was
following in the footsteps
of John Lasseter.
To come in and say,
"Okay, now I'm gonna direct this,"
it was a tough act to follow.
SCHUMACHER: Pete had this
fundamental idea
that when children say,
"'There's a monster in the closet,"
they're actually telling the truth.
The rest of it was all over the map.
DOCTER: There were too many
possibilities.
Monsters, it could be anything,
anything in the world.
So, it was almost too much freedom.
We knew we wanted fur.
We had no idea how to do it.
And that was, of course,
one of the more difficult things to do.
(MIKE WAZOWSKl SHOUTS)
(SULLEY GRUNTING)
MIKE WAZOWSKl: Take that!
(BOTH GROWL)
(GASPS)
Welcome to the Himalayas!
These people think differently
than normal people.
They're strange. In the best way.
DOCTER: When we thought
of Billy Crystal,
we thought,
"Wow, this is gonna be great. "
Of course, he just added his
own unique spin to it.
Mike was an appealing,
odd little guy who I thought
was a combination
of Mr. Toad and Sammy Davis, Jr.
Think romantical thoughts.
(SINGING) You and me
Me and you
Both of us together!
And the way he moves and his face
and stuff like that.
And then, when I decided on a voice,
it just all seemed to work.
Scary feet, scary feet, scary feet. Oh !
The kid's awake! Okay, scary feet,
scary feet, scary feet, scary feet, scar. . .
Kid's asleep!
The whole little guy
was one of my favorite characters
that I've ever played.
Twins! And a bunk bed !
(GROWLING)
Ooh, I thought I had you there.
What shocked me about the movie
was the size of it.
(SULLEY GASPS)
CRYSTAL: I was astounded by the
chase and the door sequence.
When you see the millions
of doors moving,
and they're all individually done,
that just blew me away.
Hold on !
(MIKE WAZOWSKl SCREAMING)
(SCREAMING)
SCHUMACHER: It was a wild ride,
because it was such a complex movie,
and it didn't find its center
for a very long time.
And then when it did,
its center was so good,
people went nuts for it.
DOCTER: The last shot of
Monsters, Incorporated animation
is now officially final!
(ALL CHEERING)
SCHUMACHER: Pete emerged as
a remarkably sensitive,
smart, really great director,
and he owns this movie.
He completely owns this movie.
NARRATOR: The historic success
of Monsters, Inc. ,
the highest-grossing animated film
released to its date,
now placed added stress
on the next director in line,
Andrew Stanton.
BIRD: So, the pressure. It's begun?
$62,577 ,067 .
(ALL CHEERING)
(WHISTLING)
There's no reason, Andrew,
to be feeling any more pressure.
I'm fine! I'm fine!
STANTCN: I remember in '92,
when my son was just born,
going to Marine World,
and they had this shark exhibit,
where you kind of walk through
a tunnel and they swim over you.
It was like a glass tunnel.
You could get up really close,
see underwater and lose
all your peripheral vision
of anybody around you
in the man-made world.
And I remember thinking then,
you know, this is 1 0 years ago,
"We could make this world. "
CG would be perfect for this world,
you could capture it so well.
MR. RAY: (SINGING) Oh, let's name
the species the species, the species
Let's name the species
that live in the sea
Whoa!
There's porifera...
STANTON: Without meaning to,
I sort of made this epic journey
that takes you all over the ocean.
That meant every set piece
had to be different.
The look of being underwater
is actually quite simple
from a technical standpoint.
It was just really tough to dial
all the different ingredients just right.
You know, I think if I had known that's
what I was gonna be signing up for,
and everybody else,
I don't think anybody would've done it.
(BREATHING THROUGH
OXYGEN TANK)
Big.
FINDING NEMO
NARRATOR: Seeing his son kidnapped
before his eyes,
the overprotective father, Marlin,
travels across the vast ocean
to find his son, Nemo.
And along the way,
learns to become a better father.
DOLPHIN: So, these