have to give
the same treatment I gave father
to Nemo.
But you know, it's, you know,
it's not like starting over or anything,
but I have to imbue that
character with something.
So now what I can do is just go
back into the thumbnails
look, here's ghost of Nemo,
ghost of Nemo.
I have, like, father doing
all this acting to this lump.
So, now maybe what I could do
is just use these same drawings.
It'll be good, this shot'll be a lot better.
I had done all this stuff, too, where
the fin is, like, the symbol of the movie.
His accepting of his son
is also the letting go
of the past or the loss, the trauma.
And what is it...
What is it to take someone's hand?
Not only is it an opportunity
just to physically,
like touch and connect with his son,
it also marks the new relationship.
I'm so sorry, Nemo.
- Hey, guess what.
- What?
Sea turtles... I met one.
And he was 150 years old.
Hundred and fifty?
Yep.
'Cause Sandy Plankton said
they only live to be 100.
Sandy Plankton?
Do you think I would cross
the entire ocean
and not know as much
as Sandy Plankton?
He was 150, not 100!
Who is this Sandy Plankton
who knows everything?
In 2003, Finding Nemo
surpassed Pixar's own previous marks,
making it the new highest grossing
animated film in history.
And director Andrew Stanton won
the Oscar for best animated feature.
But the enormous success
of Finding Nemo
meant that expectations
were now even higher,
as Brad Bird, the first outside director,
was invited in to direct a feature.
Well, here I am, pulling into Pixar,
first time, into Pixar... Yeah.
Brad was
an old classmate
of John Lasseter's from CalArts.
He had made the critically acclaimed
2- D hand animated film,
The Iron Giant.
Brad and I stayed in touch,
and he pitched us on an idea
called The Incredibles,
and it's a family of superheroes,
and originally he was thinking
of it being cell-animated,
but he thought it could work
in 3-D computer animation.
I fell in love with it right away,
but the thing I loved about it the most
was this story of this family.
It's got so much heart to it.
I've just been given my card key.
Now I can get into all
the secret chambers of Pixar.
This is where A Bug's Life was
actually filmed, on location, right here.
Good to see you.
Any company that had
four hits in a row
would not be open
to changing anything.
This place was the exact opposite.
They were saying,
"'Look, we've had four hits in a row.
"We are in danger
of repeating ourselves,
"or of getting too satisfied
and we need to shake this place up. "
Keep it moving. Keep it,
Kate, nice to see you. Keep it moving.
I'm here to tell you, you guys are
kind of in your wood-fired pizza mode
and, a lot of you are,
"Yeah, I work at the place
where we make hit after hit. "
But, you know, I'm telling you,
I've been out in that real world
as some of you also have been,
and you who have been out there
know what I'm talking about.
This is an anomaly,
this place is, A, really freakishly
alone in this hit-after-hit aspect,
and, two,
you know, these kind of projects
don't happen that often.
Grab this opportunity and run with it.
You know, film is forever,
you know, pain is temporary.
Once we brought Brad
into Pixar, we all were learning again.
And he has brought in his
clese colleborators on Iron Giant,
and they are amazing.
The 2-D people that I brought up
wrestled with the box,
you know, just trying to figure out
how to make the computer
do what you want it to do.
The computer exists in two worlds,
it's either the most brilliant thing
you've ever seen,
or it's completely mad.
The 2-D animators took
the traditional storyboarding process
into the third dimension,
providing dynamic new ways
to visualize storytelling.
If you named the 10 most
difficult things to do in animation,
we had them all, and large amounts
of them all, humans...
Police officers!
Hair, fabric.
Hair and fabric under