쉐도잉 연습: Pixar's Pete Docter Reflects On 40 Years of Pixar And What The Future May Hold... | BAFTA - YouTube로 영어 말하기 배우기
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Do you remember your first day working at Pixar?
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Do you remember your first day working at Pixar?
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I do, yeah.
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It was in San Rafael, California.
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And I remember sitting at a computer, so it was a vector graphics screen,
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and trying to figure out how this all works with all these numbers everywhere, and thinking, oh, what have I gotten myself into?
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There were only like 10 of us, so everybody did everything.
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I mean, I did some amount of writing and modeling and, you know, animation for sure.
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I think the main job that I understood I was being hired to do was the movement, the animation.
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But yeah, everybody had to do everything because there was not very many people.
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No, the first thing I worked on was a commercial.
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It was a Listerine commercial where it was boxing.
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They had done four, I think, short films.
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And I guess in my head, I was imagining joining the crew and making more short films.
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But instead we did these commercials and then eventually working on like a, it was gonna be a Christmas TV special which mutated into what became Toy Story.
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You know, we end up thinking of these characters as real.
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They seem like friends in a way.
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What I really like is when you are, at the beginning of course you know nothing, and the movie is work, and you're trying to discover things.
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And then at some point the characters start showing up.
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It's like you can hear them talk in your head and they do the writing for you, which is when it's really fun.
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And not all of it's brilliant, obviously.
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They gotta work on their writing skills, but that's when it becomes fun.
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So you have obviously worked on many of Pixar's most beloved films, like, do you yourself have a favorite?
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No. No. I can't really see the movies the way
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that the audience does because I just remember the experience of making it, of the difficulty of, oh this scene was so hard,
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or you know, this animator got mad at me and so we had to redo it again and you know, so I see the movies that way as opposed to the way the...
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I think I saw Up, well the other thing is I don't really watch the movies once they're done.
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Once they're finished I put them away and go forward, but we saw Up recently.
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Oh, I think Michael Giacchino was doing a live score, and I thought, hey, this is actually kind of funny.
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So I feel like now, with whatever that is, 15 years, I can kind of start to see it maybe the way you do.
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Is there like any of your feature films
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that particularly stands out to you as that was like really fun or really rewarding to make that film?
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Well, it's hard to not answer up to that question because we got to,
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first of all, We got to travel to Venezuela to hike up to one of these tabletop mountains they call tapuys.
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Ends of the earth, you know, and I don't think we would be able to do it.
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First of all, it's in Venezuela, so it's a little hard to travel to now, and I don't know if my knees would make it.
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So there was just this wonderful sense of adventure
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that I think we were able to capture and put into the movie through the characters.
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We definitely, the sense of authenticity, I don't think, These were the days in.. it was early internet,
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so even the kind of plants and things weren't readily available.
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We had to take pictures and figure out our own way of interpreting this world, this weird place.
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And the crew on that one was really fun.
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Just great people.
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We had a lot of laughs and a lot of joy making that movie.
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So in 2018 I believe you became Pixar's chief creative officer.
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So what can you tell us about what that role entails and what your day to day looks like now?
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So obviously an animator brings the character to life.
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A director is kind of over the whole story.
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My job is to make sure that each directing unit, every team that's making their own movie, is as good as it possibly can be
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and be kind of an objective audience before the rest of the world sees it.
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So, you know, we'll look at a movie and go, okay, why is this not reaching, man?
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Why is it not touching me?
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Well, I think it's because of, and I'll work with the team to try to diagnose what the problem is.
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If there's a problem on the team, maybe we need a different writer, maybe we need some new story artist, I'll try to diagnose that as well.
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So it's a little less in the weeds.
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I'm not as involved in solving all the particular problems.
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I hopefully are leaving that to the team.
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But I am involved in everything that's going on.
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We have, I think, eight films right now, right now in varying parts of production.
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So it's a lot of work, but it's really pretty cool.
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Those eight films could be, is any of those a directorial feature for you?
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No, not right now, no. But I am very excited about Hopper's.
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Hopper's our next one.
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Daniel Truong, he worked on Inside Out that I was directing.
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And now he's put together this brilliant, very funny film that I hope everyone will see because it's great.
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And it's a great one to see in a theater, because the experience, I won't give it away, but there's a few moments that are just beautiful to see with the whole audience there and listen to the reaction.
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Looking at Hoppers and Toy Story 5 as well, I feel like, from what I've seen at least, it kind of looks like technology is quite at the center of both.
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Was this maybe like a coincidence, or was that very much on your mind?
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I hadn't thought of it, so I think it was a coincidence.
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I think it's just, you know, any artist is kind of living in the world and reflecting back what they're experiencing.
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And I think that's obviously what's going on here.
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Toys and tech, you know, our kids, my kids are now in their late 20s, and so they predated the tech boom.
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And watching young kids deal with this it's a it's a
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struggle for parents you know is this healthy am I doing
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damage to my child a lot of stressors for people and
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so we're bringing that forward in the movie I think in a very fun way
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and looking beyond Hopper's
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and Toy Story what do you like what is on the
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horizon for Pixar what are like some of the next steps like in filmmaking
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and animation that you and your ambitions for that, especially maybe looking at Gatto, which I think maybe for the first time brings hand-painted animation to Pixar.
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Yeah, Gatto is really exciting for many reasons.
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First of all, it's just a great story.
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But second, it's set in Venice, which is kind of like a living painting.
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And so we're trying to bring that aesthetic to the look.
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It's not as photorealistic as historically our films have been.
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And I do feel like we're at an interesting point in animation history where people have grown up with
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so much around them that they're looking for something new
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and I think that's the challenge for all of us for our directing team is to find
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that new thing that on the one hand will make people go whoa I've never seen
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that but on the second go like I understand I recognize
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that as somehow being part of my own experience as a human
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so yeah you must do exactly as we say Harry lol I I mean, Jerry, drive now.
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Do you have any advice for young filmmakers who want to get into animation today?
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I would say do it.
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Just start making a movie.
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You would never hand a violin to somebody who'd never played before and say, you have a concert tonight on Carnegie Hall.
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You know, you have to practice.
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And filmmaking is no different.
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There are all these skills you need to learn.
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It's not like people are just born talented.
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You have to practice.
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You have to do it.
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And today, it's easier than ever.
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or grab your iPhone, go run out.
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It could be live action, it could be animated, it could be any number of things, but practice makes perfect.
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