animation,
more than ever before.
So it's a field that is inspiring
and exciting.
There's a real advantage
being in a new medium.
We're still setting ourselves up
for things we've never done before.
HANKS: I foel like I'm in Dumbo,
I feel like I'm in Pinocchio.
This is truly going to be timeless
and forever
and will always land
in the consciousness
of yet another generation
of moviegoers.
JOBS: Pixar's seen by a lot of folks
as an overnight success,
but if you really look closely, most
overnight successes took a long time.
Kachow!And make a wish...
But you'll be hurt. You'll be killed!
John Henry's dead!
That was the wabbit.
Fifteen puppies!
To infinity and beyond!
For the last 20 years,
a group of artists and scientists
have transformed
two-dimensional drawings
into their own
three-dimensional worlds.
- Kitty!
- Boo!
Oh, Googly Bear.
It's Syndrome.
Show time!
Just keep swimming.
Just keep swimming. Whee!
Dory!
Gotta go faster
if you wanna win!
Yee-haw!
Ride like the wind,
Bullseye!
The art challenges
technology,
technology inspires the art.
The best scientists
and engineers
are just as creative
as the best storytellers.
We've got characters
that we want to come alive.
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.
Ford's has a bullet nose.
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.
When I was growing up,
I loved cartoons
more than anything else.
And when I was in high school,
I 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 I thought,
"That's what I wanna do."
Right then, right there, it was like
I knew that's what I wanted to do.
In 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.
What they were doing
is bringing out of retirement
all of these amazing Disney artists
to teach this class,
to get this program started.
It dawned on me pretty quickly
how special this was.
Among John's classmates
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.
It 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.
The teachers at CalArts
were none other
than Disney's legendary collaborators
from the 1930s,
known as the "Nine Old Men,"
who taught the essence
of great character animation.
We call it the warmth.
We call it
the inner feelings of the character.
It 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?
The Nine Old Men,
these guys were unbelievable masters
of this art form,
and yet every single one of them
had the attitude of a student.
As a student, John
immersed himself in