sensitive,
smart, really great director,
and he owns this movie.
He completely owns this movie.
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.
So, the pressure. It's begun?
$62,577,067.
There's no reason, Andrew,
to be feeling any more pressure.
I'm fine! I'm fine!
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 10 years ago,
"We could make this world. "
CG would be perfect for this world,
you could capture it so well.
Oh, let's name
the species the species, the species
Let's name the species
that live in the sea
Whoa!
There's porifera...
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.
Big.
FINDING NEMO
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.
So, these two little fish
have been
searching the ocean for days
on the East Australian Current...
...which means that he
may be on his way here right now.
That should put them
in Sydney Harbor...
...in a matter of days!
I mean, it sounds like this guy's
gonna stop at nothing till...
...until he finds his son.
I sure hope he makes it.
That's one dedicated father,
if you ask me.
The challenge on Nemo
is the same challenge that we had
on the first Toy Story,
which is making a good movie.
It really comes down to that.
I mean, each film has its own technical
hurdles that we have to overcome.
But we spend the first
two-and-a-half years
making these films doing nothing
but working out the stories.
Mine! Mine! Mine! Mine!
Mine! Mine! Mine! Mine! Mine! Mine!
Would you just shut up!
You're rats with wings!
This bloke's been looking
for his boy, Nemo.
- Nemo?
- He was taken off the reef
- by divers and this...
- There, take it! You happy?
Mine! Mine! Mine! Mine!
Mine!
Every morning we get
together in the screening room
with the directors
and all the other animators
and we all show our shots
in various stages of completion.
Everybody is entitled to their opinion
and to say it out loud.
So it's a very healthy,
and sometimes intimidating, forum.
Doug is next.
Hey, guess what.
- What?
- Sea turtles...
I met one, and he was 150 years old.
You know, Nemo should be
looking at his dad
at the beginning of the shot.
All the time?
Yeah.
He looks like he's dead.
- He looks like he's given up.
- Okay.
I think he's, anyway,
he looked at his dad,
and then looked at his fin,
and he should be, like,
looking at him for
acknowledgement the whole time.
- Okay.
- Like they touch the fin
and they stay looking
at each other and...
- Okay.
- I think that's missing.
All right.
'Cause Sandy Plankton said
they only live to be 100.
Sandy Plankton? Do you
think I would cross the entire ocean...
I was, focusing primarily
on the father and not on...
Really not on Nemo.
So I just kind of had Nemo default
to this kind of eyes forward pose,
not even thinking about, like,
how it would read,
except that hopefully
you're looking at father, right?
But Andrew read it,
and he was totally right,
that it looks completely indifferent.
And, so now I