0:00:03 > 0:00:09It's not just that they're playful at work, I think they encourage people to be playful about life.
0:00:09 > 0:00:1225 years of movie-making history.
0:00:14 > 0:00:16Creative, inventive and fun.
0:00:16 > 0:00:21They've maintained a childlike devotion to tell stories about the human heart.
0:00:21 > 0:00:23Really beyond belief.
0:00:24 > 0:00:2611 successive box office hits.
0:00:26 > 0:00:31Just their extraordinary track record, I mean, they just don't lose.
0:00:31 > 0:00:34The journey to the top hasn't always been a smooth ride.
0:00:34 > 0:00:40I get this call, and he said, "Your employment with Disney Studios is now terminated."
0:00:40 > 0:00:44But perseverance and talent eventually paid off.
0:00:44 > 0:00:49- Mostly, they've been around for a long time because they keep winning. - Really amazing people.
0:00:49 > 0:00:52This is truly going to be timeless and forever,
0:00:53 > 0:00:57and will always land in the consciousness of yet another generation of moviegoers.
0:01:00 > 0:01:03And it all started with a little lamp.
0:01:03 > 0:01:07Three words to describe Pixar -
0:01:07 > 0:01:09gift from God.
0:01:19 > 0:01:20Pixar. We all know what they do. No?
0:01:20 > 0:01:22Well, they're responsible for this...
0:01:25 > 0:01:26..and him, and them.
0:01:26 > 0:01:29- Nemo!- You get the idea.- Yeah!
0:01:29 > 0:01:35Tonight, we'll look back at 25 magic moments from the studio's 25-year history.
0:01:35 > 0:01:38- I guess we could use a little entertainment.- Exactly.
0:01:38 > 0:01:42Along the way, we'll see just what it takes to make a Pixar feature film.
0:01:42 > 0:01:45These guys are professionals. They're the best.
0:01:45 > 0:01:48And we'll be joined by all of the key players involved.
0:01:48 > 0:01:52They encourage a kind of stress-free environment,
0:01:52 > 0:01:54and that filters into all of their movies.
0:01:54 > 0:01:57It feels to me like it's kind of a college campus.
0:01:57 > 0:02:00You feel like it's new every time.
0:02:00 > 0:02:03Every time you show up for something, there's a great energy in the room.
0:02:03 > 0:02:06You're suddenly surrounded by a bunch of young geniuses,
0:02:06 > 0:02:11who understand what they're doing, while you don't.
0:02:11 > 0:02:15The secret to our success is we have a blast making these films.
0:02:15 > 0:02:19If you're having fun making a film, it's going to appear on the screen.
0:02:19 > 0:02:24Now, there's only one place you'll find a studio making blockbusters like these.
0:02:24 > 0:02:27We're going to Emeryville - an unassuming, quiet suburb
0:02:27 > 0:02:29of the Golden Gate city, which just happens to be the home
0:02:29 > 0:02:32of one of the world's most successful film studios -
0:02:32 > 0:02:34Pixar.
0:02:37 > 0:02:39It's a big...kind of a family.
0:02:39 > 0:02:42A lot of people hang out together, both at work and after work.
0:02:42 > 0:02:45We collaborate with each other.
0:02:45 > 0:02:48It's a group effort, and the building and culture reflects that.
0:02:48 > 0:02:53Yes, these are a unique gang of film-makers who strive to be different.
0:02:53 > 0:02:57We did not want to do what Disney was for Little Mermaid,
0:02:57 > 0:03:00and Beauty And the Beast, and all those films.
0:03:00 > 0:03:03They had their thing going and we wanted to be different.
0:03:03 > 0:03:06OK, Pixar. You want to be original? You want to be ground-breaking?
0:03:06 > 0:03:09Let's see what you've got.
0:03:09 > 0:03:12YOU ARE A TOY!
0:03:12 > 0:03:16Yep. That should do it. Toy Story, their debut hit.
0:03:18 > 0:03:22The story drove everything. It was so refreshing, because
0:03:22 > 0:03:25we were making the movie we wanted to make.
0:03:25 > 0:03:31So, our first magic moment is the Toy Story scene that brought these two lovable characters together.
0:03:31 > 0:03:35Oh, and gave children the world over a new playground catchphrase.
0:03:35 > 0:03:38- We're all very impressed with Andy's new toy.- Toy?
0:03:38 > 0:03:40T-O-Y. Toy.
0:03:40 > 0:03:44Excuse me, I think the word you're searching for is "Space Ranger".
0:03:44 > 0:03:49The whole struggle between Buzz and Woody was largely about Buzz's delusion.
0:03:49 > 0:03:51He's not a Space Ranger.
0:03:51 > 0:03:55He doesn't fight evil, or shoot lasers, or fly!
0:03:55 > 0:03:59Buzz and his cluelessness just aggravates this guy Woody.
0:03:59 > 0:04:02THEY ALL GASP
0:04:02 > 0:04:03Oh, impressive wingspan!
0:04:03 > 0:04:06I remember, that was one of those scenes that was just
0:04:06 > 0:04:10so much fun, because of the read that Tom Hanks gave us.
0:04:10 > 0:04:13These are plastic. He can't fly!
0:04:13 > 0:04:16They are a terillium-carbonic alloy, and I CAN fly.
0:04:16 > 0:04:18No, you can't.
0:04:18 > 0:04:19Yes, I can.
0:04:19 > 0:04:22- You can't.- Can.- Can't, can't, can't!
0:04:22 > 0:04:25I could fly around this room with my eyes closed.
0:04:25 > 0:04:27OK, then, Mr Lightbeer. Prove it.
0:04:27 > 0:04:29All right, then. I will.
0:04:29 > 0:04:33We wanted to create two characters that were so fun that, even if they were locked in an elevator
0:04:33 > 0:04:36for the whole movie, you'd want to see what happens next.
0:04:36 > 0:04:38To infinity...
0:04:38 > 0:04:40and beyond!
0:05:03 > 0:05:05- Can! - CHEERING
0:05:05 > 0:05:11A great magic moment to kick off with. And after the critical and commercial success of Toy Story,
0:05:11 > 0:05:13the pressure was on for Pixar's second film.
0:05:15 > 0:05:18And, if a handful of toys proved tricky to animate,
0:05:18 > 0:05:21what were they thinking with thousands of insects?
0:05:23 > 0:05:27I think we bit off maybe more than we could chew in terms of the scale
0:05:27 > 0:05:30of the movie, and how many characters there were.
0:05:31 > 0:05:36And it wasn't only the number of characters that challenged the animators.
0:05:36 > 0:05:41We had this tiny little camera, that we could put on the end of a stick and put it down into the grass
0:05:41 > 0:05:46and see what our world kind of looks like from an ant's perspective.
0:05:46 > 0:05:49Research was literally done in our own backyard.
0:05:52 > 0:05:57OK, technological advances made, all that's needed now is a bit of humour.
0:05:59 > 0:06:03Anyone who's ever spent any time looking at ants knows that they walk in a straight line.
0:06:11 > 0:06:13And then dealing with the chaos
0:06:13 > 0:06:16of a leaf falling down and blocking the line,
0:06:16 > 0:06:18and none of them being able to decide what to do.
0:06:18 > 0:06:20"What do we do? Do we go around?" It's just complete panic.
0:06:20 > 0:06:23Oh, no! Oh, no!
0:06:23 > 0:06:25I'm lost!
0:06:25 > 0:06:26Where's the line? It just went away!
0:06:26 > 0:06:30- What do I do, what do I do?! - Help!- We'll be stuck here forever!
0:06:30 > 0:06:31Do not panic!
0:06:31 > 0:06:37It was just a funny way of showing that no individual ants have their own thoughts.
0:06:37 > 0:06:39That's it, that's it. Good!
0:06:40 > 0:06:43You're doing great. There you go. There you go.
0:06:43 > 0:06:46Watch my eyes. Don't look away.
0:06:46 > 0:06:48And here's the line again.
0:06:48 > 0:06:49Thank you. Thank you, Mr Soil!
0:06:49 > 0:06:53- Good job, everybody. - 'It was a very ambitious film.'
0:06:53 > 0:06:58It ended up bringing a lot of us to our knees, because it was very difficult to make.
0:06:58 > 0:07:01Having conquered crowd shots in A Bug's Life, every Pixar film since
0:07:01 > 0:07:05has pushed the boundary of what computer animation can create.
0:07:14 > 0:07:19And, in 2009, they treated us to a visual feast of grace and beauty,
0:07:19 > 0:07:22all tied together in thousands of balloons.
0:07:25 > 0:07:29That's typical. He's probably going to the bathroom for the 80th time.
0:07:29 > 0:07:32You'd think he'd take better care of his house.
0:07:32 > 0:07:36That moment in Up when the house lifts off, that's the centrepiece of that movie.
0:07:41 > 0:07:46Of course, one of the first things that the technical directors did was to calculate, given the average
0:07:46 > 0:07:50weight of a house, how many balloons would it realistically take to lift the house?
0:07:50 > 0:07:53I think they came up with 25 million or something.
0:07:53 > 0:07:55We ended up with around 20,000.
0:07:55 > 0:07:56So we cheated.
0:07:57 > 0:08:00The buildings were literally growing up around him,
0:08:00 > 0:08:03and so when he finally broke free of that,
0:08:03 > 0:08:09we were hoping the audience would really feel that, that he was finally off on an adventure.
0:08:13 > 0:08:16CAR ALARM BLARES
0:08:16 > 0:08:19HE LAUGHS
0:08:19 > 0:08:24So long, boys. I'll send you a postcard from Paradise Falls!
0:08:34 > 0:08:39It wasn't a chase scene. It wasn't an action scene. It was just a soft, lilting journey,
0:08:39 > 0:08:43- the start of this guy's adventure.- Ha!
0:08:43 > 0:08:48So, we've seen talking toys, an army of ants and a flying house.
0:08:48 > 0:08:51On paper, ludicrous ideas.
0:08:51 > 0:08:53But somebody has to think them up.
0:08:53 > 0:08:57People typically only see the final movie. They think,
0:08:57 > 0:09:00"Somebody had an idea, a script, and then they made that movie."
0:09:00 > 0:09:02That's actually not how it works.
0:09:02 > 0:09:05It's more of a discovery, really, the whole process.
0:09:08 > 0:09:10We do take risky things.
0:09:10 > 0:09:12For instance, Ratatouille, about a rat that can cook.
0:09:12 > 0:09:14Or Up...
0:09:14 > 0:09:16These are unusual ideas.
0:09:16 > 0:09:19So we don't shy away from an unusual idea.
0:09:19 > 0:09:21Some people want to tell it to you across the table.
0:09:21 > 0:09:23Some people move around the room.
0:09:23 > 0:09:28Some people want some visual aid, with a stick, and they're pointing to it. Some people have slide shows.
0:09:29 > 0:09:31But, at the end of the day, it really comes down to,
0:09:31 > 0:09:36do you have that Monday morning by the water cooler at the workplace
0:09:36 > 0:09:39gift for making me riveted?
0:09:41 > 0:09:47Unlike other film studios, Pixar is unique in that it will only accept script ideas from its own employees.
0:09:47 > 0:09:52Which is a shame, really, because I've had a great thought about an animated hamster called Trevor.
0:09:52 > 0:09:53Any takers?
0:09:55 > 0:09:58Anyone want to give it a go? No?
0:09:58 > 0:09:59OK, let's move on.
0:09:59 > 0:10:04The second animator, after me, who was ever hired at Pixar, was Andrew Stanton.
0:10:04 > 0:10:06And then Pete Docter was soon after that.
0:10:06 > 0:10:10I knew right away that these guys were good enough to make their own films.
0:10:10 > 0:10:13When Toy Story came out, I was surprised at how many people said,
0:10:13 > 0:10:16"I really thought that my toys came to life, too."
0:10:16 > 0:10:18And I thought, "Wow, I wonder how many other
0:10:18 > 0:10:22"things there are like that, that we all sort of believed in as a kid?"
0:10:22 > 0:10:25And one of them, I knew that there were monsters in my closet.
0:10:25 > 0:10:29I remember trying to get to sleep and the door would be open a bit,
0:10:29 > 0:10:32and you'd see part of a shirt - is that a shirt or a tentacle?
0:10:35 > 0:10:39And so that beginning of the film really came out of my own experience as a kid.
0:10:41 > 0:10:46In 2001, Pete Docter's pitch finally became Monsters, Inc.
0:10:46 > 0:10:51But before we enjoy a laugh-out-loud scene, here's something you might not know.
0:10:51 > 0:10:52Morning, Ricky.
0:10:52 > 0:10:55See you on the scare floor, buddy.
0:10:55 > 0:10:58I'm the dope who turned down Toy Story.
0:10:58 > 0:11:00Is that a joke? Tell me you're joking.
0:11:02 > 0:11:03Really stupid.
0:11:03 > 0:11:06So now the truth comes out, doesn't it?
0:11:06 > 0:11:08A couple of years later, the phone rings.
0:11:08 > 0:11:12My assistant says, "John Lasseter's on the phone." I picked it up, and I went, "Yes."
0:11:12 > 0:11:14KLAXON BLARES
0:11:14 > 0:11:18And with that "yes", another classic comedy duo was born.
0:11:18 > 0:11:21Less talk, more pain, marshmallow boy! Be a leopard.
0:11:21 > 0:11:23You call yourself a monster?
0:11:23 > 0:11:28Mike and Sully's relationship is a Laurel and Hardy kind of relationship.
0:11:28 > 0:11:31'All those classic comedy teams live together.
0:11:31 > 0:11:33'They have a great affection for each other
0:11:33 > 0:11:35'and that's what is so fun about it.'
0:11:35 > 0:11:37Sometimes two minds without a single thought.
0:11:38 > 0:11:40'But they're real guys.
0:11:42 > 0:11:43'And they need each other.'
0:11:43 > 0:11:47- Twins! In a bunk bed! - They work together, they live in the same place.
0:11:47 > 0:11:50- I thought I had you there! - That's the relationship set up,
0:11:50 > 0:11:53and it provided a lot of fun. Especially with those two actors.
0:11:53 > 0:11:55# I don't know, but it's been said
0:11:55 > 0:11:56# I love scaring kids in bed. #
0:11:56 > 0:11:59'We mostly record each actor individually.'
0:11:59 > 0:12:04But because we wanted them to have this relationship, that they could complete each other's sentences,
0:12:04 > 0:12:09and jab each other, and kind of riff on each other, we got both the actors in,
0:12:09 > 0:12:10and the energy just went up.
0:12:10 > 0:12:15- I don't believe it!- I'm not even breaking a sweat.- Not you.
0:12:15 > 0:12:19The inseparable Mike and Sully, proving that there's nothing more important in a Pixar movie
0:12:19 > 0:12:20than the love between characters.
0:12:23 > 0:12:28And, in 2003, our hearts were warmed yet again by this father and son.
0:12:28 > 0:12:32- What's the one thing we have to remember about the ocean? - It's not safe.- That's my boy.
0:12:32 > 0:12:36My son was about four, maybe four or five.
0:12:36 > 0:12:41And I felt I hadn't seen him in at least a week and a half, if not two weeks, and I just felt so guilty.
0:12:41 > 0:12:44And I said, "On Saturday, we'll go to the park."
0:12:44 > 0:12:49- Whoa, hold on, hold on. Wait to cross.- And I spent the entire walk going, "Don't touch that.
0:12:49 > 0:12:52"You're going to fall into the road. Put that down."
0:12:52 > 0:12:58Here I am, a good father, with all the best of intentions, and I can't get out of my own way,
0:12:58 > 0:13:01and do what I really need to do and connect with my child.
0:13:01 > 0:13:05And I thought, "That's got to be a universal dilemma."
0:13:05 > 0:13:08- My dad says it's not safe.- Nemo! No!
0:13:08 > 0:13:11- Dad?- You were about to swim into open water!
0:13:11 > 0:13:15We worked on the scene quite a bit, and it never really had heft
0:13:15 > 0:13:20to it, until we got the idea to really bring Nemo to a rock bottom place, and saying...
0:13:20 > 0:13:22- I hate you. - 'It's a classic kid/parent moment.'
0:13:22 > 0:13:27Not one of the moments that you want to remember, but the kind of thing that happens.
0:13:27 > 0:13:30You are in big trouble, young man! Do you hear me? Big!
0:13:35 > 0:13:41I loved that, maybe me as a scuba diver, just going down to take pretty pictures,
0:13:41 > 0:13:44is the equivalent of Godzilla invading Tokyo.
0:13:44 > 0:13:45No, no! Dad!
0:13:48 > 0:13:52The idea of being separated from your child is pretty intense.
0:13:52 > 0:13:54Nemo! Nemo!
0:13:54 > 0:13:58But the impossible task of finding a needle in a haystack,
0:13:58 > 0:14:05that seemed like an insurmountable goal that I wanted to see somebody conquer as a moviegoer.
0:14:05 > 0:14:08No, no! Please, no!
0:14:11 > 0:14:15Now, from one protective dad, to one incredible mum.
0:14:15 > 0:14:22She just extended her mothering instincts beyond the normal reach,
0:14:22 > 0:14:24to protect her family.
0:14:25 > 0:14:28- Kids, you're all right! - You're all right.
0:14:28 > 0:14:31'Every power matches the character.'
0:14:31 > 0:14:38Dad is a strong guy who just wants to push his way through things.
0:14:38 > 0:14:43The mom is a housewife with three kids, so she has to stretch in a lot of different directions.
0:14:43 > 0:14:48A teenage girl wants nothing more than to be invisible
0:14:48 > 0:14:51and put force-fields up around her.
0:14:51 > 0:14:55- How are you doing that?!- And Dash is a 10-year-old hyperactive kid.
0:15:07 > 0:15:09Whoa, whoa, whoa! Hey, time out!
0:15:09 > 0:15:11Careful.
0:15:11 > 0:15:14And bringing the idea of character relationships
0:15:14 > 0:15:18bang up-to-date is a couple of star-crossed lovers in Toy Story 3.
0:15:18 > 0:15:21Ken? Where is that boy? Ken?
0:15:21 > 0:15:23- New toys!- Far out.
0:15:23 > 0:15:25Down in a jiff, Lotso.
0:15:28 > 0:15:30'As soon as they said Ken...'
0:15:30 > 0:15:32So, who's ready for Ken's dream tour?
0:15:32 > 0:15:33..I knew what they meant.
0:15:33 > 0:15:37The phone fell out of my hands and I just kind of bent over and laughed.
0:15:37 > 0:15:40I don't know why, my first reaction was, "This is really funny."
0:15:40 > 0:15:44I'm not a girls' toy! I'm not! Why do you guys keep saying that?!
0:15:44 > 0:15:47And I kind of immediately got it.
0:15:51 > 0:15:54'Actors like to play, generally speaking. It's just really fun.'
0:15:56 > 0:15:58Hi, I'm Ken.
0:15:58 > 0:16:01Barbie. Have we ever met?
0:16:01 > 0:16:05Nuh-uh, I would have remembered. Love your leg warmers.
0:16:05 > 0:16:10You only know Ken in relationship to Barbie, cos she's huge. Ken, not so much.
0:16:10 > 0:16:14But when I look at you, I feel like we were...made for each other.
0:16:14 > 0:16:18He's a tad groovier than I had seen him!
0:16:18 > 0:16:20Yes, sir, well-groomed man.
0:16:22 > 0:16:24The latest Toy Story adventure let us enjoy
0:16:24 > 0:16:30Ken and friends in stunning 3D, but as always when it comes to the initial plot outline and direction,
0:16:30 > 0:16:34it's back to the storyboard with good old 2D sketches.
0:16:36 > 0:16:39We kind of make our movies the same way that
0:16:39 > 0:16:42the industry's been making them since Walt Disney made Snow White.
0:16:42 > 0:16:47A script is done, but then the movie doesn't truly come to life until you visualise it.
0:16:47 > 0:16:50We create very elaborate storyboards.
0:16:52 > 0:16:56It's a visual medium, and when a storyboard artist takes it,
0:16:56 > 0:17:00they then essentially become the actor, the editor,
0:17:00 > 0:17:06they become the cinematographer for a while and they take that written word into cinematic form.
0:17:06 > 0:17:09It's a long process. We spend about two and a half years
0:17:09 > 0:17:14working on the screenplay and the storyboards for any given film that we make.
0:17:14 > 0:17:17- Whoa!- Two-and-a-half years?!
0:17:17 > 0:17:20Mind you, storyboarding does give the creative team the chance
0:17:20 > 0:17:26to experiment, which is a good thing, as Woody would never have been the character we love today.
0:17:30 > 0:17:32We made the mistake of thinking that
0:17:32 > 0:17:37Woody was a character that should go from being selfish
0:17:37 > 0:17:40to selfless, and we took it that literal.
0:17:40 > 0:17:43So we just created a selfish character.
0:17:43 > 0:17:47Thinking, "It'll be fine because he's going to turn nice."
0:17:47 > 0:17:48It was smart-alecky,
0:17:48 > 0:17:52it was like a brand of insult humour, it was negative.
0:17:52 > 0:17:55All right, that's enough!
0:17:55 > 0:17:58We learned right away that if you don't like somebody or...
0:17:58 > 0:18:02I guess the proper way is you can't empathise with them...
0:18:02 > 0:18:04Hey, you want to be Mr Mashed Potato Head?!
0:18:04 > 0:18:06..then you've lost the audience.
0:18:06 > 0:18:09You button your lip. Nobody's getting replaced.
0:18:09 > 0:18:12So we found out after quite a bit of work that...
0:18:12 > 0:18:14Woody was very off-putting.
0:18:14 > 0:18:18So, after years of development, Woody's character was softened,
0:18:18 > 0:18:21becoming the likeable cowboy seen in the final film.
0:18:21 > 0:18:26- It's just a mistake. - Well, that mistake is sitting in your spot, Woody.
0:18:26 > 0:18:30- Have you been replaced?! - Hey, what did I tell you earlier?
0:18:30 > 0:18:32No-one is getting replaced.
0:18:32 > 0:18:36Woody was a pendulum swing from being comfortable with his position to him being threatened.
0:18:36 > 0:18:39The big epiphany for me was that everybody
0:18:39 > 0:18:41can act like a nice person,
0:18:41 > 0:18:47and that became a real learning for me as a writer for how to treat Woody.
0:18:47 > 0:18:52He could be the nicest guy, the perfect guy, the best leader, as long as he was on top.
0:18:56 > 0:19:00Now, how many of you remember your old art class at college?
0:19:00 > 0:19:04Yep, me neither. But the animators at Pixar sure do.
0:19:05 > 0:19:10I went to California Institute of the Arts. It was started by Walt Disney towards the end of his life.
0:19:10 > 0:19:13They have this animation programme. The original room
0:19:13 > 0:19:18where the whole programme was held was in this room, A113.
0:19:18 > 0:19:22There's a few times in my life I feel like I've been in the right place at the right time,
0:19:22 > 0:19:24and definitely when we were at Cal Arts, that was it.
0:19:24 > 0:19:28Most of the Pixar films have some little reference to A113 in there.
0:19:30 > 0:19:34It just became a good-luck charm that we just don't want to not do.
0:19:36 > 0:19:40Once you know about A113, it just jumps out at you, it's so obvious now.
0:19:44 > 0:19:49OK, maybe obvious was the wrong word. It didn't take us long at all to find this one, or that one.
0:19:49 > 0:19:53It's getting a bit cryptic in The Incredibles, but it's there.
0:19:55 > 0:19:57So just Monsters, Inc. then. Where's that one, Pete?
0:19:58 > 0:20:01It might be one of the offices. As they run down the hall...
0:20:01 > 0:20:03We've got to get out of here now!
0:20:03 > 0:20:06..there's all these different departments.
0:20:06 > 0:20:09- I think it's one of those offices, but I'm not sure which one. - You're not sure?
0:20:09 > 0:20:11We've got no chance then! Come on, give us a clue.
0:20:13 > 0:20:17I can't remember! It's been so long. Do you know?
0:20:17 > 0:20:19Oi, Pete, no conferring!
0:20:20 > 0:20:23Staying with the college theme, it's time for a history lesson.
0:20:23 > 0:20:28So notebooks at the ready, as we're about to chart the origins of Pixar.
0:20:30 > 0:20:36It was the early '80s and by today's standards, the modern technology looked anything but modern.
0:20:36 > 0:20:42And a computer-animated feature film was just a twinkle in Pixar supremo John Lasseter's eye.
0:20:42 > 0:20:47Whilst working at Disney, Lasseter watched Tron, a breathtaking feature film which
0:20:47 > 0:20:50mixed live-action with CGI, and this proved to be the catalyst that
0:20:50 > 0:20:53inspired Lasseter's imagination.
0:20:53 > 0:20:57The computer animation excited me so much. Not excited about what I saw,
0:20:57 > 0:20:59but the potential I saw in this, I was just amazed by it.
0:20:59 > 0:21:03He had the right kind of eyes to suddenly see Tron at that time.
0:21:03 > 0:21:06I was just a whippersnapper, I was just a geeky kid still
0:21:06 > 0:21:08going to the movies, not knowing
0:21:08 > 0:21:11what to do with my life. I remember being just as wowed by Tron.
0:21:13 > 0:21:16John had an epiphany that was too early.
0:21:16 > 0:21:19He was just ahead of his time about where it should go.
0:21:19 > 0:21:24Keen to share his vision of a fully computer-animated feature film,
0:21:24 > 0:21:26Lasseter pitched an idea to his employers.
0:21:26 > 0:21:29It was a meeting he would never forget.
0:21:29 > 0:21:34We'd pitched the whole thing and he stood up and he asked, "Well, how much is this going to cost?"
0:21:34 > 0:21:38I said, "Well, it's with computer animation.
0:21:38 > 0:21:43"It's going to be no more than the regular budget of a film."
0:21:43 > 0:21:48And he went, "The only reason to do computer animation is if we can do it faster or cheaper."
0:21:48 > 0:21:51I was like, "What?!" And...
0:21:51 > 0:21:54So about five minutes later I get this call,
0:21:54 > 0:21:57and Ed Hanson calls me down to his office.
0:21:57 > 0:22:01And I come down and he said...
0:22:01 > 0:22:07"Well, John, your project is now complete, so your employment with Disney Studios is now terminated."
0:22:10 > 0:22:14Not one to sit twiddling his thumbs, Lasseter hooked up with Ed Catmull
0:22:14 > 0:22:17and began working for this guy.
0:22:17 > 0:22:21In the beginning, they were primarily put together
0:22:21 > 0:22:26as the computer division at Lucasfilm to design technology,
0:22:26 > 0:22:30to make it easier for people to be creative.
0:22:30 > 0:22:32John is just a born animator.
0:22:32 > 0:22:37He's extremely talented, loves what he does, and was absolutely
0:22:37 > 0:22:40fascinated with moving it to the next level and doing computer animation.
0:22:40 > 0:22:44Unfortunately, George Lucas didn't have the capital to take it
0:22:44 > 0:22:49to that next level, so decided to sell his graphics division.
0:22:49 > 0:22:52I said, "Look, I know you guys want to make a movie, so I'm not going
0:22:52 > 0:22:56"to sell you to General Electric," which is who really wanted them.
0:22:56 > 0:23:00But with computer animation in its infancy, who was willing to take the risk?
0:23:00 > 0:23:03- They found Steve.- Steve who?
0:23:03 > 0:23:07Oh, Steve Jobs, the guy who gave us the iPod, right.
0:23:08 > 0:23:12And with the purchase from Lucasfilm, Pixar was born.
0:23:13 > 0:23:16I rode up to Lucasfilm and that was the first time I met Ed,
0:23:16 > 0:23:20and he shared with me his dream to make the world's first computer-animated film.
0:23:20 > 0:23:23And I, in the end, ended up buying into that dream,
0:23:23 > 0:23:25both spiritually and financially.
0:23:25 > 0:23:31These were hard years, those first years, and there were times when all of us about threw in the towel.
0:23:31 > 0:23:36So as we went through the hard times, we finally got the opportunity in 1991
0:23:36 > 0:23:37with Disney to do Toy Story.
0:23:37 > 0:23:40Whoa, there, Ed, let's not get ahead of ourselves.
0:23:41 > 0:23:44Before Toy Story, there was a magic moment involving a little lamp.
0:23:45 > 0:23:52I think for me the film that really did it, that made me go, "Wow, there is something here," was Luxo Jr.
0:23:52 > 0:23:55It was just a held camera and two characters.
0:23:55 > 0:23:58It was just this great little story. And I said, "Who did that?
0:23:58 > 0:24:01"Man, wherever that guy works, that's where I want to be."
0:24:01 > 0:24:04I had a big drawing table and I had this...angle-poised lamp,
0:24:04 > 0:24:06a Luxo lamp.
0:24:06 > 0:24:10And I just, literally, took the lamp and just started measuring it
0:24:10 > 0:24:14and drawing it on graph paper and then modelling it into the computer.
0:24:14 > 0:24:16I started moving it around,
0:24:16 > 0:24:19because I love bringing inanimate objects to life.
0:24:19 > 0:24:23One of my colleagues brought his little baby into the graphics room.
0:24:23 > 0:24:26He was so cute and I just love little guys,
0:24:26 > 0:24:29and I sat him down and I was playing with him on my knee...
0:24:32 > 0:24:36..I started staring at this lamp and I thought to myself,
0:24:36 > 0:24:39"What would a baby lamp look like?"
0:24:39 > 0:24:43When the Pixar credit comes up right before the movie,
0:24:43 > 0:24:46there's a little lamp that hops out and in a sense, that's me.
0:24:47 > 0:24:51We were playing with a ball. Of course, I don't remember this,
0:24:51 > 0:24:55but it was a little tennis ball and John Lasseter was with us and
0:24:55 > 0:25:01started playing with me and kind of looking at my proportions, how as a baby your head is much bigger
0:25:01 > 0:25:03compared to your body than as an adult.
0:25:03 > 0:25:07The things that are the same in babies to us are the eyes,
0:25:07 > 0:25:10so the rest of the head is smaller, but the eyes, you perceive them as larger.
0:25:10 > 0:25:13So in the lamp, the eye is the light bulb.
0:25:13 > 0:25:17You have the same size light bulb in both the adult and the kid.
0:25:17 > 0:25:20And so just little things like that really bring these things to life
0:25:20 > 0:25:24in a way that you would believe, that when I had my back turned,
0:25:24 > 0:25:26when I'm not looking, this is what's going on.
0:25:26 > 0:25:32And so thanks to Spencer Porter... Luxo Jr was created
0:25:32 > 0:25:35and thanks to Luxo Jr...
0:25:35 > 0:25:37we have Pixar, I guess.
0:25:37 > 0:25:39You know, it's my 15 minutes of fame.
0:25:45 > 0:25:49The interesting thing about the lamp was when people watched it,
0:25:49 > 0:25:53they didn't ask about the technology or the computers or anything like that.
0:25:53 > 0:25:57The first question was, "Was the big lamp the mother or the father?"
0:25:57 > 0:25:59And it was all about the story.
0:25:59 > 0:26:03And I knew at that point, that's when we were actually on the right trail.
0:26:05 > 0:26:06Have you been paying attention?
0:26:06 > 0:26:11Good, close your exercise books because it's exam time with the Pixar quiz.
0:26:13 > 0:26:14In Monsters, Inc.,
0:26:14 > 0:26:17what nickname does Mike give his girlfriend Celia?
0:26:17 > 0:26:20Mike's girlfriend's name is Shmoopsie-poo.
0:26:20 > 0:26:22In Toy Story 2, what's the name of the group
0:26:22 > 0:26:26that consists of Prospector, Woody, Jessie and Bullseye?
0:26:26 > 0:26:30I think it's something, sort of Woody's something round-up,
0:26:30 > 0:26:31I don't really know.
0:26:31 > 0:26:34Close. It was the Round-up Gang.
0:26:34 > 0:26:38Round-up Gang. Interesting, that implies some sort of...
0:26:38 > 0:26:41nefarious behaviour, though, doesn't it?
0:26:41 > 0:26:45In Toy Story 3, what's the name of the day-care centre where Ken lives?
0:26:45 > 0:26:46Sunnyside.
0:26:46 > 0:26:50What's the full name of Buzz Lightyear's arch enemy?
0:26:50 > 0:26:53God, is it, er... The Evil Emperor Zurg.
0:26:53 > 0:26:56In Wall-E, the captain makes a morning announcement
0:26:56 > 0:26:59to the ship's passengers. How many days have...?
0:26:59 > 0:27:01Oh, I will never...!
0:27:01 > 0:27:02He's asking me how many days!
0:27:02 > 0:27:05In Monsters, Inc., what's the code number to call
0:27:05 > 0:27:07for the child contamination unit?
0:27:07 > 0:27:09What is the code number?!
0:27:09 > 0:27:10I have no idea.
0:27:10 > 0:27:13I used to know this.
0:27:13 > 0:27:16In The Incredibles, what was Syndrome's first alter ego?
0:27:18 > 0:27:19That's a good question.
0:27:19 > 0:27:21I have no idea, what is it?
0:27:21 > 0:27:23It's code 23-19.
0:27:23 > 0:27:2723-19? Boy, I tell you something, get a life!
0:27:27 > 0:27:31When he was younger, yes, he was...
0:27:31 > 0:27:32Incrediboy!
0:27:32 > 0:27:35This is the mighty BBC is coming up with
0:27:35 > 0:27:38"Give us the phone number that they call for the kids?"
0:27:38 > 0:27:40If I got it, what would I get? A present?
0:27:40 > 0:27:43Nothing, which even makes the question more ridiculous.
0:27:43 > 0:27:4623-19, I won't get that wrong again.
0:27:49 > 0:27:54All right, you lot, you might not be trivia experts, but there is something you get an A* in.
0:27:54 > 0:27:56To infinity...and beyond!
0:27:56 > 0:27:58# You and me, you and us together. #
0:27:58 > 0:28:00My master made me this collar.
0:28:00 > 0:28:03He is good and smart and he made me this collar so that I may talk...
0:28:03 > 0:28:04Squirrel!
0:28:09 > 0:28:13Yes, there's more to a Pixar movie than just animation.
0:28:13 > 0:28:16To bring the characters to life, you need other talents.
0:28:16 > 0:28:21When we're creating our characters, at the beginning we really don't know who will play them or who they are.
0:28:21 > 0:28:23We get to do the temporary voices.
0:28:23 > 0:28:25Pete generally does Buzz.
0:28:25 > 0:28:27Andrew Stanton usually does Woody.
0:28:27 > 0:28:30- Hi, pal, what you doing? - I'm Tempust from Mars!
0:28:30 > 0:28:32Yeah, what's this button?
0:28:32 > 0:28:34Say, you weren't thinking of flying, were you?
0:28:34 > 0:28:37Every now and then, John Lasseter will come and say,
0:28:37 > 0:28:39"That's working. Keep that guy in there."
0:28:39 > 0:28:42A lot of people here at Pixar are really good actors.
0:28:42 > 0:28:44So I got to do Roz in Monsters, Inc...
0:28:44 > 0:28:45Wazowski.
0:28:45 > 0:28:47..Mr Ray in Nemo...
0:28:47 > 0:28:49I wonder where my class has gone?
0:28:49 > 0:28:51..and I got to do Doug the dog. Squirrel!
0:28:51 > 0:28:56When the actual actors come in, when Tom Hanks comes in and when Tim Allen comes in,
0:28:56 > 0:28:58it's shocking how much better it gets.
0:28:58 > 0:29:01When we first started out, he was a radio voice -
0:29:01 > 0:29:04"Hi, everybody, Buzz Lightyear to the rescue." What are you talking about?
0:29:04 > 0:29:07John's first thought was more of a disc jockey.
0:29:07 > 0:29:13Buzz Lightyear mission log, stardate 4-0-7-2, my ship has run off course en route to sector 12.
0:29:16 > 0:29:22- Over the last 25 years, Pixar has amassed an amazing collection of voices.- He can't fly!
0:29:22 > 0:29:24Put that thing back where it came from or so help me!
0:29:24 > 0:29:27Just keep swimming, just keep swimming...
0:29:27 > 0:29:28Morning, Sleeping Beauty!
0:29:28 > 0:29:32- Ants don't serve grasshoppers! - So you can be Mr Incredible again?
0:29:32 > 0:29:36- No!- Then what?! - To infinity and beyond!
0:29:36 > 0:29:41We always do the recording of the voices before we do the animation
0:29:41 > 0:29:45and that's really important, because these actors
0:29:45 > 0:29:50have a tremendous influence on how the characters are animated.
0:29:50 > 0:29:54Welcome to day 255,642 aboard the Axiom.
0:29:54 > 0:29:58They didn't want me to do anything with the voice or put a spin on it.
0:29:58 > 0:29:59They wanted me to keep the same voice.
0:29:59 > 0:30:02- Hello, I'm Trixie.- Shh!- Shh!- Shhhh!
0:30:02 > 0:30:05They do try to track lots of emotions, and I think you
0:30:05 > 0:30:09can discover those more if you're comfortable in your own voice.
0:30:09 > 0:30:12There was nothing for it but to be a posh English girl...
0:30:12 > 0:30:14Oh, you've got to be joking.
0:30:14 > 0:30:16..and go with it, and I really enjoyed it.
0:30:16 > 0:30:18I did my posh voice,
0:30:18 > 0:30:20which is roughly...this.
0:30:20 > 0:30:24We tried a bunch of different things and we ended up with a high-pitched thing like this,
0:30:24 > 0:30:29so he was always excited. # You and me, me and you
0:30:29 > 0:30:31# Both of us together! #
0:30:31 > 0:30:34Pete, to me, was just very measured, is the way I thought of him.
0:30:34 > 0:30:38Why, the prodigal son has returned.
0:30:38 > 0:30:42And then of course when he raged, he got a little more like what I sound like.
0:30:42 > 0:30:44Oh!
0:30:44 > 0:30:45Take that, space toy!
0:30:45 > 0:30:48They videotape you while you're rehearsing.
0:30:48 > 0:30:50Hey, good evening, how are you? Nice to see you.
0:30:50 > 0:30:54So they could watch my body movements, and then Mike moves like me.
0:30:54 > 0:30:57I tell you it's great to be here in...your room.
0:30:57 > 0:31:00I'm looking for a car. HE GASPS
0:31:00 > 0:31:02- If you look closely... - It's McMissile!
0:31:02 > 0:31:05..at Finn McMissile, the mouth shapes that he does
0:31:05 > 0:31:07are really inspired by Michael Caine.
0:31:07 > 0:31:10It gives you a chance to have a lot of fun because you can do it
0:31:10 > 0:31:12100 times, each line, it doesn't matter.
0:31:12 > 0:31:14It's like every take was fantastic.
0:31:14 > 0:31:19You do that, sort of, every three, four, six months...forever.
0:31:19 > 0:31:21He was such a professional, it was unbelievable.
0:31:21 > 0:31:24I said, "How long have I been doing this?" He said, "Two years."
0:31:24 > 0:31:28You don't get to act with other people, so it's a lot of play pretend.
0:31:28 > 0:31:32Tom Hanks asked me if I thought, when I did Wall-E,
0:31:32 > 0:31:33how hard I thought it was.
0:31:33 > 0:31:36This is mutiny! Eve, arrest him!
0:31:36 > 0:31:38It was one of the hardest things I've ever done.
0:31:38 > 0:31:39Ha-ha-ha!
0:31:39 > 0:31:43- My voice is still blown out from Wall-E!- Well, you're not the only actor
0:31:43 > 0:31:45to have given everything to the role.
0:31:45 > 0:31:50Yes, I'd like your heart... roasted on a spit.
0:31:50 > 0:31:53Classically-trained Peter O'Toole turned in a mesmerising performance
0:31:53 > 0:31:57as the acid-tongued food critic Anton Ego in Ratatouille.
0:31:57 > 0:31:58Love it.
0:31:58 > 0:32:02If I don't love it, I don't swallow.
0:32:02 > 0:32:07A film about a restaurant kitchen run by a rat.
0:32:07 > 0:32:09A restaurant run by a rat?
0:32:09 > 0:32:12Have I told you about my idea of a super hero hamster?
0:32:13 > 0:32:15They must be joking!
0:32:15 > 0:32:16I'm certainly not joking.
0:32:16 > 0:32:21Anyway, back to the film and the man who was won over by a rodent.
0:32:24 > 0:32:28In many ways, the work of a critic is easy.
0:32:28 > 0:32:32We risk very little, yet enjoy a position
0:32:32 > 0:32:37over those who offer up their work, and theirselves to our judgment.
0:32:37 > 0:32:40Peter O'Toole, he has a way...of saying any sentence
0:32:40 > 0:32:43and caressing the words that make them Peter O'Toole's.
0:32:43 > 0:32:50The average piece of junk is probably more meaningful than our criticism designating it so.
0:32:50 > 0:32:56He's so appealing, he's so smart, he's so wonderful at his deliveries, and very thoughtful
0:32:56 > 0:33:01about his performance, that it balances what could be a very unlikeable character.
0:33:05 > 0:33:09So, we know Pixar value their different voice artists, but using the same performer
0:33:09 > 0:33:16in more than one film is either a sign of their laziness or a brilliant improvisational actor.
0:33:16 > 0:33:20- John's a brilliant improvisational actor.- I love working with Pixar, are you kidding?
0:33:20 > 0:33:22Oh, let's just cut to the chase.
0:33:22 > 0:33:24The beauty of working at Pixar
0:33:24 > 0:33:26is that they're a very high standard company.
0:33:26 > 0:33:30Come on, let's see how much we're going for on eBay.
0:33:30 > 0:33:32He's had a little part, at least, in every film we've done.
0:33:32 > 0:33:35- John?- Yes, John Ratzenberger's been in them all.
0:33:35 > 0:33:38It's in your contract. Hey, hey, you like impressions?
0:33:38 > 0:33:41The Underminer! Snowcone? It was a critic!
0:33:41 > 0:33:43What do you say to that?
0:33:44 > 0:33:47John, I think, was really chosen on Toy Story because he is such
0:33:47 > 0:33:51a character, you get, in his voice, he paints such a great picture.
0:33:51 > 0:33:53I seriously doubt he's getting this kind of mileage.
0:33:53 > 0:33:57Instantly, you feel like, "Oh, yeah, I know that guy," you know?
0:33:57 > 0:34:01So then, when it came time to find a voice for PT Flea, we thought...
0:34:01 > 0:34:03Flaming death!
0:34:03 > 0:34:05- ..well, there he is.- Oh, not again.
0:34:05 > 0:34:09- And then the tradition just continued.- He's a lucky charm for a lot of people.
0:34:09 > 0:34:13I've heard that rumour and I'm glad that they feel that way.
0:34:13 > 0:34:17Wait a minute here, they're just using the same actor over and over.
0:34:17 > 0:34:19What kind of a cut rate production is this?!
0:34:19 > 0:34:22The standard is right there, and that's where it always
0:34:22 > 0:34:25was from the very beginning, And that's why they're Pixar.
0:34:25 > 0:34:29OK, let's take a look at John, I mean, Hamm, in action.
0:34:29 > 0:34:32- Oh, well, we tried. - We'll have to cross.
0:34:32 > 0:34:34What the...! You're not turning me into a mashed potato.
0:34:35 > 0:34:39I can't remember who came up with it, but the idea
0:34:39 > 0:34:43of putting them in traffic cones was such an immediate inspiration.
0:34:43 > 0:34:46You get the logic, from their world,
0:34:46 > 0:34:51nobody can see me, but every time the cones move, it changes the road map.
0:34:54 > 0:34:56The brilliance of Pixar is their sense of timing.
0:34:56 > 0:35:00This is a comedy timing. The car goes right over the cones and they stop,
0:35:00 > 0:35:02and they lift up and you see the feet run.
0:35:02 > 0:35:05This is a stand-up's perspective of life.
0:35:05 > 0:35:10You can tell when ideas like that are gold because people can't stop laughing
0:35:10 > 0:35:13and they're laughing ahead of the thoughts in their head
0:35:13 > 0:35:15and you're stepping on each other in the gag session
0:35:15 > 0:35:17trying to get it all out before
0:35:17 > 0:35:21it leaves your head about all the possibilities you can do with that.
0:35:21 > 0:35:24I mean, you basically will sit in a room for days hoping just to
0:35:24 > 0:35:27stumble across something like that once or twice.
0:35:27 > 0:35:28Oh, that went well.
0:35:29 > 0:35:32Choreographing a scene like this takes patience and skill.
0:35:32 > 0:35:38And thankfully, the people at Pixar don't cut corners when it comes to animation.
0:35:38 > 0:35:42The thing that we always say, which is true, is that nothing in computer animation is for free.
0:35:42 > 0:35:47Every single thing you see on the screen, we have to build and design.
0:35:47 > 0:35:50When we're making a feature film, it is a culture of collaboration.
0:35:50 > 0:35:52These films cannot be done by one person.
0:35:52 > 0:35:57It is a really huge process from art to set design,
0:35:57 > 0:36:01set dressing, and complexity of layers. That is no easy feat.
0:36:03 > 0:36:09Characters are designed in art and then they're sculpted, so they can be seen in 3D.
0:36:09 > 0:36:12I mean, traditional sculpture.
0:36:12 > 0:36:16There are people here that just do nothing but sculpting.
0:36:16 > 0:36:20They give you, essentially, a 3D character that is going to be in your film.
0:36:20 > 0:36:23And for the first time, it sort of occupies a space.
0:36:27 > 0:36:30And then those sculptures are digitised in some way.
0:36:33 > 0:36:35So we make these digital puppets, essentially.
0:36:37 > 0:36:42Once you have the shape of it, then they have to add all the controls, to make the puppet dance.
0:36:42 > 0:36:44He doesn't exist...
0:36:44 > 0:36:46anywhere.
0:36:46 > 0:36:48It's in the computer.
0:36:48 > 0:36:53We have lots of controls to move the character around, so kind of like how Pinocchio might
0:36:53 > 0:36:59have a dozen strings on him, Woody's literally got thousands of these controls, and here's just a handful.
0:36:59 > 0:37:04You've got, you know, everything to control the bend of the neck,
0:37:04 > 0:37:08to turn the whole body around. You can see what's going on with the whole character down here.
0:37:10 > 0:37:13You have dozens of animators working together on a film.
0:37:13 > 0:37:17A good animator animates here...
0:37:17 > 0:37:19maybe a couple of seconds a week.
0:37:19 > 0:37:22What usually happens is you have an animator who's on a film for a year, a year-and-a-half.
0:37:22 > 0:37:27They'll animate anywhere from a minute and a half, two minutes
0:37:27 > 0:37:32of work to three and half, four minutes of work. But that's why we have so many animators.
0:37:32 > 0:37:35A good animated film looks like one person animated everything.
0:37:35 > 0:37:39A great animated film looks like no-one animated it at all.
0:37:39 > 0:37:43Yes, the animators are known for pushing the boundaries
0:37:43 > 0:37:47and in Cars, the audience was put firmly in the driving seat.
0:37:48 > 0:37:53I had cameras hanging off the side of cars, under cars, actually right on the track with the cars
0:37:53 > 0:38:00- roaring overhead, to create a really crazy dynamic sequence.- This is it, we're heading into the final lap.
0:38:00 > 0:38:05John Lasseter's in love with racing and he has his own race cars.
0:38:05 > 0:38:08Research is everything here, and so the animators got behind the wheels
0:38:08 > 0:38:11of those cars...
0:38:11 > 0:38:16to understand what it felt like to be on that track, going 180mph.
0:38:16 > 0:38:18All of that research ended up on the screen.
0:38:24 > 0:38:29John really wanted to accurately depict what it feels like to be at a huge car race like that.
0:38:29 > 0:38:31I am not coming in behind you again, old man!
0:38:37 > 0:38:41Whenever we come up with something that we want to do in our films that's very difficult,
0:38:41 > 0:38:43we found that the best thing to do with our technical guys is to say,
0:38:43 > 0:38:46"That's probably going to be too hard for you to do."
0:38:46 > 0:38:48That immediately lays down the gauntlet.
0:38:48 > 0:38:52It's kind of the foundation of Pixar is that art challenges technology
0:38:52 > 0:38:54and technology inspires the art.
0:38:55 > 0:38:57Yeah! Woo-hoo!
0:38:57 > 0:38:58Listen up, Cars fans,
0:38:58 > 0:39:00the sequel is out this year
0:39:00 > 0:39:03and I, for one, can't wait. And it seems I'm not alone.
0:39:03 > 0:39:08I'm dying to see the completed film, I can't wait for it.
0:39:08 > 0:39:12Mainly because I'm just going to be such a hit at my son's school.
0:39:12 > 0:39:15- Oh, you've got to be joking.- Whoa!
0:39:15 > 0:39:17These Americans are clearly master spies.
0:39:17 > 0:39:19Ha! Haa! Hiyah!
0:39:19 > 0:39:22Cars 2 is so different than Cars,
0:39:22 > 0:39:25because it's a spy movie.
0:39:27 > 0:39:30I started my career as a spy.
0:39:30 > 0:39:33And now I'm a very flash car, I think it's great.
0:39:35 > 0:39:38I think that's really me. I like the idea of being a '60s Aston Martin.
0:39:39 > 0:39:44- Finn McMissile - he is so cool. - There he is!
0:39:44 > 0:39:47Michael Caine - when you look at that voice coming from this
0:39:47 > 0:39:51cool car design, it's like... It's just like fantastic.
0:39:51 > 0:39:53Finn McMissile, British Intelligence.
0:39:53 > 0:39:56Tow Mater - average intelligence.
0:39:56 > 0:40:03Lewis Hamilton actually appears as a car, a really, really cool race car.
0:40:03 > 0:40:05I was very nervous building up to this. Incredibly excited,
0:40:05 > 0:40:08probably the most excited I've been for anything.
0:40:08 > 0:40:10My heart was racing. I really enjoyed it.
0:40:10 > 0:40:13I saw three-quarters of the movie in New York,
0:40:13 > 0:40:17and you just sit there in wonder. You go, "How did they do that?"
0:40:21 > 0:40:25It's quite extraordinary and I still don't know how they do it,
0:40:25 > 0:40:28and I've done one of the movies, I've been to where they make them
0:40:28 > 0:40:30and I still don't understand it.
0:40:42 > 0:40:46Right, from lovable mechanical cars to mechanical robots in love,
0:40:46 > 0:40:50- the 2008 story set in space, Wall-E. - Eva!
0:40:52 > 0:40:55You have two characters that can't say exactly what they mean
0:40:55 > 0:40:59and we purposely made it that they spoke different languages electronically, too.
0:40:59 > 0:41:02So that it would force them to get across how they were feeling
0:41:02 > 0:41:05about things so that the audience could benefit.
0:41:08 > 0:41:12I knew that Eve would have this moment of thinking he was dead, and that tends to be
0:41:12 > 0:41:16when the truth comes out about how you felt about somebody.
0:41:16 > 0:41:17Wall-E!
0:41:17 > 0:41:24Somebody had found video of exhaust being spit out of the shuttle.
0:41:24 > 0:41:29We thought, "What if he had the fire extinguisher and was able to propel him with a fire extinguisher?"
0:41:32 > 0:41:34It had such a beautiful look to it,
0:41:34 > 0:41:37just for dealing with such visual beauty. We thought,
0:41:37 > 0:41:42"It's a dance number, it's what Fred Astaire and Ginger
0:41:42 > 0:41:45"always did to show that they had fallen in love."
0:42:01 > 0:42:04That might be my favourite scene in the movie.
0:42:04 > 0:42:06It was all so moving to me.
0:42:08 > 0:42:13- So many stars...- 'Our movies are so dense and so busy, it was a chance to let music just breathe.'
0:42:13 > 0:42:17Yeah, that's six months of my life just watching that thing up there.
0:42:17 > 0:42:19Ah, Wall-E and Eve...
0:42:19 > 0:42:22I can't believe you don't want to go to your own son's graduation!
0:42:22 > 0:42:25It's not a graduation, he is moving from the 4th grade to the 5th grade.
0:42:25 > 0:42:28- It's a ceremony!- But the course of true love never did run smooth.
0:42:28 > 0:42:32- Even superheroes have a tiff once in a while.- ..genuinely exceptional.
0:42:32 > 0:42:37- This is not about you. - Making that family believable was really important.
0:42:37 > 0:42:40Parents have arguments, real arguments that children overhear.
0:42:40 > 0:42:42This is going to be rough!
0:42:42 > 0:42:44One of my favourite moments
0:42:44 > 0:42:47is where they're all in the van and they're landing in the city.
0:42:47 > 0:42:51John said, "Wait a minute, there's an opportunity here."
0:42:51 > 0:42:54And he goes, "What if they argue about the exit?"
0:42:54 > 0:42:57And I said, "Don't say another word!"
0:42:57 > 0:43:01- Which exit?- Traction Avenue.- That'll take me downtown. I take seven, no?
0:43:01 > 0:43:03Don't take seven!
0:43:03 > 0:43:05I said, "I've got it, let me run with it."
0:43:05 > 0:43:09- Get in the right lane. Signal! - We don't exit at Traction! - You're going to miss it!
0:43:09 > 0:43:13The thing is recognisable as being truthful, the family life.
0:43:13 > 0:43:16That's what people love about the movie.
0:43:16 > 0:43:19It operates on so many different levels.
0:43:19 > 0:43:22It appeals to such a broad spectrum
0:43:22 > 0:43:24of viewers, but Pixar does that.
0:43:24 > 0:43:28- Super-duper, Dad.- 'We're just doing what makes us laugh.'
0:43:28 > 0:43:34To be honest, the big myth that we keep dispelling is that we ever,
0:43:34 > 0:43:40at any moment, separate the grown-ups from the children. We never have.
0:43:40 > 0:43:42Don't you people realise we are swimming in our own...?!
0:43:42 > 0:43:45- Ssh! Here he comes! - So it's just a reflection of us.
0:43:48 > 0:43:52Mine! Mine! Mine! Mine! Mine! Mine!
0:43:52 > 0:43:54- Mine! Mine! Mine! Mine! Mine!- Mine.
0:43:54 > 0:43:59- Mine! Mine! Mine! Mine! Mine! - Oh, would you just shut up?!
0:43:59 > 0:44:02When that scene comes up, I think of Andrew running
0:44:02 > 0:44:06into my office and saying, "I got it, I got it, what the seagulls can be."
0:44:06 > 0:44:10He grew up on the East Coast of the United States where the seagulls
0:44:10 > 0:44:14would steal his lunch and steal his food and they were like bandits.
0:44:14 > 0:44:18And once they would steal food, they would then fight amongst themselves,
0:44:18 > 0:44:21and so he came in and just did that voice for me. "Mine!"
0:44:21 > 0:44:22Mine, mine!
0:44:24 > 0:44:29- Mine!- That's what I remember, is Stanton's face. "I've got it."
0:44:29 > 0:44:31- Mine.- Speed.- Marker.
0:44:31 > 0:44:34- And action.- Whoo!
0:44:34 > 0:44:36And it's not just within the body of the films
0:44:36 > 0:44:38that Pixar likes to have a laugh.
0:44:38 > 0:44:40Who can forget their famous out-takes?
0:44:40 > 0:44:42Shall we just...?
0:44:42 > 0:44:46Should that just be part of the movie now, he lost his string?!
0:44:46 > 0:44:48- Actually, it wasn't even my idea. - I'm sorry,
0:44:48 > 0:44:50I'm sorry, is the camera broke?!
0:44:50 > 0:44:56Just the idea of a boom mike making it into a CG film was pretty new at the time.
0:44:59 > 0:45:02Oh, no, oh, no, I think I swallowed my squeaker!
0:45:02 > 0:45:07I imagined Prospector Pete to be some old sort of lecherous guy who was relentlessly hitting on extras.
0:45:07 > 0:45:11So you two are absolutely identical?
0:45:12 > 0:45:15You know, I'm sure I could get you a part in Toy Story 3.
0:45:15 > 0:45:16I'm sorry, are we back?
0:45:16 > 0:45:19It's just silly and naughty, and so...
0:45:19 > 0:45:23You know what I loved? I got to sing. I made up a song.
0:45:24 > 0:45:28# She's out of my hair
0:45:28 > 0:45:33# And just when I dare to care
0:45:33 > 0:45:36# She says "Au contraire". #
0:45:36 > 0:45:38It's like you're seeing
0:45:38 > 0:45:41a little glimpse behind a fake curtain that doesn't really exist.
0:45:41 > 0:45:43Where are you, Frederikson?
0:45:43 > 0:45:46But these films aren't all fun and laughter.
0:45:47 > 0:45:52- You sly dog.- I'm a hugger! - I mean, you have to have a villain in every movie.
0:45:52 > 0:45:55Yes, you do, and they don't come more menacing than this.
0:46:00 > 0:46:05- He was a guy who was bullying his way through life.- Someone could get hurt.
0:46:05 > 0:46:08We never tried to think villain, just, "What's this guy's thinking?"
0:46:08 > 0:46:13This guy's thinking that in nature, if you're not taking advantage of the situation, you're out.
0:46:13 > 0:46:16One of those circle of life kind of things.
0:46:16 > 0:46:21But let him be condescending, let him just be the best at putting people down.
0:46:21 > 0:46:23Are you saying I'm stupid?
0:46:23 > 0:46:26- No.- Do I look stupid to you?
0:46:26 > 0:46:30By the end, you know, the audience is sort of rooting for him to get
0:46:30 > 0:46:33his just desserts, and in fact, he becomes kind of a dessert!
0:46:38 > 0:46:41A lot of us were traumatised as kids by other films.
0:46:41 > 0:46:44This is our way of giving back, you know, passing it on!
0:46:50 > 0:46:54- Sully, what are you doing? - That's one villain taken care of.
0:46:54 > 0:46:57Now let's see if we can out-run Randall. Hold on tight.
0:46:58 > 0:47:00The door chase in Monsters, Inc. is amazing.
0:47:00 > 0:47:03But it's the concept behind it that's even more amazing.
0:47:03 > 0:47:07It's every kid's bedroom door around the world.
0:47:09 > 0:47:12The cool thing is the audience discovers this place
0:47:12 > 0:47:15along with the characters, which is a lot of fun when you can do that.
0:47:15 > 0:47:18- Whoa.- Oh, boy.- Hold on!
0:47:18 > 0:47:20And from there, it's like a roller coaster.
0:47:20 > 0:47:21THEY SCREAM
0:47:21 > 0:47:24I love that in one movie we can have quiet,
0:47:24 > 0:47:28tender, emotional moments, but we can also have crazy action moments.
0:47:30 > 0:47:33When I saw Monsters, Inc., I couldn't breathe.
0:47:33 > 0:47:34I'm going to be sick!
0:47:34 > 0:47:38This is the best action sequence. It's amazing!
0:47:39 > 0:47:40It's so complicated.
0:47:40 > 0:47:43I had terror about how we were going to get it done.
0:47:45 > 0:47:50But when we saw what we had accomplished, I was blown away.
0:47:54 > 0:47:58That's when you go, "OK... I honour you. I'll just step back.
0:47:58 > 0:48:00"Call me the next one."
0:48:02 > 0:48:06Throughout the show, we've seen heroes, we've see villains, we've had laughs and we've had scares.
0:48:06 > 0:48:10But no Pixar film would be complete without this.
0:48:10 > 0:48:14# It's the time of your life
0:48:14 > 0:48:15# So live it well. #
0:48:15 > 0:48:17Music's a vital part of any movie.
0:48:20 > 0:48:22The most exciting time in making movies
0:48:22 > 0:48:25is when you're finished and you go, "Score!"
0:48:29 > 0:48:33We've been lucky enough to work with a lot of great composers over the years.
0:48:37 > 0:48:42Music is supposed to show you what you can't see on screen.
0:48:44 > 0:48:47When you hear a piece of music, you automatically feel something.
0:48:47 > 0:48:53It could be happy, it could be sad, it could be melancholy, it could be frightened, whatever it is.
0:48:57 > 0:49:02So that's essentially what I'm doing. And the easiest way to explain it is to say,
0:49:02 > 0:49:03"I'm just telling you how I feel."
0:49:03 > 0:49:09Well, Michael, your Incredibles score made us feel so excited, we popped down to Abbey Road
0:49:09 > 0:49:12and asked the BBC Concert Orchestra to give it a go.
0:49:23 > 0:49:25When you're using a jazz orchestra,
0:49:25 > 0:49:29you tend to write different...rhythmically.
0:49:29 > 0:49:34Say, if you were looking at a big action film, you might
0:49:34 > 0:49:38write rhythmic patterns within the string section...
0:49:46 > 0:49:50..whereas if you're doing something like The Incredibles, you might put that on the drum set,
0:49:50 > 0:49:51ta ta-ta ta-ta ta-ta ta-ta,
0:49:51 > 0:49:54and it gives it a different flavour and takes you to a different time.
0:49:54 > 0:49:57Suddenly you're hearing someone on a hi-hat playing this,
0:49:57 > 0:50:00and then you add in a groove.
0:50:00 > 0:50:02As opposed to building those ideas into the orchestra,
0:50:02 > 0:50:05you build them into the rhythm section,
0:50:05 > 0:50:16that'd be the piano, the bass, the guitar.
0:50:13 > 0:50:16And then you surround that, of course, with a lot of brass.
0:50:33 > 0:50:35Music is the one thing in a film
0:50:35 > 0:50:38that can completely derail it in two seconds,
0:50:38 > 0:50:40because if you're not on point, emotionally,
0:50:40 > 0:50:43with what's happening in the story, not just visually,
0:50:43 > 0:50:45but within the storytelling,
0:50:45 > 0:50:49then it can take the audience into a place where you can never get them back.
0:51:00 > 0:51:04It's a high-wire act, but it's one that I enjoy.
0:51:12 > 0:51:162009's Up was a unique opportunity for Michael Giacchino to put
0:51:17 > 0:51:20his score at the centre of the Carl and Ellie life story.
0:51:20 > 0:51:22I think Up was a very difficult film.
0:51:22 > 0:51:25I mean, when I watched Up for the first time,
0:51:25 > 0:51:28you know, even with no music in it, it made me cry.
0:51:28 > 0:51:31And as we started to storyboard it, I think it was Ronnie del Carmen who
0:51:31 > 0:51:36was doing a lot of the drawings, said, "This would be great without the dialogue.
0:51:36 > 0:51:38"Could we just sell it with music?"
0:51:54 > 0:51:57One way or another, we're all going to experience this idea
0:51:57 > 0:52:01of growing older and loss, you know, and that's what it's all about.
0:52:01 > 0:52:06Which then made it easy for me to come home and then just kind of spill my guts musically.
0:52:06 > 0:52:10They really did this beautiful poem, in a sense,
0:52:10 > 0:52:16to what life is all about, and so I had that as a starting-point for me.
0:52:16 > 0:52:20They gave me that gift and then I just told them how I felt, just through music.
0:52:35 > 0:52:41When you tap into what the story is really asking you for, emotionally, I think that's when it works best.
0:52:43 > 0:52:46You're my favourite deputy!
0:52:46 > 0:52:49# You've got a friend in me... #
0:52:49 > 0:52:53Arguably Pixar's most memorable soundtrack came from their very first feature.
0:52:53 > 0:52:57But for composer Randy Newman, it was just another job.
0:52:57 > 0:53:00I had no idea how successful the picture would be.
0:53:02 > 0:53:04Round them up, cowboy!
0:53:04 > 0:53:08They wanted to emphasise the depth of the friendship
0:53:08 > 0:53:09between Woody and the kid.
0:53:09 > 0:53:11# And as the years go by
0:53:14 > 0:53:16# Our friendship will never die... #
0:53:16 > 0:53:19And so it was just, they're friends, and, "You've got a friend in me."
0:53:19 > 0:53:21# You've got a friend in me. #
0:53:21 > 0:53:23People know that better than anything I've ever done, I think.
0:53:23 > 0:53:27# Some other folks might be a little bit smarter than I am
0:53:27 > 0:53:29# Bigger and stronger, too. #
0:53:29 > 0:53:34'I think people in rock'n'roll think that it's maybe a sell-out to be'
0:53:34 > 0:53:39able to do things like that, it's not you or something, but it is me.
0:53:39 > 0:53:46# You've got a friend in me-e-e-e
0:53:48 > 0:53:49# Yeah! #
0:53:49 > 0:53:54Every once in a while, you'll hit on something where you hear it
0:53:54 > 0:53:59and the minute you hear it, you know...
0:53:59 > 0:54:00that's it,
0:54:00 > 0:54:03it's hit the bull's-eye of whatever emotional state
0:54:03 > 0:54:05you want people to be in or you want a character to be in.
0:54:05 > 0:54:09And all you're trying to do from then on is not screw it up.
0:54:09 > 0:54:11Jessie's song was that.
0:54:12 > 0:54:17'I wanted Jessie to...talk about
0:54:17 > 0:54:21- 'her feelings when she'd been abandoned.'- How did you know that?
0:54:21 > 0:54:23It was a cautionary warning...
0:54:23 > 0:54:25to Woody.
0:54:25 > 0:54:27And so I wrote, you know...
0:54:27 > 0:54:29# When somebody loved me
0:54:29 > 0:54:31# Everything was beautiful
0:54:31 > 0:54:34# Every hour we spent together
0:54:34 > 0:54:37# Lives within my heart. #
0:54:39 > 0:54:42# And when she was sad
0:54:42 > 0:54:45# I was there to dry her tears... #
0:54:45 > 0:54:47It was a gift from Randy that...boom!
0:54:47 > 0:54:50# And when she was happy, so was I
0:54:50 > 0:54:56# When she loved me. #
0:54:56 > 0:54:59Jessie's song, God, it was like, how do you do this stuff?
0:55:00 > 0:55:03Newman, he elevates the movie. It's sad and it's tragic.
0:55:03 > 0:55:04It's a brilliant song.
0:55:04 > 0:55:06# We had each other, that was all
0:55:06 > 0:55:08# Just she and I together... #
0:55:08 > 0:55:12Tim Allen and I saw the movie together at the same time when it was all done,
0:55:12 > 0:55:16and we had an understanding of what everything goes on, but then when Jessie's song came up,
0:55:16 > 0:55:21we were just 40-year-old men crying our eyes out over this abandoned cowgirl doll.
0:55:21 > 0:55:24# Still I waited for the day
0:55:24 > 0:55:27# When she'd say
0:55:27 > 0:55:33# "I will always love you." #
0:55:33 > 0:55:35I just didn't expect that...
0:55:35 > 0:55:39they had the courage to run it for two-and-a-half minutes.
0:55:41 > 0:55:43It was really a great show of...
0:55:43 > 0:55:47affection for and respect for their audience.
0:55:49 > 0:55:52# Every hour we spent together
0:55:52 > 0:55:54# Lives within my heart
0:55:56 > 0:56:01# When she loved me. #
0:56:17 > 0:56:19All right!
0:56:20 > 0:56:26So, there we have it, 25 magic moments from Pixar's 25-year history.
0:56:26 > 0:56:28I wonder what the next 25 years will bring?
0:56:28 > 0:56:34What can you say about an organisation that hits a home run every time they get the bat?
0:56:34 > 0:56:39They'll soon set a standard for animated film,
0:56:39 > 0:56:43and, I think, for film in general.
0:56:43 > 0:56:46They can't stay here, they're just too damn creative.
0:56:46 > 0:56:50There'll be something out of Pixar that you don't expect.
0:56:50 > 0:56:55Pixar keeps on making the movie in their own way until it's right.
0:56:55 > 0:57:01I will have had the good fortune to say, "Yeah, I was kind of a part of some of that," because 20, 50 years
0:57:01 > 0:57:06from now, people will really point to all this stuff and how it kind of changed filmed entertainment.
0:57:06 > 0:57:09- There's no limit to imagination. - Anything is possible.
0:57:09 > 0:57:14People don't care what the movie's about, they see Pixar on it and they go. They trust them.
0:57:14 > 0:57:17You can watch one of those films in 12 years' time,
0:57:17 > 0:57:21and it'll look like it came out last week.
0:57:21 > 0:57:25Our job is to make as much great stuff as we can while we've still got the lightning in the bottle.
0:57:25 > 0:57:28Where are we going to be in 25 years
0:57:28 > 0:57:32is really in the heads and the hearts of all of our creative people here.
0:57:32 > 0:57:37The one thing I guarantee is that we're going to be continuing to make great movies.
0:58:00 > 0:58:03Subtitles by Red Bee Media Ltd