each second that you see on screen requires about twenty feet of exactly twenty four frames each one of those frames can be up to several days worth of render time so it's really a slow process made one frame at a time all the stuff that i talked about at first the planning writing drawing the figuring out what we're going to do that is what we call pre production and then the later stuff the actual making the building moving painting lighting that's all production but it all starts with that idea and i'm now going back finishing on up i started again for wanting to find something that everyone is familiar with but this as i know now is a fine line if it's too familiar you feel like i've seen that before it's boring but if it's two different like the floating city thing  people say what is this i don't relate to this no idea so really were these ideas come from i have no idea where i'd go there more often but i got this idea about emotions as characters and i'd seen books and movies and things inside the body but i never seen emotions brought to life as characters and that seemed really intriguing to me i felt like boy if we do this right this could be like our version of the seven dwarves you know strong characters that you know instantly what they're all about and yet i also knew that wasn't enough so i started thinking what is this going to be about to talk to friends at work ronnie del carmen who's a co director jonas rivera producer and it as it turned out about this time my daughter ellie was about nine when she did the voice of young ellie in ups if you've seen that film that character i was actually a lot like her she was always full of goofiness and pap and energy until she turned eleven and suddenly we had a lot more moments of quiet and drama and i just thought wonder what's going on inside her head because i remember that happened to me too as i talked about that's a difficult time growing up and so we thought what if we took this idea of examining what it is to grow up as personified through emotions as characters so with that basic pitch this is a pitch that i gave to john lasseter that i just gave you i went to tell him about it and john's office is basically a toy have and he has every single toy made from from all the pixar films it's only a small portion of them in his office but it was to just acting there so we went to this boring white room and i pitched john the idea of this we have a little girl but she's actually this setting because inside her head are her emotions and he agreed that basic premise really sounded interesting and so we were on to the development phase and as i mentioned we do a lot of talking and drawing on white boards to get this basic sense of how this thing is going to look but around this time we started realizing how little we knew about this subject so we one choice that i made early on was this was going to be set in the mind not the brain so no blood vessels and dendrites and stuff we're talking about consciousness memory personality attributes and things which was really fraying is that meant we get to make everything up but it was difficult because we didn't know it was supposed to look like you c look at a picture of a fish or a car go up and make it like that so we turned to science for concrete answers to our problems what we should have known better because depending on which scientists you talk to you get very different answers even things like how many emotions are there the one guy asked he said well there are four basic emotions the next guy's at twenty seven so you know it was very it's it's not agreed upon by science but we were fortunate to live in the same town as one of the pioneering nearing scientists in the study of the motions dr paul ekman and he had this basic theory that there are six emotions being happiness surprise fear sadness anger and disgus i was kind of doodling i thought well surprise and fear both seem like they would react kind of similarly as as a character so let's just get rid of that and that's how we ended up with the five that we have course we then learned that this was his motions there were was that each emotion has a job and i never thought of it like that but but it's true and some of them are more obvious fear for example keeps you from taking unnecessary risk keeps you safe and so it's trigger is uncertainty of course in the film we were able to get bill hader who's fantastic we found this picture online by the intake bank so is interesting i used to think of it as just getting into fights things you'd regret saying later and so on well turns out anger keeps you from getting a raw deal make sure that things are fair which makes a lot of sense because social justice and and fairness have a lot to do with the work that lewis black uses his in his stand up so in fact this was interesting paul ekman he says a lot of times anger gets a raw deal if you think about social justice you know helping people around the world oftentimes that's triggered by you watching something in the news and going that's not right and feeling this indignation so anger can be a very useful emotion just like all these discussed basically a response that keeps you from getting poisoned in fact that expression that you make it this was in an earlier work by charles darwin he said that's probably a result from an adaptation from spitting out food so if you feed like better food to babies and they spit it out and that face then is the same face we make even in social situations we see someone wearing you know awful tiresome you know so she of course is triggered by purity and we were lucky to get mindy kane wing from the mindy project and our producer jonas  sadness is a lot less obvious in fact i think for a lot of us because we feel that sadness is a negative thing we try to avoid it or even self medicate it's not immediately obvious why you want sadness in your life which we use to our advantage in the film course in real life sadness is triggered by loss and it helps helps you deal with loss and we cast phyllis smith from the us version of the office for this role who is just fantastic of course there's a reason why our kid in the film is always happy and that's because her lead emotion is joy and joy is our response to benefit or gain and percy's voiced by incredible funny amy poehler so you can see all these are these different emotions have different jobs and that's why i was so excited about this idea because they're all strong opinionated caricature that's exactly what animation does while still this is about where we start the writing process and of course all this character development the that the characters we don't know quite what they're going to look like at this time but most people think of writing a script writing and that's true for us but for us we also draw so drawing for us is an extension of the script writing process and we have this amazing team of artists and what they do is not only draw individual drawings but they put them together in sequence and that way you can flip through these drawings to convention convey how the scene will unfold you get a pretty good sense of it we did about one hundred seventy seven thousand drawings for inside out and it's not just one version of it also explain that in a second once i approve these storyboards they go to editorial and our editor kevin nolting cuts the boards together with dialogue music and sound effects and stuff that we create ourselves and what it all comes together it gives you a basic sense of what the film will be like we call this a story real now our first attempt usually doesn't quite work so we start thinking and talking and drawing and rewriting and reconning and we try it again and usually the second tries a little closer but still not quite it so each sequence takes about three to five working sessions each session is about three to four hours and that's not counting all the work of course that builds up to that for any given film we have approximately twenty seven sequences so if you do the math that comes to a lot i don't know i went to art school i but we cut all this together and we bring it into our main feeder and we run the film for everybody besides our crew or the kitchen staff and whoever we can get in there we also have john lasseter leon krige understands and the other filmmakers who are making their own prog projects and after the screening we meet up here in this room this conference for i'm where we share opinions about what worked and what did now truth is a lot of these ideas are really great and some of them are not so great and it's basically understood that it's up to the filmmaking team to figure out which are which so there's no mandatory notes it's all just ideas things to throw on the pile and  up to us to figure out which ones to use now we'll go back and do this whole process again and take those notes we go back and we start drawing again and again and again we do this about seven or eight times on every film so for the film that you see in the theater there's at least eight versions of that that hopefully you'll never see because they're awful but unfortunately i don't have time to get into the production end of things is a whole nother talk about the design of the props and sets  recording the actors like amy poehler and phyllis smith bill hader of course camera work animation lighting all the production stuff but you know make these films takes awhile from concept through treatments and scripts and multiple versions of these various things of course through storyboarding putting it all together with dialogue music and sound effects screening the film talking about what could be better doing that again and again and again this whole process before we start to get things approved for production so that we can actually make the thing in total the whole thing from beginning to end is about five years now after hearing this you might well ask yourself why why do you do you do all that way just get it right the first time well the problem is we know we're going to be wrong and if we don't allow ourselves to be wrong we're never going to do anything new we're just going to rely on things that we know work so for us making mistakes is an essential part of our process we're not embarrassed by it in fact we planned for it but the bigger question is why even make films at all as i just told you it's a heck of a lot of work i spent five years working on inside out to con hundreds of people working fallon's of hours why do we spend our lives making movies in the first place well at their best movies are an art form and to me all is storytelling it's about talking to someone telling them how you feel about something that happened to you i believe that art is as essential to our existence as breathing and eating the world out there is sometimes a big and lonely place and it's very easy to feel like we're all alone so we tell stories to each other we talk about how it feels to love our hearts broken how it feels when our kids grow up and go out into the big wide world we talk about our mistakes our triumphs the experiences of our life and when we tell each other about that about what it feels like to be alive it's in these moments that we come to realize that maybe we aren't so alone after all animator and director of pixar animation studios has recently released film inside out has received why the claim now while the russians are going to collect questions from the house audience right now i'd like to invite the radio audience to join this thursday evening october the first seven pm went to have a smiley speak on the topic no one left out creating communities of justice information be found on my website mr forum dot org or at we have some good ones we always do here westminster town hall forum there was you had a quote a while back you can have a cat in the award sitting in your office but you still feel like that was probably just a fluke it's probably the right combination of things that happened can i do that again i have no idea do you worry about the creative well going dry that has to be a lot of pressure how do you know you've come then i don't necessarily worry about a great dr worry about it never having existed in the first place somehow you know i was relying on the right people on the weird magic stuff happen and that i'm not actually very talented that that's that's i think everybody kind of has those worries at moments the very least oh yeah good questions speaking of voicing characters many animated characters resemble their voice actors when you create a new character do you have a specific actor in mind are you my the animation what's the  cast we usually have the characters fully designed and built and even articulated that is they are able to move inside the computer before we think about casting but once we do cas we work already before the animation is done and we're able to then watch and listen to those actors so that we can borrow a little nuances or expressions and gestures and i think this is what people mean when they you know a lot of people say boy billy crystal looks just like mike was asking and i think i don't think  crystal would like to hear that but that's probably what they mean because we were able to do the like because when it talks out of the side of his mouth and we borrow the little kind of opening on one side more and so on so that's all great observation on behalf of the part of the animators  that i work with do the actors and actresses kind of get into the process yeah they do they they love i mean the nice thing about working in animation is you don't have to do costume and make up the dish roll out of bed and it doesn't mean it's not a lot of work they sweat we make them really work but they they really contribute a ton i mean in this film everybody but especially we worked with bill hader and amy poehler as writers so we would just sit and workshop ideas and they really get into it and that's what makes it fun this is from a student what makes a compelling character well there are all those books that you read that talk about like self contradiction and nuanced and multifaceted need you know so that just when you think you know them you surprise the audience by bringing something else but i think the truthful answer is i have no idea i don't know where these characters come  yeah that's can do a mysterious process i'll say that this is another student's good question how do you deal with creative disputes during a film's production especially when all sides are equally passionate about their sometimes adds to spirited discussions we say but i think that's good you know not everybody gets along all the time as long as it's the disagreement is about the work i think it's it's good to have some fights and  tt heads a little bit so in the end what's right is the audience so i might feel passionately about some idea or joke or turn of the story and then you put it up on the screen and if it doesn't land that didn't work and go back and figure out what would i like listening to talk about the process the creative process and it goes into making a film audience  wants to know can you talk about what the work environment is like at pixar it looks like it would be fun it is it's a great place to work and i credit you know a lot of people john lasseter has this incredible sense of play in everything and he's really brought that spirit to the whole place it's a place where you'll see people riding scooters and you know wearing ridiculous clothing and making costumes decorating their offices we spend a lot of time kind of goofing around well actually that's not true we spend a lot of energy goofing around but not a lot of time because a lot of it is devoted to work we work really hard so at is actually absolutely true somebody says laughing in the  know it really is i mean the animators and we've gotten better at this but we on toy story two people work so many hours that they develop serious cases are a side people were out for years we have producers who usually you kind of think producers job is to say come on work a little harder the produces a picture i have to say go home stop animate you know because people care so passionately about what we do that people really do work very very long hours inside out being the obvious example how did growing up in that way to shape the stories to tell i think you know we're all sort of these bowls of soup made of all the ingredients that been thrown in and i often times i'm not even fully aware of what went into that soup to make who i am but i think there's a sense of community here that obviously i feel like the hopefully informs the stories that i tell in the characters a sense of humor i know some people don't believe that minnesotans actually have a sense of humor but i think all of that went into the work and probably is for somebody else to say exactly what i'd rather me what's your favorite movie  that's not a simple question actually that's i mean depending on the day and depending on what we're talking about all i'll be able to list up you know fifty years i mean there's yeah right there's mr bug out of it's up there was no it's a fantastic film with a very wonderful relationship but i think to me if you really stripped down why you like a film what compels you to keep watching i'd say like ninety nine percent of the time it's a relationship that's watching a character grow and change and what changes people in real life other people so that film in particular i think just is so well done it crafted so brilliantly those characters bumping and rubbing up against each other it's just fun to watch your parents are throwing tonight wasn't always  know as i mentioned my parents i think have been incredibly supportive not of me alone but and not i have two sisters who are also in the arts or both musicians but my parents are both teachers and i think they've encouraged a wide net hundreds and thousands of people and i'm very thankful for them you the question about growing up this is from a student who was your favorite animated character when you were growing up and has it changed i probably to me like the high point of the week was watching the bugs bunny road runner hour which was on saturdays at nine o'clock other that shifted to an eight thirty one point so you know you had to really watch out so you don't miss it but bugs bunny was all as a character that i sort of secretly wished i could be because he can get away with anything and say things to people and stuff but plus he was just fun to watch as well animated so then that's a character that if i like but you know again it's kind of like the question about your favorite film depending on the day and the sitting at the airport instead of taking my iphone out which definitely i'm guilty of just ask my wife i'm addicted to this stupid thing but i try to grab my sketchbook and watch people because you never know where a little nuances or ideas are going to come from the way somebody holds their four or particular walk or whatever things people do i also i like to go for walks myself just by myself and think get my heart rate go on so that's one thought the other thing that we do if you're stuck for ideas as kind of a trick is to just start making a list because a lot of times what's holding you back is self censorship you got it stupid so if it's stupid or whatever write it down and then just keep going and if you force yourself to just keep going by number fourteen or if thirty seven you've seen it wait a minute that's actually pretty good so that's that's another trick this is from a little animator hi pete i guess your favorite emotion or sensation to convey in animation most of my own animation is about jumping and because it's really fun to animate people characters moving around a lot so i'd say joy for sure is the most fun from a movement standpoint in the film fear was also i didn't actually get to animate any of the characters on this film like i say directors don't actually do anything but but fear was a lot of fun to watch the end america's he was so wil yeah i mean that you really have to be kind of part salesman and think about how are how's the audience going to react to this what in particular are they going to react to and how do i convey it in a way that makes them interested and lean forward i mean that's that's really the key but you know sometimes audiences are tough and and the nice thing at the end of the day i know that at pixar even if the audience is sitting there kind of you know not looking very happy that they are there to help me and i think that's something that just takes a little while for people to recognize that the only way that this sort of thing works is when you really trust your collaborators you have to have a sense of trust with each other did any of your movies have a different ending that you wish state or one that you would like to have changed well i will say this is not quite the answer to the question but when we had a preview previ should back up by the time we're like usually between a half and seventy five percent finished in animation we often have an audience preview screening so wolf will go to some mystery theater will grab people off the street who they have to be willing we are just i and we show them the film and they have no idea what they're going to see in this case it was monsters inc so the audience watched it and the ending  not animated it was just drawings it was just storyboards and someone i think in the audience preview screening they have like a question and answer thing afterwards said i want to see what happens to sully in blue and so he goes to see blue again and then the guy says how many people want to see that and everybody raise their hand and all the executives turn to me and say you got to show them what happens to blue next and i was i was thinking this is going to be a disaster because i don't there's no way i can do something that will be as good as what's in their heads and so i really stuck to that and that was one where you know we had to fight a little bit but in the end i think it was the right choice so sometimes you know stuff like that happens  this question is asked by the greater twin cities sympathy in the audience the whole symphonies are i i how did your musical upbringing impact the creative process of your animation career music is is a lot like animation in that it's time based so i think the fact that i was exposed to music and played music from an early age it really influenced my sense of timing so as an animator i would sketch things out and then i would hear it in my head to hear the characters like you know falling down the stairs and that and i would kind of time it with a stopwatch based on the music that i hear in my head so in that sense it was a pretty big influence  i think to just from a storytelling standpoint the idea of music being so much a part of the film the process of making films i like to think in a way that i have an ear for music that will work and really reinforce the storytelling as well so i didn't like practicing make that leap but it was a good thing all right i said it back i mean when i used to be when i was a kid you'd shoot on super eight film and you had to have enough money for that of the take to get it developed and wait a couple days now you have your i phone you could you could literally make a movie with this thing you can using your computer you can do stuff a lot of times people come to me and said thinking about getting into animation like we'll do it you would never expect a kid to pick up a violin and play at carnegie hall that that night right filmmaking is the same way it takes a lot of practice are going to be a lot of mistakes and you just have to do a lot of it before you're going to get really good i know growing up i like i said i felt like there were these people who were just born unfairly talented  and that's true but even they had to work really hard it takes a lot of work and a lot of practice your parents were your first teachers but any of your other later but it doesn't take a lot sometimes to encourage somebody to push them in the right way i had a great teacher i was lucky in high school to be part of this outreach program that kind of placed students in different places i worked at this company called  jones and again ok so this company was in a diner i think they're out of business now they made commercials and out of the goodness of their hearts you know why they said yeah sure kid come on in here use any of the equipment you want to bother any of these guys who are supposed to be doing their work thank you you know that somehow that works for them and it was incredibly encouraging thing for me i learned a ton from those guys so there's just so many you know anybody who could ever stand up and say hey i'm a self made man i think they're full of baloney because everybody has you know shoulders to stand on i have a lot you know we're talking about writing yes really tight you had a right yeah a lot of folks i mean the swis are who are twelve great writing teacher it's a bunch of guys that i went to high school with who were nodding oh she was she was tough she was tough because she would she would really there's a lot of red on paper you know but she was telling teller telling us stuff over and over and over and i look back and i go how thick headed was i that i didn't understand what she was saying but i did and it just took a while so you weren't ready for it at that point says ideas for this is a good question there's a lot in the world that needs to change can you help change the world through film and how might she do that well that's a big big question i know for for me personally i i as i talked about i'm trying to say something about my own life and i think pixar is definitely you know they want strong stories and we're always looking for entertainment so i think with it just so that it doesn't come off like we're trying to be too high falutin here as i talk what we're trying to do is just make funny movies that entertain people that move people i will say this movie that i just finished inside out it had a number of people say especially with autistic kids it's been really interesting they said their kids have used this movie as a tool to talk about their own emotions that previously they had no way of communicating about that was pretty powerful  credit for that because it's just a great byproduct of the film but it does kind of point to that maybe in some way you can you can make small changes in trying to influence people and change people's my i remember seeing a film movie speaking of inside out what was your daughter's reaction to inside out seeing how her moods inspired it i didn't tell her for a long time was that i was making a movie based on watching her and so finally at the end i knew i could prolong the inevitable any longer i brought her and my wife to pixar and they sat through one of the screenings and afterwards i kind of went up to really when you think and she's sixteen now because you know it's been a number of years since we started she was eleven at the beginning now sixteen and i kind of went up to her and what do you think she said good movie that was right i really scored i received fifteen year old so she she really liked it actually she's i'm sort of exaggerating she she did later confessed to really being moved by it and crying and laughing and so on  last shot of those films so i got to do a very small amount and then i still do flip books just for my own fun because i kind of don't i want to feel like i actually do something  s i doing you know obviously i do some writing and things like that as well so i mean what's interesting is the work at pixar is great but and it's a collaborative process so that fulfills a certain almost like a sense of community and it's in a way like you feel like hey we're in this again by the end of these movies and everybody goes on to other movies there's this sense of oh no my family is you know moving to south america or something  you have this sense of this real sadness because these people have become become so close that the act of creating something together as a group is really pretty amazing but it is also nice it's a different kind of an it's to scratch to just make something yourself that nobody else has an editorial voice and i can just do it and if it's bad then so be it but it's mine you know so i try to balances things final question for you and if you talk about the outtakes at the end of your movies do you just have fun at that point that was an idea john lasseter had even on toy story that very first film we did that maybe we would end it by showing these outtakes and we used we we were barely able to finish the movie much less do any outtakes but we started doing it on bugs life and the interesting thing is it's actually a lot of work because every you know like in live action those are actual mistakes rice if you film actors and they flub the line everybody laughs and you can just show that in our movie we have to write it perform that animate it and pretend it was a mistake when it was actually planned so that's quite a different thing but it is fun it's definitely fun  d i will say just in closing i feel like i'm probably the luckiest guy in the world i have this amazing job that allows me to do what i love and i know it's very rare totally know this that somebody would say hey i'm here what movie do you want to make i i have that situation i don't get to totally call all the shots but i don't want to either because i think it's a necessary thing to have checks and balances and you know i work at this company pixar and