And make a wish. . .
But you'll be hurt. You'll be killed !
John Henry's dead !
ELMER FUDD: That was the wabbit.
To infinity and beyond !
NARRATOR: For the last 20 years, a group of artists and scientists
have transformed two-dimensional drawings
into their own three-dimensional worlds.
BOO: Kitty! SULLEY: Boo!
CELIA: Oh, Googly Bear.
SYNDROME: lt's Syndrome.
MR. lNCREDlBLE: Show time!
DORY: Just keep swimming. Just keep swimming. Whee!
DORY: Gotta go faster if you wanna win!
WOODY: (GASPS) Ride like the wind, Bullseye!
JOHN LASSETER: The art challenges technology,
technology inspires the art.
STEVE JOBS: The best scientists and engineers
are just as creative as the best storytellers.
ED CATMULL: We've got characters that we want to come alive.
NARRATOR: Transforming the hand-drawn line
into a new art form was no easy task.
Over the last 20 years, these artists faced struggles
and the risk of failure every step of the way.
This marriage of art and science was the combined dream of three men,
a creative scientist, Ed Catmull,
a visionary entrepreneur, Steve Jobs,
and a talented artist, John Lasseter.
Together they have revolutionized an industry
and blazed an unprecedented record in Hollywood history.
This is The Pixar Story.
LASSETER: Ford's has a bullet nose.
NARRATOR: The creative force behind Pixar Studios
and the director of Toy Story , John Lasseter,
helped pioneer this new art form
from an early love of bringing drawings to life.
LASSETER: When l was growing up,
l loved cartoons more than anything else.
And when l was in high school,
我发现了一本书 一本又破又旧的书 叫做《动画艺术》
l found this book, this old, ratty book, called The Art of Animation.
And it was about the Disney Studios and how they made animated films.
And it was one of those things, that it just dawned on me,
people make cartoons for a living.
They actually get paid to make cartoons.
And l thought, "That's what l wanna do."
从那一刻起 我就知道 那就是我想做的事情
Right then, right there, it was like l knew that's what l wanted to do.
NARRATOR: ln 1975, John applied to CalArts,
an art college founded by Walt Disney in 1961 .
John was accepted into the first program
that taught Disney-style character animation.
LASSETER: What they were doing is bringing out of retirement
all of these amazing Disney artists
to teach this class, to get this program started.
lt dawned on me pretty quickly how special this was.
NARRATOR: Among John's classmates
有未来的导演 蒂姆·波顿 约翰·马斯克
were future directors Tim Burton, John Musker
and Brad Bird.
Everyone was kind of on fire about animation.
We didn't wanna leave it at the end of the day.
And none of us had cars, so, we were kind of stuck there.
When the teachers went home, we taught ourselves.
MUSKER: lt was a very collaborative spirit at CalArts.
Everybody showed everybody their film
and everybody was kind of their own director.
But it was totally supportive
and you'd get creative ideas from the other people.
And we all learned as much from each other
as we did from the instructors.
NARRATOR: The teachers at CalArts were none other
than Disney's legendary collaborators from the1930s,
known as the "Nine Old Men,"
who taught the essence of great character animation.
FRANK THOMAS: We call it the warmth.
We call it the inner feelings of the character.
lt all comes back to their heart, and then how they think about it. And all those things.
How does a character feel, and why does he feel that way?
BlRD: The Nine Cld Men,
these guys were unbelievable masters of this art form,
and yet every single one of them had the attitude of a student.
NARRATCR: As a student, John immersed himself in everything Disney,
暑假时间 他到明日世界 找到了一个打扫的工作
getting a summer job as a sweeper in Tomorrowland.
明日世界站 请大家下车 到神奇王国去
ANNOUNCER: Tomorrowland Station! All out for the Magic Kingdom.
LASSETER: Disneyland was a fantastic place to work.
Everybody was young working there and it was just. . .
We had a blast. lt was really, really fun.
NARRATOR: And he was soon promoted to a ride operator on Disneyland Jungle Cruise,
before returning to studies at CalArts.
LASSETER: There's a few times in my life
l feel like l'm in the right place at the right time.
And definitely when we were at CalArts, that was it.
Okay, everybody. Wake up, wake up.
Come on, everybody. Wake up!
NARRATOR: John animated two short films at CalArts.
Lady and the Lamp is about a lamp in a lamp store
who accidentally replaces its broken bulb with a bottle of gin.
My lamps! My shop!
My gin !
NARRATOR: John's second short film, Nitemare,
is about a boy who sees monsters when he turns out the lights.
Both films received back-to-back Student Academy Awards,
an unprecedented record that instantly propelled John into the animation spotlight.
JOHN DAVlDSON: This is your second year winning?
ls there a knack to making an award-winning short film for a contest,
or is this the real world,
could this film make it commercially?
l think it could make it commercially,
because l think the knack that you're talking about
is basically entertainment. l think that's what. . .
People pay money to go see a film that's entertaining.
NARRATOR: John's success landed him his dream job
at the Walt Disney Studios.
l'm Randy Cartwright.
-And this is Ron Miller!
-Randy, how are you?
-How are you? -Good to see you. This is Randy.
Great way to start the film!
Well, we're off to a good start.
Here it is, April 9, 1980.
This is the past to all you folks out there,
and we're gonna go inside and see what it's like.
Come on. Come on!
GLEN KEANE: Walking into the animation building
that was built with the money from Snow White and the Seven Dwarves,
when l came in there in the '70s,
l just sensed this history around.
All of the experience that had gone on before
was somehow impermeated into the walls.
嗨 格伦 你好吗
LASSETER: Hi, Glen. How are you? This is...
CARTWRlGHT: Glen. Glen Keane.
-Thanks, John. -LASSETER: ...Glen Keane.
He is our directing animator.
CARTWRlGHT: Cur cameraman, John Lasseter.
KEANE: lt was so great to meet John.
There was this immediate sharing of information