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Transcript

Monsters, Inc. · Verbal Diorama

• 2:52
  Hi,
• 2:52
  everyone.
• 2:53
  Happy
• 2:53
  New
• 2:53
  year.
• 2:54
  I'm
• 2:54
  Em
• 2:54
  and
• 2:54
  welcome
• 2:55
  to
• 2:55
  Verbal
• 2:55
  Diorama,
• 2:56
  Episode
• 2:56
  327,
• 2:58
  Monsters,
• 2:59
  Inc.
• 3:00
  This
• 3:00
  is
• 3:00
  the
• 3:00
  podcast
• 3:01
  that's
• 3:01
  all
• 3:01
  about
• 3:01
  the
• 3:01
  history
• 3:01
  and
• 3:02
  legacy
• 3:02
  of
• 3:02
  movies,
• 3:03
  you
• 3:03
  know,
• 3:03
  and
• 3:03
  movies
• 3:04
  you
• 3:04
  don't.
• 3:04
  That
• 3:05
  didn't
• 3:05
  file
• 3:05
  her
• 3:06
  paperwork
• 3:06
  last
• 3:06
  night
• 3:07
  and
• 3:08
  pretty
• 3:08
  much
• 3:08
  never
• 3:09
  files
• 3:09
  her
• 3:09
  paperwork,
• 3:10
  if
• 3:10
  I'm
• 3:10
  being
• 3:10
  completely
• 3:11
  honest.
• 3:12
  Welcome
• 3:12
  to
• 3:13
  Verbal
• 3:13
  Diorama.
• 3:14
  It
• 3:14
  is
• 3:14
  now
• 3:15
  2026.
• 3:16
  Whether
• 3:16
  you're
• 3:17
  a
• 3:17
  brand
• 3:17
  new
• 3:17
  listener,
• 3:18
  whether
• 3:18
  you're
• 3:18
  a
• 3:18
  regular
• 3:18
  returning
• 3:19
  listener,
• 3:19
  thank
• 3:19
  you
• 3:19
  for
• 3:19
  being
• 3:20
  here.
• 3:20
  Thank
• 3:20
  you
• 3:20
  for
• 3:20
  choosing
• 3:21
  to
• 3:21
  listen
• 3:21
  to
• 3:21
  this
• 3:22
  podcast.
• 3:23
  I
• 3:23
  am
• 3:23
  so
• 3:23
  happy
• 3:23
  to
• 3:24
  have
• 3:24
  you
• 3:24
  here
• 3:24
  in
• 3:25
  2026
• 3:26
  for
• 3:26
  the
• 3:26
  history
• 3:27
  and
• 3:27
  legacy
• 3:27
  of
• 3:28
  Monsters,
• 3:28
  Inc.
• 3:29
  And
• 3:30
  if
• 3:30
  you
• 3:30
  are
• 3:30
  a
• 3:30
  regular
• 3:30
  returning
• 3:31
  listener,
• 3:31
  thank
• 3:31
  you
• 3:32
  so
• 3:32
  much
• 3:32
  for
• 3:32
  coming
• 3:32
  back
• 3:33
  to
• 3:33
  this
• 3:33
  podcast,
• 3:34
  for
• 3:34
  continuing
• 3:35
  to
• 3:35
  listen
• 3:35
  to
• 3:35
  and
• 3:35
  support
• 3:36
  this
• 3:36
  podcast
• 3:37
  in
• 3:37
  its
• 3:37
  now
• 3:38
  seventh
• 3:38
  year,
• 3:39
  well,
• 3:39
  technically
• 3:40
  eighth
• 3:40
  year,
• 3:40
  I
• 3:41
  guess,
• 3:41
  of
• 3:41
  running,
• 3:42
  but
• 3:42
  it's
• 3:42
  going
• 3:42
  to
• 3:42
  be
• 3:42
  seven
• 3:43
  next
• 3:43
  Month
• 3:44
  eighth
• 3:44
  Year
• 3:45
  of
• 3:45
  Verbal
• 3:46
  Diorama
• 3:47
  thank
• 3:47
  you
• 3:47
  so
• 3:47
  much
• 3:48
  for
• 3:48
  your
• 3:48
  continued
• 3:49
  support.
• 3:49
  It
• 3:50
  really
• 3:50
  genuinely
• 3:51
  means
• 3:51
  so
• 3:52
  much.
• 3:52
  I
• 3:52
  am
• 3:53
  back
• 3:53
  after
• 3:53
  a
• 3:54
  bit
• 3:54
  of
• 3:54
  a
• 3:54
  Christmas
• 3:54
  break,
• 3:55
  but
• 3:55
  in
• 3:55
  all
• 3:56
  honesty,
• 3:56
  I
• 3:56
  really
• 3:56
  struggle
• 3:57
  to
• 3:57
  step
• 3:58
  away
• 3:58
  from
• 3:58
  this
• 3:58
  podcast.
• 3:59
  Even
• 4:00
  when
• 4:00
  I
• 4:00
  do
• 4:00
  take
• 4:01
  regular
• 4:01
  breaks,
• 4:01
  which
• 4:02
  I've
• 4:02
  tried
• 4:02
  to
• 4:02
  do
• 4:02
  more
• 4:03
  in
• 4:03
  recent
• 4:03
  years,
• 4:04
  I
• 4:04
  really
• 4:05
  struggle
• 4:05
  because
• 4:05
  I
• 4:06
  genuinely
• 4:07
  always
• 4:07
  want
• 4:07
  to
• 4:08
  come
• 4:08
  back
• 4:08
  and
• 4:08
  I
• 4:08
  always
• 4:08
  want
• 4:09
  to
• 4:09
  work
• 4:09
  and
• 4:09
  I
• 4:10
  always
• 4:10
  want
• 4:10
  to
• 4:10
  try
• 4:10
  and
• 4:11
  put
• 4:11
  out
• 4:11
  episodes
• 4:12
  and
• 4:12
  Christmas
• 4:13
  was
• 4:13
  brilliant
• 4:13
  and
• 4:13
  it
• 4:14
  was
• 4:14
  a
• 4:14
  lot
• 4:14
  of
• 4:14
  fun.
• 4:14
  But
• 4:15
  it
• 4:15
  was
• 4:15
  also
• 4:15
  I
• 4:15
  really
• 4:16
  want
• 4:16
  to
• 4:16
  get
• 4:16
  back
• 4:16
  to
• 4:16
  this
• 4:17
  podcast
• 4:17
  and
• 4:17
  I
• 4:17
  really
• 4:18
  want
• 4:18
  to
• 4:18
  talk
• 4:18
  about
• 4:18
  this
• 4:19
  episode
• 4:19
  specifically
• 4:21
  because
• 4:22
  welcome
• 4:22
  once
• 4:23
  again
• 4:23
  to
• 4:23
  Animation
• 4:24
  Season.
• 4:25
  Now,
• 4:25
  animation
• 4:25
  season
• 4:26
  is
• 4:26
  something
• 4:26
  that
• 4:26
  I've
• 4:27
  done
• 4:27
  since
• 4:27
  2020.
• 4:29
  So
• 4:29
  this
• 4:29
  is
• 4:29
  the
• 4:30
  sixth
• 4:30
  annual
• 4:31
  animation
• 4:31
  season
• 4:32
  and
• 4:32
  I
• 4:32
  am
• 4:33
  a
• 4:33
  huge
• 4:33
  fan
• 4:33
  of
• 4:34
  animated
• 4:34
  movies
• 4:35
  and
• 4:35
  it's
• 4:35
  something
• 4:35
  that
• 4:35
  I
• 4:36
  think
• 4:36
  that
• 4:36
  more
• 4:36
  podcasts
• 4:37
  should
• 4:38
  actually
• 4:38
  talk
• 4:38
  about.
• 4:39
  Animated
• 4:39
  Movies
• 4:40
  Animation
• 4:41
  Season
• 4:41
  is
• 4:42
  a
• 4:42
  celebration
• 4:42
  of
• 4:43
  animation
• 4:43
  in
• 4:44
  all
• 4:44
  forms.
• 4:45
  Traditional
• 4:45
  2D,
• 4:46
  hand
• 4:46
  drawn,
• 4:46
  stop
• 4:47
  motion,
• 4:47
  CGI
• 4:48
  mix
• 4:49
  of
• 4:49
  all
• 4:49
  the
• 4:49
  above,
• 4:50
  I
• 4:50
  featured
• 4:51
  some
• 4:51
  of
• 4:51
  the
• 4:51
  greatest
• 4:52
  animation
• 4:52
  studios
• 4:53
  of
• 4:53
  all
• 4:53
  time.
• 4:53
  Of
• 4:54
  Elbow
• 4:54
  Diorama.
• 4:54
  In
• 4:55
  the
• 4:55
  past
• 4:55
  I
• 4:55
  featured
• 4:56
  Laika,
• 4:56
  Aardman,
• 4:57
  Disney
• 4:57
  Dreamworks,
• 4:58
  Pixar
• 4:59
  Studio
• 4:59
  Ghibli,
• 5:00
  Sony
• 5:00
  Cartoon
• 5:01
  Saloon,
• 5:02
  even
• 5:02
  the
• 5:02
  studios
• 5:03
  that
• 5:03
  no
• 5:03
  longer
• 5:03
  exist,
• 5:04
  like
• 5:04
  Fox
• 5:05
  Don
• 5:05
  Bluth
• 5:06
  Studios,
• 5:07
  all
• 5:07
  have
• 5:07
  been
• 5:07
  featured
• 5:08
  on
• 5:08
  this
• 5:08
  podcast
• 5:09
  multiple
• 5:09
  times
• 5:09
  in
• 5:10
  the
• 5:10
  past.
• 5:11
  Animation
• 5:12
  is
• 5:12
  not
• 5:12
  just
• 5:13
  for
• 5:13
  children.
• 5:13
  Animation
• 5:14
  is
• 5:14
  not
• 5:15
  a
• 5:15
  genre.
• 5:15
  It
• 5:16
  is
• 5:16
  the
• 5:16
  perfect
• 5:16
  art
• 5:17
  form.
• 5:17
  It
• 5:17
  is
• 5:17
  capable
• 5:18
  of
• 5:18
  depicting
• 5:19
  anything
• 5:19
  and
• 5:20
  anyone
• 5:21
  without
• 5:21
  the
• 5:21
  limitations
• 5:22
  of
• 5:22
  live
• 5:22
  action
• 5:23
  cinema.
• 5:24
  This
• 5:24
  is
• 5:24
  why
• 5:24
  Animation
• 5:25
  Season
• 5:25
  remains
• 5:26
  so
• 5:26
  important
• 5:27
  to
• 5:27
  me
• 5:28
  and
• 5:28
  to
• 5:28
  this
• 5:28
  podcast.
• 5:29
  To
• 5:29
  highlight
• 5:30
  incredible
• 5:31
  animated
• 5:31
  films
• 5:32
  that
• 5:33
  you
• 5:33
  may
• 5:33
  love
• 5:34
  or
• 5:34
  you
• 5:34
  may
• 5:34
  have
• 5:35
  discounted
• 5:35
  for
• 5:35
  whatever
• 5:36
  reason.
• 5:37
  But
• 5:37
  in
• 5:37
  my
• 5:37
  opinion,
• 5:38
  you
• 5:38
  shouldn't
• 5:39
  because
• 5:39
  you're
• 5:39
  missing
• 5:39
  out
• 5:40
  on
• 5:40
  some
• 5:40
  incredible
• 5:41
  storytelling.
• 5:42
  And
• 5:42
  that's
• 5:42
  why
• 5:42
  I
• 5:43
  love
• 5:43
  to
• 5:43
  do
• 5:43
  this
• 5:44
  every
• 5:44
  January
• 5:44
  and
• 5:45
  February.
• 5:46
  And
• 5:46
  this
• 5:46
  year
• 5:47
  I'm
• 5:47
  off
• 5:47
  to
• 5:47
  say
• 5:48
  there
• 5:48
  are
• 5:49
  some
• 5:49
  absolute
• 5:49
  doozies
• 5:50
  in
• 5:50
  the
• 5:50
  animation
• 5:51
  season
• 5:51
  schedule.
• 5:52
  Movies
• 5:53
  that
• 5:53
  I
• 5:53
  get
• 5:54
  aasked.
• 5:54
  When
• 5:54
  am
• 5:55
  I
• 5:55
  doing
• 5:55
  an
• 5:55
  episode
• 5:55
  for
• 5:56
  it?
• 5:56
  Cult
• 5:57
  favfavouritesorites,Oscarnominees,Potential
• 5:59
  Oscarnominees,Oscarwinnersandmoviesthat
• 6:03
  I
• 6:03
  think
• 6:04
  deserve
• 6:04
  a
• 6:04
  little
• 6:05
  bit
• 6:05
  more
• 6:05
  love.
• 6:06
  And
• 6:06
  so
• 6:07
  we
• 6:07
  come
• 6:07
  to
• 6:08
  the
• 6:08
  first
• 6:08
  episode
• 6:09
  of
• 6:09
  Animation
• 6:10
  Season
• 6:10
  2026
• 6:12
  and
• 6:12
  the
• 6:13
  last
• 6:13
  couple
• 6:13
  of
• 6:13
  years,
• 6:14
  it's
• 6:14
  got
• 6:14
  to
• 6:14
  become
• 6:15
  a
• 6:15
  tradition
• 6:15
  to
• 6:16
  start
• 6:16
  the
• 6:16
  season
• 6:17
  with
• 6:17
  a
• 6:17
  Pixar
• 6:17
  movie.
• 6:19
  Now
• 6:19
  that's
• 6:19
  not
• 6:19
  something
• 6:20
  that
• 6:20
  I've
• 6:20
  done
• 6:20
  every
• 6:20
  animation
• 6:21
  season,
• 6:22
  but
• 6:22
  in
• 6:22
  recent
• 6:23
  years
• 6:23
  I
• 6:23
  have.
• 6:24
  And
• 6:24
  I
• 6:25
  feel
• 6:25
  like
• 6:25
  you've
• 6:26
  kind
• 6:26
  of
• 6:26
  got
• 6:26
  to
• 6:26
  start
• 6:27
  how
• 6:27
  you
• 6:27
  mean
• 6:28
  to
• 6:28
  go
• 6:28
  on.
• 6:29
  And
• 6:29
  where
• 6:29
  Pixar
• 6:30
  is
• 6:30
  concerned,
• 6:31
  Pixar
• 6:31
  have
• 6:31
  made
• 6:31
  some
• 6:32
  truly
• 6:32
  great
• 6:32
  animated
• 6:33
  Movies
• 6:34
  since
• 6:34
  Toy
• 6:35
  story
• 6:35
  debuted
• 6:35
  in
• 6:36
  1995.
• 6:37
  But
• 6:37
  one
• 6:38
  of
• 6:38
  them
• 6:38
  most
• 6:38
  special
• 6:38
  to
• 6:39
  me
• 6:39
  is
• 6:39
  this
• 6:40
  movie,
• 6:40
  Monsters
• 6:41
  Inc.
• 6:41
  Which
• 6:42
  in
• 6:42
  2026
• 6:43
  is
• 6:43
  25
• 6:44
  years
• 6:44
  old.
• 6:45
  It
• 6:46
  does
• 6:46
  not
• 6:46
  look
• 6:46
  25
• 6:47
  years
• 6:47
  old.
• 6:48
  This
• 6:48
  movie
• 6:48
  is
• 6:48
  incredible.
• 6:50
  So
• 6:50
  put
• 6:50
  that
• 6:51
  thing
• 6:51
  back
• 6:51
  where
• 6:51
  it
• 6:51
  came
• 6:51
  from.
• 6:52
  Also
• 6:52
  helped
• 6:52
  me.
• 6:53
  Here's
• 6:53
  the
• 6:54
  trailer
• 6:54
  for
• 6:54
  Monsters,
• 6:55
  Inc.
• 8:37
  The
• 8:37
  city
• 8:37
  of
• 8:37
  Monstropolis
• 8:38
  centresfavouritearoundaroundthecity'smainpowercompany,MonstersIncorporated.Thetopscarer
• 8:43
  atthecompanyis
• 8:44
  the
• 8:44
  lovable
• 8:45
  and
• 8:45
  confident
• 8:45
  James
• 8:46
  P.
• 8:46
  Sullivan,
• 8:47
  better
• 8:47
  known
• 8:48
  as
• 8:48
  Sully,
• 8:48
  and
• 8:49
  his
• 8:49
  best
• 8:49
  friend
• 8:49
  and
• 8:50
  scaring
• 8:50
  assistant,
• 8:51
  the
• 8:51
  wisecracking
• 8:52
  Mike
• 8:52
  Wazowski.
• 8:54
  They
• 8:54
  discover
• 8:54
  what
• 8:55
  happens
• 8:55
  when
• 8:55
  the
• 8:55
  real
• 8:55
  world
• 8:56
  interacts
• 8:56
  with
• 8:57
  theirs
• 8:57
  in
• 8:57
  the
• 8:58
  form
• 8:58
  of
• 8:58
  a
• 8:58
  three
• 8:58
  year
• 8:59
  old
• 8:59
  girl
• 8:59
  called
• 9:00
  Boo,
• 9:00
  who
• 9:01
  accidentally
• 9:01
  sneaks
• 9:02
  into
• 9:02
  the
• 9:02
  monster
• 9:02
  world.
• 9:03
  And
• 9:03
  according
• 9:04
  to
• 9:04
  everyone,
• 9:04
  children
• 9:05
  are
• 9:05
  toxic
• 9:05
  to
• 9:06
  monsters.
• 9:07
  It's
• 9:07
  up
• 9:07
  to
• 9:07
  Sully
• 9:08
  and
• 9:08
  Mike
• 9:08
  to
• 9:08
  send
• 9:09
  Boo
• 9:09
  back
• 9:09
  before
• 9:10
  anybody
• 9:10
  finds
• 9:10
  out.
• 9:11
  But
• 9:11
  they
• 9:12
  end
• 9:12
  up
• 9:12
  uncovering
• 9:12
  a
• 9:13
  sinister
• 9:13
  conspiracy
• 9:14
  within
• 9:14
  the
• 9:14
  company
• 9:15
  to
• 9:15
  kidnap
• 9:16
  and
• 9:16
  elicit
• 9:17
  more
• 9:17
  scares
• 9:18
  from
• 9:18
  children.
• 9:19
  Let's,
• 9:20
  as
• 9:20
  always,
• 9:20
  run
• 9:20
  through
• 9:21
  the
• 9:21
  cast.
• 9:21
  We
• 9:22
  have
• 9:22
  John
• 9:22
  Goodman
• 9:23
  as
• 9:23
  James
• 9:24
  P.
• 9:24
  Sully
• 9:25
  Sullivan,
• 9:26
  Billy
• 9:26
  Crystal
• 9:27
  as
• 9:27
  Mike
• 9:27
  Wazowski,
• 9:29
  Mary
• 9:29
  Gibbs
• 9:30
  as
• 9:30
  Boo,
• 9:31
  Steve
• 9:31
  Buscemi
• 9:32
  as
• 9:32
  Randall
• 9:32
  Boggs,
• 9:33
  James
• 9:34
  Coburn
• 9:34
  as
• 9:35
  Henry
• 9:35
  J.
• 9:36
  Waternoose,
• 9:37
  Jennifer
• 9:37
  Tilly
• 9:38
  as
• 9:38
  Celia
• 9:39
  May,
• 9:39
  Bob
• 9:40
  Peterson
• 9:40
  as
• 9:41
  Roz,
• 9:42
  and
• 9:42
  John
• 9:42
  Ratzenberger
• 9:43
  as
• 9:43
  The
• 9:44
  Yeti
• 9:46
  Monsters
• 9:46
  Inc.
• 9:47
  Has
• 9:47
  a
• 9:47
  screenplay
• 9:47
  by
• 9:48
  Andrew
• 9:48
  Stanton
• 9:49
  and
• 9:49
  Daniel
• 9:49
  Gerson,
• 9:50
  story
• 9:51
  by
• 9:51
  Pete
• 9:51
  Docter,
• 9:52
  Jill
• 9:52
  Poulton,
• 9:53
  Geoff
• 9:53
  Pidgeon
• 9:54
  and
• 9:54
  Ralph
• 9:54
  Eggleston
• 9:55
  was
• 9:56
  directed
• 9:56
  by
• 9:56
  Pete
• 9:57
  Docter
• 9:57
  and
• 9:57
  co
• 9:58
  directed
• 9:58
  by
• 9:58
  David
• 9:59
  Silverman
• 9:59
  and
• 9:59
  Lee
• 10:00
  Unkrich.
• 10:01
  For
• 10:02
  as
• 10:02
  long
• 10:02
  as
• 10:02
  children
• 10:03
  have
• 10:03
  believed
• 10:03
  that
• 10:03
  their
• 10:03
  toys
• 10:04
  could
• 10:04
  come
• 10:04
  to
• 10:04
  life
• 10:04
  when
• 10:05
  they
• 10:05
  leave
• 10:05
  the
• 10:05
  room,
• 10:06
  they've
• 10:06
  also
• 10:07
  been
• 10:07
  afraid
• 10:07
  of
• 10:08
  the
• 10:08
  monster
• 10:08
  in
• 10:08
  their
• 10:08
  closet
• 10:09
  or
• 10:10
  under
• 10:10
  their
• 10:10
  bed.
• 10:11
  It's
• 10:11
  hard
• 10:11
  to
• 10:12
  remember
• 10:12
  a
• 10:12
  time
• 10:12
  when
• 10:12
  we
• 10:13
  didn't
• 10:13
  have
• 10:13
  Pixar
• 10:14
  movies.
• 10:14
  And
• 10:15
  to
• 10:15
  be
• 10:15
  honest,
• 10:15
  if
• 10:16
  you
• 10:16
  were
• 10:16
  born
• 10:16
  after
• 10:17
  1995,
• 10:18
  you
• 10:18
  don't
• 10:19
  remember
• 10:19
  a
• 10:19
  time
• 10:20
  Pixar
• 10:20
  didn't
• 10:21
  make
• 10:21
  movies.
• 10:22
  And
• 10:22
  look
• 10:23
  at
• 10:23
  you
• 10:23
  if
• 10:23
  that's
• 10:24
  the
• 10:24
  case.
• 10:24
  I
• 10:24
  was
• 10:25
  born
• 10:25
  a
• 10:25
  little
• 10:25
  bit
• 10:26
  before
• 10:26
  1995.
• 10:28
  Monsters
• 10:29
  Inc.
• 10:29
  Was
• 10:29
  Pixar's
• 10:30
  fourth
• 10:30
  movie,
• 10:31
  which
• 10:31
  again
• 10:32
  seems
• 10:32
  like
• 10:32
  one
• 10:32
  of
• 10:32
  those
• 10:33
  facts
• 10:33
  that
• 10:33
  can't
• 10:33
  possibly
• 10:34
  be
• 10:34
  true.
• 10:35
  And
• 10:35
  it
• 10:35
  was
• 10:35
  originally
• 10:36
  conceived
• 10:36
  even
• 10:37
  before
• 10:37
  Toy
• 10:37
  Story
• 10:38
  was
• 10:38
  released.
• 10:39
  Now
• 10:40
  I
• 10:40
  don't
• 10:40
  need
• 10:40
  to
• 10:40
  tell
• 10:41
  you
• 10:41
  what
• 10:41
  a
• 10:41
  huge
• 10:41
  shift
• 10:42
  in
• 10:42
  the
• 10:42
  animation
• 10:42
  industry
• 10:43
  Toy
• 10:43
  Story
• 10:43
  was
• 10:44
  I
• 10:44
  already
• 10:45
  have
• 10:45
  in
• 10:45
  episode
• 10:46
  50
• 10:46
  of
• 10:47
  this
• 10:47
  podcast.
• 10:48
  It
• 10:48
  would
• 10:48
  have
• 10:48
  been
• 10:48
  easy
• 10:49
  to
• 10:49
  write
• 10:49
  Toy
• 10:49
  Story
• 10:50
  off
• 10:50
  as
• 10:50
  Pixar's
• 10:51
  lightning
• 10:52
  in
• 10:52
  a
• 10:52
  bottle,
• 10:52
  the
• 10:53
  success
• 10:53
  of
• 10:53
  which
• 10:53
  is
• 10:54
  something
• 10:54
  they
• 10:54
  could
• 10:54
  never
• 10:55
  replicate
• 10:55
  again.
• 10:56
  And
• 10:57
  yet
• 10:57
  the
• 10:57
  creative
• 10:58
  leads
• 10:58
  at
• 10:58
  Pixar
• 10:59
  weren't
• 10:59
  resting
• 10:59
  on
• 10:59
  their
• 11:00
  laurels
• 11:01
  even
• 11:01
  during
• 11:01
  Toy
• 11:02
  Story's
• 11:02
  production.
• 11:03
  I've
• 11:03
  mentioned
• 11:04
  in
• 11:04
  previous
• 11:04
  episodes
• 11:05
  about
• 11:05
  a
• 11:05
  meeting
• 11:05
  in
• 11:06
  1994
• 11:06
  between
• 11:07
  Andrew
• 11:07
  Stanton,
• 11:08
  John
• 11:08
  Lasseter,
• 11:09
  Pete
• 11:09
  Docter
• 11:10
  and
• 11:10
  Joe
• 11:10
  Ranft
• 11:11
  during
• 11:11
  production
• 11:11
  of
• 11:11
  Toy
• 11:12
  Story
• 11:12
  to
• 11:12
  gather
• 11:13
  ideas
• 11:13
  for
• 11:13
  the
• 11:14
  next
• 11:14
  Pixar
• 11:14
  feature.
• 11:15
  Conceived
• 11:16
  during
• 11:16
  that
• 11:16
  lunch
• 11:17
  were
• 11:17
  early
• 11:17
  stage
• 11:18
  talks
• 11:18
  for
• 11:18
  A
• 11:18
  Bug's
• 11:19
  Life,
• 11:19
  Finding
• 11:20
  Nemo
• 11:20
  and
• 11:21
  Wall
• 11:21
  E,
• 11:21
  some
• 11:22
  of
• 11:22
  the
• 11:22
  cream
• 11:22
  of
• 11:22
  the
• 11:22
  crop
• 11:22
  that
• 11:23
  Pixar
• 11:23
  would
• 11:23
  ever
• 11:24
  release,
• 11:24
  as
• 11:25
  well
• 11:25
  as
• 11:25
  Monsters,
• 11:26
  Inc.
• 11:26
  It
• 11:27
  wasn't
• 11:27
  called
• 11:27
  that
• 11:28
  at
• 11:28
  the
• 11:28
  time,
• 11:28
  but
• 11:28
  the
• 11:29
  idea
• 11:29
  was
• 11:29
  fixed
• 11:29
  in
• 11:30
  the
• 11:30
  whole
• 11:30
  Monsters
• 11:31
  in
• 11:31
  a
• 11:31
  Child's
• 11:32
  Closet.
• 11:33
  The
• 11:33
  first
• 11:33
  three
• 11:33
  Pixar
• 11:34
  movies
• 11:34
  had
• 11:35
  a
• 11:35
  story
• 11:35
  co
• 11:35
  written
• 11:36
  and
• 11:36
  directed
• 11:36
  by
• 11:36
  John
• 11:36
  Lasseter,
• 11:37
  and
• 11:38
  taking
• 11:38
  on
• 11:38
  the
• 11:38
  mantle
• 11:39
  of
• 11:39
  directing
• 11:39
  the
• 11:39
  fourth
• 11:40
  feature
• 11:41
  would
• 11:41
  have
• 11:41
  been
• 11:41
  a
• 11:41
  daunting
• 11:42
  task
• 11:42
  for
• 11:42
  anyone.
• 11:43
  John
• 11:43
  Lasseter
• 11:44
  had
• 11:44
  proven
• 11:45
  Toy
• 11:45
  Story
• 11:45
  wasn't
• 11:46
  just
• 11:46
  a
• 11:46
  fluke
• 11:46
  that
• 11:47
  Pixar
• 11:47
  could
• 11:47
  become
• 11:48
  successful,
• 11:49
  that
• 11:49
  this
• 11:49
  was
• 11:49
  the
• 11:50
  little
• 11:50
  animation
• 11:50
  studio
• 11:51
  that
• 11:51
  could.
• 11:52
  It's
• 11:52
  worth
• 11:53
  noting
• 11:53
  that
• 11:53
  Lasseter
• 11:54
  would
• 11:54
  end
• 11:54
  up
• 11:54
  leaving
• 11:54
  Pixar
• 11:55
  in
• 11:55
  2018
• 11:56
  due
• 11:56
  to
• 11:57
  allegations
• 11:57
  of
• 11:57
  sexual
• 11:58
  misconduct,
• 11:59
  so
• 11:59
  we're
• 11:59
  not
• 11:59
  going
• 12:00
  to
• 12:00
  dwell
• 12:00
  too
• 12:00
  much
• 12:01
  on
• 12:01
  him.
• 12:02
  Unfortunately,
• 12:02
  we
• 12:03
  do
• 12:03
  have
• 12:03
  to
• 12:03
  mention
• 12:04
  him
• 12:04
  because
• 12:04
  he
• 12:04
  is
• 12:05
  kind
• 12:05
  of
• 12:05
  integral
• 12:05
  to
• 12:06
  this
• 12:06
  story.
• 12:07
  But
• 12:07
  in
• 12:07
  that
• 12:08
  original
• 12:08
  1994
• 12:09
  brainstorming
• 12:10
  session
• 12:10
  were
• 12:10
  men
• 12:11
  who
• 12:11
  would
• 12:11
  shape
• 12:11
  the
• 12:12
  company
• 12:12
  and
• 12:13
  its
• 12:13
  fortunes,
• 12:13
  including
• 12:14
  Andrew
• 12:14
  Stanton,
• 12:15
  who
• 12:15
  would
• 12:16
  go
• 12:16
  on
• 12:16
  to
• 12:16
  co
• 12:16
  write
• 12:16
  and
• 12:17
  direct
• 12:17
  Finding
• 12:17
  Nemo,
• 12:18
  Wally
• 12:19
  and
• 12:19
  Finding
• 12:19
  Dory.
• 12:20
  Joe
• 12:20
  Ranft
• 12:21
  would
• 12:21
  co
• 12:21
  direct
• 12:21
  Cars
• 12:22
  before
• 12:22
  his
• 12:22
  untimely
• 12:23
  death
• 12:23
  in
• 12:24
  2005.
• 12:25
  And
• 12:25
  then
• 12:25
  there's
• 12:25
  Pete
• 12:26
  Docter.
• 12:26
  He
• 12:27
  would
• 12:27
  go
• 12:27
  on
• 12:27
  to
• 12:27
  direct
• 12:28
  Up
• 12:28
  Inside
• 12:29
  out
• 12:29
  and
• 12:30
  Soul,
• 12:30
  but
• 12:31
  he
• 12:31
  was
• 12:31
  given
• 12:31
  the
• 12:31
  task
• 12:32
  of
• 12:32
  directing
• 12:32
  Pixar's
• 12:33
  fourth
• 12:33
  feature,
• 12:34
  what
• 12:34
  would
• 12:34
  become
• 12:35
  Monsters,
• 12:35
  Inc.
• 12:35
  He
• 12:36
  would
• 12:36
  also
• 12:36
  direct
• 12:36
  the
• 12:37
  English
• 12:37
  dub
• 12:37
  of
• 12:37
  my
• 12:37
  favoritestudioGhiblimovie.HowSmoothingCastle.Originally,theconceptfor
• 12:43
  MonstersInc.Wasjustcalled
• 12:45
  Monsters,andthe
• 12:46
  originalpitch
• 12:47
  for
• 12:47
  themovie
• 12:47
  wasaslightlydifferentidea.Itstillfocusedonmonsters
• 12:51
  in
• 12:51
  yourcloset.It
• 12:52
  wasaboutanaccountantinhis30s
• 12:54
  whohatedhisjobandwasfrightenedbymonsterswhocame
• 12:58
  tolifeinspiredbydrawingshe
• 13:00
  madeasachild.TheintriguingthingtoPete
• 13:03
  Docterwastheideathatas
• 13:04
  kidswehavetheseunnamedunconscious
• 13:07
  fearsandwecreatemonsters
• 13:09
  asawaytomake
• 13:10
  themtangible.
• 13:12
  Dr.Andtheteambeganthinking,if
• 13:14
  monstersrepresentfears,
• 13:16
  whatthenare
• 13:16
  themonstersthemselvesafraidof?Nowtheobviousanswerwaschildren,ourownfearsbeingafraidofus.Themonstersaren'tmonstersintheirworld.
• 13:26
  They're
• 13:26
  justregularpeople.
• 13:27
  Theyhavejobs,
• 13:28
  theyformrelationships,
• 13:29
  theytalkabouttheweather,whattheysaw
• 13:31
  on
• 13:31
  theTV
• 13:32
  lastnight.Scaringkidsisjust
• 13:34
  theirjob.Doctorhas
• 13:37
  saidininterviewsthathegenuinelythoughtMonsters,Inc.Wouldbea
• 13:40
  disasterandthatitwas
• 13:41
  extremelydifficultforhimtofollowJohnLasseterto
• 13:44
  follow
• 13:45
  inhisfootsteps,butalso
• 13:46
  carvehisownpathat
• 13:47
  Pixar.Hestartedworking
• 13:49
  onMonsters
• 13:50
  in1996,andshortly
• 13:52
  afterwards,heand
• 13:53
  hiswifeAmanda
• 13:54
  welcomedtheir
• 13:55
  sonCullisinto
• 13:56
  theworld.
• 13:57
  PeteDoctorhasroutinelyinvolvedhisideasof
• 14:00
  parentingandchildrenintohismovies.InsideOut's
• 14:03
  maininspirationforthecharacterof
• 14:04
  RileywasDoctor'sthenpreteendaughter.Butas
• 14:08
  Nicholas
• 14:08
  into
• 14:08
  the
• 14:08
  world.
• 14:09
  theirinfant
• 14:09
  son
• 14:10
  homefromthehospital,thehorrorof
• 14:12
  atinyhumancountingonahugein
• 14:15
  comparisonhumantotakecareof.Itstartedtogethim
• 14:18
  thinkingabout
• 14:19
  Monsters.PeteDocterwouldworkallday
• 14:22
  andhewould
• 14:23
  comehometo
• 14:23
  hissondoingnewthingsandhatedthefactthathewasn'tthere
• 14:27
  foranyofhismilestones.Hewouldsayinan
• 14:30
  interviewwith
• 14:30
  Indiewire.Quote,it
• 14:32
  wasthatstrugglebetween
• 14:33
  thesortofduty
• 14:34
  ofworkandthenthe
• 14:35
  loveofakidthatreallykindofbecametheheartofwhatMonsters
• 14:39
  wasabout,unquote.Theideaforthemoviewasn'tsolely
• 14:43
  doctors,andhe'salwaysrefusedthefull
• 14:45
  credit,
• 14:46
  saying
• 14:46
  thathedevelopedtheideawithstoryartistJeffPidgeon.AndproductiondesignerHarley
• 14:51
  Jessup.Andasthey
• 14:52
  developedtheirideas,they
• 14:53
  wouldtakethemtoJohnLasseter,who
• 14:55
  wouldadvise
• 14:56
  themonhow
• 14:56
  tomakethe
• 14:57
  scriptstronger.Andmonstersevolvedmany
• 15:00
  timesfromthatoriginalpitch.It
• 15:02
  wentfromanaccountantintheir30stoarealityshowwheremonstersscarekidsforfun,tomonsterswhosejobitwastoscarekids.
• 15:12
  Butitwouldstilllookdifferent
• 15:13
  tothefinishedproduct.Therewasno
• 15:15
  Sully,butaclumsymonstercalledJohnson.Johnsonwasactuallymorelikethe
• 15:20
  character
• 15:21
  thatMikeWazowskiwould
• 15:22
  become.Kindoftimidandinspired
• 15:25
  bytherealscarymonstersathis
• 15:27
  work.InsteadofRandall,therewasNed,
• 15:30
  andhewasthetopscareratthecompany.Johnsonwasn'trespected
• 15:34
  andisthreatenedwith
• 15:36
  beingfired.
• 15:37
  Thecharacterthatwould
• 15:38
  become
• 15:39
  Boovariedin
• 15:40
  age
• 15:40
  andgenderovertime,butinthescript
• 15:42
  developerperiodisnamedMary.
• 15:45
  And
• 15:45
  she'solder,aged
• 15:47
  around
• 15:47
  sevenyearsold.
• 15:48
  AndsheendsupscaringJohnsonratherthantheother
• 15:51
  wayaround.Shefollowshimintothemonsterworld,disguisesherselfasamonster
• 15:56
  andstayswithJohnsonandhelpshimscareotherchildren.WhenNedfindsoutabout
• 16:01
  her,
• 16:01
  hecallsthe
• 16:02
  authoritieswho
• 16:03
  arrest
• 16:03
  Johnson,
• 16:04
  andshehelpshim
• 16:05
  escapebybringing
• 16:06
  himintothe
• 16:06
  real
• 16:07
  world.Dr.Wouldcitethe1973filmPaperMoonasinspirationfortheideaofanadultcharactergettingstuck
• 16:15
  withachild
• 16:16
  forafewyears.After1996,thestory
• 16:19
  continued
• 16:19
  toevolve,buttheissueofempathizingwithmonsterskeptcomingup.Throughvariousdrafts,
• 16:25
  Johnsonwentfrombeinga
• 16:26
  janitortoascarabtohisfinalincarnation.Hewasthestarofthecompany
• 16:32
  andthebestscarab.
• 16:33
  Mary
• 16:34
  wentfrombeingasevenyearoldtoathreeyearoldbecause
• 16:38
  the
• 16:38
  youngershewas,themoreshewould
• 16:39
  dependontheoldermonstercharacterJohnson
• 16:43
  became.Sully,
• 16:44
  thecharacterofNedmorphedintoRandallBoggs,who
• 16:47
  Docter
• 16:48
  Would
• 16:48
  cite
• 16:48
  the
• 16:49
  1973
• 16:49
  film
• 16:49
  Paper
• 16:50
  ofasecondbananatoSully.
• 16:52
  Earlierdraftshadhimdressinnice
• 16:54
  suitsandkissuptoWaterloose.And
• 16:57
  themantrafor
• 16:58
  Pixar
• 16:59
  intheseearlydayswasDoIcare?DoIcare?DoIcare?Youhadtocareaboutthese
• 17:05
  monstersdespitethembeingmonsters.Andthatwasalwaysgoing
• 17:09
  tobeatoughthingto
• 17:10
  navigateforTod'sstoryinABug'sLife.
• 17:13
  These
• 17:13
  movieswererootedverymuchintherealworld,whereasMonstersInc.Wouldbe
• 17:17
  basedonitsownmonsterverse.Andanything
• 17:20
  couldgointhatworld,
• 17:21
  whichwasripeforallsorts
• 17:22
  ofstorytelling.In
• 17:25
  May1997,itwaslongtimeDisneyanimatorJoeGrant,whohadstartedworkingat
• 17:30
  Disneyin1933andreconceptualartfor
• 17:33
  theEvil
• 17:33
  QueeninSnowWhiteandthe
• 17:35
  SevenDwarves.
• 17:36
  Whowastheonetosuggest
• 17:37
  thetitle?MonstersInc.Aplayonthe1960film
• 17:41
  MurderInc.Afilmaboutanorganized
• 17:43
  kiss
• 17:44
  up
• 17:44
  to
• 17:45
  Waternoose.
• 17:45
  And
• 17:45
  the
• 17:46
  mantra
• 17:46
  for
• 17:47
  Pixar
• 17:47
  in
• 17:48
  originalidea,AndrewStanton,whohadwrittenthethreepreviousPixar
• 17:52
  featuresandservedas
• 17:53
  executiveproduceronthefilm,
• 17:54
  settowork
• 17:55
  creating
• 17:56
  ascreenplaythatwouldcapturethe
• 17:57
  concept'sspiritandimagination.OnceStantonhad
• 18:01
  established
• 18:01
  thefoundationforthefilm
• 18:02
  through
• 18:03
  severalscreenplaydrafts,heturned
• 18:05
  hisattentiontohisnextproject,FindingNemo,and
• 18:08
  Dan
• 18:08
  Gersonsteppedinto
• 18:10
  writesubsequentversionsofthescreenplay.GersonjoinedPixarin1999andcollaborated
• 18:16
  withbothDr.AndcodirectorDavidSilverman,
• 18:19
  who
• 18:19
  joinedin1998,tofocuson
• 18:21
  Disney
• 18:22
  in
• 18:22
  1933
• 18:22
  and
• 18:23
  drew
• 18:23
  conceptual
• 18:23
  art
• 18:23
  for
• 18:24
  the
• 18:24
  Evil
• 18:24
  Queen
• 18:25
  in
• 18:25
  Snow
• 18:25
  White
• 18:26
  and
• 18:26
  the
• 18:26
  BobPetersonand
• 18:27
  his
• 18:28
  teamwerehelpingtovisualize
• 18:29
  thescriptwithdrawings,
• 18:31
  gags,andlotsofinventiveideas.Alongwithco
• 18:34
  director
• 18:34
  LeeUnkrich,anotherfuturebignameforPixar,eachofthethreedirectorsboughtdifferentstrengths.Silverhadworkedon
• 18:41
  the
• 18:41
  storyandwrotegags.Hehelped
• 18:43
  developthepersonalitiesof
• 18:45
  thecharactersandadded
• 18:46
  agreat
• 18:46
  dealtothe
• 18:46
  film'shumor.Unkrichoversawthe
• 18:49
  editing,stagingand
• 18:50
  cinematography,basically
• 18:53
  doingthesame
• 18:53
  role
• 18:53
  thathehadon
• 18:54
  ToyStory2.Throughoutfirstiterationsofthescreenplay,therewasaSullycharacter
• 19:00
  andaBoocharacter,buttherewasno
• 19:03
  Mike
• 19:03
  Wazowski.Mikewouldn'tevencomeintotheequationuntilastorysummitinApril
• 19:08
  1998,acrash
• 19:10
  exercisetowrite
• 19:11
  aquick
• 19:12
  screenplaywhere
• 19:13
  thegroup
• 19:13
  atthatsummit
• 19:14
  with
• 19:15
  both
• 19:15
  DocterhumourAndcodirectorDavidSilverman,who
• 19:18
  joined
• 19:18
  in
• 19:19
  1998,
• 19:19
  to
• 19:19
  focus
• 19:20
  on
• 19:20
  backgroundcharacter,asphericalcharacter
• 19:23
  withoneeyeandlegs,
• 19:24
  butwithnoarms.Originally,theyjustwantedhimto
• 19:28
  havelegs
• 19:29
  andusehislegsto
• 19:30
  doeverything.
• 19:31
  Butthroughtheprocess,
• 19:32
  theyfound
• 19:32
  that
• 19:33
  alotofexpressionscountontheasymmetryoffacialexpressions.
• 19:36
  Andwith
• 19:37
  thischaracteronlyhavingone
• 19:38
  eye,
• 19:39
  theystruggledtogethimtoemotewithoutarms
• 19:42
  andhands.Sotheyendedupgiving
• 19:44
  himarmsandhands.
• 19:46
  HestartedoutorangeuntilJohnLassetersaidthathelookedlikeanactualorange
• 19:51
  witharmsandlegs.WhenitcametodesigningSully,thenDisneyFeatureAnimationpresidentTomSchumacheradvisedtheteamtonotmakehimlooklikeaguyinasuit.Godzillamightdisagree,andsowouldthepersonwho'dhavetoplaythecharacteratDisneyland.Probablyso.Theyoriginallywentwithtentaclesandmultipleeyes,butthatbecameaestheticallychallenging.Designingamonsterwithtentacleswasonething,butanimatingitwouldbeanother.Thestudioevencreatedatentaclepackageincasetheyweregoingtoanimateacharacterwithlotsofarmsorlegs.But
• 20:26
  Storyboard
• 20:27
  artist
• 20:27
  Ricky
• 20:27
  Nierva
• 20:28
  had
• 20:28
  come
• 20:28
  up
• 20:29
  with
• 20:29
  a
• 20:29
  background
• 20:30
  character,
• 20:30
  a
• 20:30
  spherical
• 20:31
  character
• 20:31
  with
• 20:31
  one
• 20:32
  eye
• 20:32
  and
• 20:33
  legs,
• 20:33
  but
• 20:33
  with
• 20:34
  no
• 20:34
  arms.
• 20:34
  withthechallengeofanimatingatwoleggedcharacterwithfur,withthetentaclepackageusedonbackground
• 20:40
  charactersinstead.Then,aboutadecadeintothefuture,whenPixarwereanimatingthecharacterofHankinFindingDory,everyonewouldciteMonstersInc.Astrailblazing
• 20:51
  inexperimentswithtentacles.ManytestmodelswerebuiltofbothSullyandMike.WhenSullywasJohnson,hewasabrownshorthairedmonsterwithhornsandtheaforementionedgreententacles.Theycollectedallkindsoffursamplesfromllamas,yaks,sheep,goatsandbeartokeephimplayful.Theywentwithamattedmediumlengthfurtomakehimlooklikea
• 21:14
  big
• 21:15
  lovablebear.AfterreviewingversionsofSullythatlookedlikefruit,stripedgumkunners,aleopardandagiraffe,hewouldbecomeabluegreenmonsterwithpurpledotsandtwolegs,notentacles.RickyMiervawastheleadcharacterdesignerforSully,andwhentheyagreedonthedesignofthecharacter,
• 21:33
  theythenhadtomoveontocreatingthatmuchfur.Butbeforewetalkaboutthefur,theyhadtocastthemovie.AndPeteDocter'sfirstchoiceforSullywaswasn'tJohnGoodman,butactuallyBillMurray.Murrayauditioned,screentested
• 21:47
  andwentthroughthewholeprocessrightupuntilDr.Couldn'tevengetholdofhim.BecauseBillMurrayisnotoriouslydifficulttogetholdof.WithMurraynotrespondingtorequeststogetintouch,theymovedonandofferedittoJohnGoodman,whounderstoodthecharacterimmediatelyasthestarquarterbackofScaringforMike.PeteDocterwenttoBillyCrystal,who'dregrettedturning
• 22:11
  downtheroleofBuzzLightyeartheToyStory.Andhewasdelightedtobeaskedandacceptedprettymuchonthespot.BecauseifPixarcomecallingforavoicerole,yousayyes,unlessyou'reBillMurray.ThismoviewouldbeverydifferentwithBillMurrayasSully.Andthisisanotherbuddypairing,similartothebuddypairingthattheyhadinToyStory.AndforToyStory,TomHanksandTimAllenrecordedtheirlinesseparately,which
• 22:37
  wasthenormforanimatedmovies.ButMonstersInc.JohnGoodmanandBillyCrystalnotonlyrecordedtheirlinestogether,they
• 22:46
  wouldimprovtogether,
• 22:47
  leadingtosomeoffthecuffconversations,suchasthe
• 22:51
  Sully
• 22:51
  that
• 22:52
  looked
• 22:52
  like
• 22:52
  fruit,
• 22:53
  striped
• 22:53
  gum
• 22:54
  colours,
• 22:54
  a
• 22:55
  leopard
• 22:55
  and
• 22:55
  a
• 22:56
  giraffe,
• 22:56
  he
• 22:57
  would
• 22:57
  become
• 22:57
  a
• 22:58
  blue
• 22:58
  green
• 22:59
  monster
• 22:59
  with
• 22:59
  purple
• 23:00
  dots
• 23:00
  and
• 23:01
  two
• 23:01
  legs,
• 23:01
  no
• 23:02
  tentacles.
• 23:02
  Ricky
• 23:03
  Nierva
• 23:03
  was
• 23:04
  the
• 23:04
  lead
• 23:04
  character
• 23:05
  designer
• 23:05
  for
• 23:06
  Sully,
• 23:06
  and
• 23:06
  when
• 23:07
  they
• 23:07
  agreed
• 23:08
  on
• 23:08
  the
• 23:08
  design
• 23:09
  of
• 23:09
  the
• 23:10
  character,
• 23:10
  they
• 23:10
  then
• 23:11
  had
• 23:11
  to
• 23:12
  move
• 23:12
  on
• 23:12
  to
• 23:13
  creating
• 23:13
  that
• 23:14
  much
• 23:14
  fur.
• 23:14
  But
• 23:15
  before
• 23:15
  we
• 23:15
  talk
• 23:16
  about
• 23:16
  the
• 23:17
  fur,
• 23:17
  they
• 23:17
  had
• 23:18
  to
• 23:18
  cast
• 23:19
  the
• 23:19
  movie.
• 23:19
  And
• 23:20
  babies.RobGibbshadstartedworkingatPixarasastoryartistonToyStory2andwasworkingonMonstersInc.Andtheyneededalittlegirltocomeinsotheartistcouldsketchan
• 23:32
  process
• 23:33
  right
• 23:33
  up
• 23:34
  until
• 23:34
  Docter
• 23:34
  Couldn'
• 23:35
  even
• 23:35
  get
• 23:36
  hold
• 23:36
  of
• 23:36
  him.
• 23:37
  Because
• 23:38
  Bill
• 23:38
  Murray
• 23:39
  is
• 23:39
  notoriously
• 23:39
  difficult
• 23:40
  to
• 23:40
  get
• 23:41
  hold
• 23:41
  of.
• 23:42
  With
• 23:42
  Murray
• 23:43
  not
• 23:43
  responding
• 23:44
  to
• 23:44
  requests
• 23:45
  to
• 23:45
  get
• 23:45
  in
• 23:46
  touch,
• 23:46
  they
• 23:47
  moved
• 23:47
  shekneweveryoneandwasverycomfortableintheirpresence.ManyoftherecordingscapturedofMaryarecompletelyorganic,justrecordingsofofalittlegirlhavingfun.Notthatitwaseasy
• 23:59
  torecordatwoyearold.Theydon'ttendtositstill.Mary'srecordingswere
• 24:04
  sogoodthatshewascastasBoointheearlyproductionofMonsters,Inc.
• 24:08
  InNovember2000,Pixaractuallypackedupandmovedover500employeesfromPointRichmond
• 24:15
  toamuchbiggercampusinEmeryville,California,codesignedbyJohnLasseterandSteveJobs.Sowhilethisproductionwasgoingon,theywerealsomovingstudioaswell.OneofthebigproblemsthattheyhadonMonstersInc.Wasmakingthefurmoverealistically.Sollyisan8foottallhornedmonsterwitha700poundbodycoveredinbluegreenfur.Havinganimatorsanimatehisfurbyhandwouldhavebeenanimpossibletask.Developing
• 24:46
  hairsimulationsoftwarethatcancontrolhairmovementwasthe
• 24:50
  answer.Otherstudioshadtackledrealisticfur,mostnotablyrhythmandhuesinits1993PolarBearcommercialsforCocaColaandinitstalkinganimalfacesinthe1995filmBabe.However,renderingthecharactersofMonsters,Inc.Requiredfuronamuchlargerscale.Sullywouldhave2,320,413individualhairsonhisbodyandtheyhadtomakesurethatthehairscastshadowsonotheronesandthatthehairsreactedcorrectly
• 25:24
  tolighting.
• 25:25
  AprogramcalledDeepShadowingwascreatedto
• 25:28
  helpachievetheeffect.Theyalsodevelopedanewsystemforfog,smoke,steamandotheratmosphericshadingeffects.Evenvariationsinsnowwerephysicallyimpossibletoachieve.BeforeMonsters,Inc.Thescene
• 25:43
  whereSullycrashesoutinthesnowwasoneofthemosttechnologicallyadvancedscenesinthemoviebecauseitinvolvedfurreactingtowindandsnow.They
• 25:52
  alsocreatedoveramillionindividualsnowflakes.SohowdidtheyCreatethefurforSully.Well,theystartedwithcreatingaballoffur,andthentheyransimulationswiththatfur,reactingtocertainmovements.Theymadethefurwetandslimy.Theybraidedit.Theanimatorsgrewsoattachedtothefurballthattheymademonsterswithit.Mostobviously
• 26:15
  oneoftheothermonstersonthescarefloorwhoisafurballwithtentacles.Sothey'rebasicallyjusttakingalloftheunusedstuff
• 26:22
  andjustaddingittomakeothermonsters.Theywouldrunmultiplesimulationsofthefurondifferentscenariostoseehowitmovedandinteractedwithotherthings.SotheytestSullywalking,running,jumping,scratchingandclapping,andtesttheweightofthefur.Sollyalsorananobstaclecourse,butthefirsttimeheranit,thefurwouldglitch,stretch,and
• 26:47
  catchonobjects.Insteadofanimatingeachhaironebyone,Pixarcomputerscientistscreatedaprogramcalledfizzt,shortforPhysicsTool,whichwouldautomatethemovementofSully'shairsbasedonwhat'shappeninginanygivenscene.Pixarwouldlaterusethesamesystemtosimulate
• 27:06
  realisticfuronanimalcharacters
• 27:08
  likeRemythe
• 27:09
  ratinRatatouilleandDougthedoginUp.Fistwouldcreatehowhairmoveswithacharacter'smovements,orhowhairscollectivelyrespondtoforceslikegravity,wind,orsnow.PixarwoulduseFistonitsfuturemoviestogiverealisticmovementstoeverythingfromhumanfleshfabrics,watertooctopustentacles.IttookabouttwoyearstowritetheclothsimulationsoftwareusedinMonsters,Inc.Thechallengewastryingtomakeaphysicalsimulationworkinacartoonworld.Blue'sTshirthadtorespondtothebodymovingunderneathanditnotbedistractinginanyway.They
• 27:48
  hadtoconsiderthedensityandweightofthefabric,howgravityaffectsit,andhowquicklythefoldspullout.Whenherbodystopsmoving,theshirthadtostopmovingaswell.GoingfromToyStory'splasticbodiestoabug's
• 28:01
  life'sexoskeletons.
• 28:03
  Monsters,Inc.WasthefirsttimePixarhadflexiblebodiestoworkwith.Everymaincharacterinthemovie
• 28:10
  haditsownleadanimator.JohnCarsonSully,AndrewGordononMike,andDaveDivanonBoo.Andthiswasthefirsttimein
• 28:18
  Pixar'shistorythateachcharacterhadaleadanimator.LateriterationsofSullyalso
• 28:24
  hadhimwearing
• 28:25
  apairofblackglasses,butthesewereremovedbecausePixarwantedhiseyestobereadableandanditwasfeltglassestookawayfromthat.TodesignMonstropolis,theproductionteamofHarleyJessupandBobPauleywenttolocalFactories,refineries,assemblyplants,blimphangers,andotherindustrialsitesthatcouldinspiretheirdesigns.AdjacenttotheoldPixarstudiosinPointRichmondwas
• 28:49
  aChevronrefinery,andthatprovidedgoodresearchwithitsmazeofpipesandstructuresfortransportinggas.AtJohnLasseter'surging,theproductiondesignerstookafieldtriptoPittsburghtoobservefirsthandwhatanoldercompanytownbuiltaroundfactoriesmightlooklike.Inspirationfortheindividualworkstationsonthestair
• 29:09
  floorcamefromclassicbowlingalleydesigns.TheyenvisionedtheMonstersInc.Factoryasa60seraModernistbuildingandthesurroundingcityhavingbuildingsofover100yearsoldandslightlyrundownbuildingsstrugglingtosurviveanenergyshortage.Aschildrenbecome
• 29:26
  first
• 29:27
  time
• 29:27
  he
• 29:28
  ran
• 29:28
  it,
• 29:29
  the
• 29:29
  fur
• 29:29
  would
• 29:30
  glitch,
• 29:30
  stretch,
• 29:31
  and
• 29:31
  catch
• 29:32
  on
• 29:32
  objects.
• 29:32
  Instead
• 29:33
  of
• 29:34
  animating
• 29:34
  each
• 29:34
  hair
• 29:35
  one
• 29:35
  by
• 29:36
  one,
• 29:36
  Pixar
• 29:37
  computer
• 29:37
  scientists
• 29:37
  created
• 29:38
  a
• 29:38
  program
• 29:39
  called
• 29:39
  Fizt,
• 29:40
  short
• 29:40
  for
• 29:40
  Physics
• 29:41
  Tool,
• 29:41
  which
• 29:42
  would
• 29:42
  automate
• 29:42
  the
• 29:43
  movement
• 29:43
  of
• 29:44
  Sully's
• 29:44
  hairs
• 29:45
  based
• 29:45
  on
• 29:45
  what's
• 29:46
  happening
• 29:46
  in
• 29:47
  any
• 29:47
  given
• 29:48
  scene.
• 29:48
  thatwouldrunonmonorailtracks.Fizzedalsocameinhere.Withthesoftwaregeneratingmillionsofuniquedoorsandthe
• 29:56
  in
• 29:56
  Ratatouille
• 29:57
  and
• 29:57
  Doug
• 29:57
  the
• 29:58
  dog
• 29:58
  in
• 29:59
  Up.
• 29:59
  Fizt
• 30:00
  would
• 30:00
  create
• 30:01
  how
• 30:01
  hair
• 30:02
  moves
• 30:02
  with
• 30:03
  a
• 30:03
  character's
• 30:03
  movements,
• 30:04
  or
• 30:04
  how
• 30:05
  hairs
• 30:05
  collectively
• 30:06
  respond
• 30:06
  to
• 30:07
  forces
• 30:07
  like
• 30:08
  gravity,
• 30:08
  wind,
• 30:08
  or
• 30:09
  snow.
• 30:09
  Pixar
• 30:10
  would
• 30:10
  use
• 30:11
  Fizt
• 30:11
  on
• 30:11
  its
• 30:11
  future
• 30:12
  movies
• 30:12
  to
• 30:13
  give
• 30:13
  realistic
• 30:13
  movements
• 30:14
  to
• 30:14
  everything
• 30:15
  from
• 30:15
  human
• 30:15
  flesh
• 30:16
  fabrics,
• 30:16
  water
• 30:16
  to
• 30:17
  octopus
• 30:17
  tentacles.
• 30:18
  It
• 30:18
  took
• 30:19
  about
• 30:19
  two
• 30:19
  years
• 30:20
  to
• 30:20
  write
• 30:21
  ambianceofthefilm.Fundamentally,theywantedtheMonsterstobethemostcolourfulthingsinMonstropolis.So
• 30:28
  thecitywas
• 30:28
  colouredsomewhatmuted.Thebrightercolours
• 30:31
  weresavedforthecharactersthemselves,sotheywouldreallystandout.Andthecityitselfhassomefunadditionsandpuns,likeTony'sgroceryspelled
• 30:40
  GRO
• 30:41
  SSERYratherthanGROCERY.AswellastherestaurantHarryhausen's,namedofcourse,inhomagetoRayHarryhausen.ThesceneinwhichtheHarryhausen'srestaurantwasdecontaminatedwasoriginallygoingto
• 30:55
  feature
• 30:55
  therestaurantbeingblownup.Andthisscenewasanimatedandfinished.Butthen911happenedandtheanimation
• 31:02
  wasquicklyredoneandtheexplosionwasreplacedbyaplasmadometoavoidupsettingviewers.OneofthemajornewtechnicalinnovationsofMonsters,
• 31:11
  Inc.Wasthecreationofanewdepartmenttokeeptrackofalloftheelementsthatgointocreatingashot,
• 31:17
  appropriatelycalledtheshotsdepartment.ThisareawasunderthesupervisionofsimulationandeffectssupervisorGalenSussman.Ateamofsevensequencesupervisorsand
• 31:27
  16shotsupervisorsworkedonherteamtoassembleandrendereveryshotinthefilm.GalenSussmanwasthe
• 31:34
  personresponsibleforsavingToyStory2.
• 31:37
  Thestoryofthat'sinepisode112,andshewasactuallylaidofffromPixarin2023afterworkingatthecompany
• 31:45
  foralmost30years.AndthiswasPixar'srealventure
• 31:49
  intoaworldotherthanourown.AndMonstropolis
• 31:53
  isbeautifullyrealized.It'sasimilarworldtoourown,butcaterstomonsters,both
• 31:58
  tiny,large,slimyandfurry,butenvironmentallyclosetoourown.Monsterscan
• 32:03
  traveltoourworldandstillbreatheourair.Forexample,Boo
• 32:07
  canrunriotthroughtheMonstropoliscitycenter,butthere'sstilltoiletstorelieveherself.Thisisaworldofshowing,nottelling.There'snoroomforexposition.Youunderstandthescarefloorandhowitallworksimmediately.Andthebrightcolorsaren'tjustlimitedtothemovieitself,butalsoitstitles.PeteDocterisafanofthe
• 32:27
  modernlooking2Danimationofthe1950s,animationthatcallsbackDisneytoitself.InmovieslikeSleepingBeauty,thetitlesequenceintentionallypayshomagetotheworkofgraphicdesignerandfilmmakerSaulBassBass.MostfamoustitlesequencesincludeAlfredHitchcock'snorthbyNorthwestandPsycho,andthetitlesequence
• 31:53
  wasdesignedbyanimatorandillustratorG.FreeBodo.Anditistimetosegueintotheveryfirstobligatory
• 32:56
  KEANUreference
• 32:57
  of2026.
• 32:59
  Now,ifyou'renewhereandyoudon'tknow
• 33:01
  whatthat'sit,whatthisis,thisisapartofthepodcastwhereItry
• 33:04
  individual
• 33:05
  doors
• 33:05
  that
• 33:05
  would
• 33:06
  run
• 33:06
  on
• 33:07
  monorail
• 33:07
  tracks.
• 33:07
  Fizt
• 33:08
  also
• 33:08
  came
• 33:08
  in
• 33:09
  here.
• 33:09
  With
• 33:10
  continuestobethebestofmen.Ican't
• 33:13
  of
• 33:13
  unique
• 33:14
  doors
• 33:14
  and
• 33:14
  the
• 33:15
  realistic
• 33:15
  movement
• 33:16
  of
• 33:16
  doors
• 33:16
  on
• 33:17
  tracks.
• 33:17
  They
• 33:18
  mixed
• 33:18
  and
• 33:18
  matched
• 33:19
  26
• 33:19
  colours,
• 33:20
  12
• 33:20
  styles
• 33:21
  and
• 33:21
  eight
• 33:21
  wood
• 33:22
  colourscolourwithvariousdoorknobsanddecals.
• 33:25
  Jessup
• 33:26
  worked
• 33:26
  closely
• 33:27
  with
• 33:27
  art
• 33:28
  director
• 33:28
  Tia
• 33:29
  Kratter
• 33:29
  to
• 33:30
  define
• 33:30
  the
• 33:31
  colourcentrepaletteandshadingtexturesforthe
• 33:35
  characters
• 33:35
  and
• 33:36
  the
• 33:36
  sets.
• 33:37
  Dominique
• 33:38
  served
• 33:39
  asartdirectoron
• 33:41
  thefilm,didlightingstudiesandbeautifulpasteldrawingstohelpdefinetheoverallambiance
• 33:48
  ofthefilm.Fundamentally,theywantedtheMonsters
• 33:51
  tobethemostcolourfulthings
• 33:54
  inMonstropolis.
• 33:55
  So
• 33:56
  the
• 33:56
  city
• 33:57
  wascolouredsomewhat
• 33:58
  muted.Thebrightercoloursweresavedforthecharactersthemselves,sotheywouldreallystandout.Andthecityitselfhassomefunadditions
• 34:10
  andpuns,likeTony'sgroceryspelled
• 34:13
  GRO
• 34:14
  SSER
• 34:16
  YratherthanGROC
• 34:20
  ERY.AswellastherestaurantHarryhausen's,namedofcourse,
• 34:26
  inhomagetoRay
• 34:28
  Harryhausen.The
• 34:29
  scene
• 34:29
  inwhichtheHarryhausen'srestaurantwasdecontaminatedwasoriginally
• 34:33
  goingtofeaturetherestaurantbeingblownup.Andthisscene
• 34:39
  wasanimatedandfinished.Butthen911happenedandthe
• 34:44
  animationwasquickly
• 34:45
  redoneandtheexplosionwasreplacedby
• 34:49
  aplasmadometo
• 34:50
  avoid
• 34:51
  upsettingviewers.Oneofthemajor
• 34:54
  newtechnicalinnovationsof
• 34:56
  Monsters,
• 34:57
  Inc.Wasthecreation
• 34:59
  lawsuit.ThelawsuitwasfiledbyLaurieMadrid,writer
• 35:03
  to
• 35:03
  avoid
• 35:04
  upsetting
• 35:04
  viewers.
• 35:05
  One
• 35:05
  of
• 35:06
  the
• 35:06
  major
• 35:07
  new
• 35:07
  technical
• 35:07
  innovations
• 35:08
  of
• 35:08
  Monsters,
• 35:09
  Inc.
• 35:09
  Was
• 35:10
  the
• 35:10
  creation
• 35:10
  of
• 35:11
  a
• 35:11
  new
• 35:12
  department
• 35:12
  to
• 35:13
  keep
• 35:13
  track
• 35:13
  of
• 35:14
  all
• 35:14
  of
• 35:15
  the
• 35:15
  elements
• 35:16
  that
• 35:16
  go
• 35:16
  into
• 35:17
  creating
• 35:17
  a
• 35:18
  shot,
• 35:18
  appropriately
• 35:19
  called
• 35:19
  the
• 35:19
  shots
• 35:20
  department.
• 35:20
  This
• 35:21
  area
• 35:21
  was
• 35:22
  under
• 35:22
  the
• 35:22
  supervision
• 35:23
  of
• 35:23
  simulation
• 35:24
  and
• 35:24
  effects
• 35:25
  supervisor
• 35:25
  Galen
• 35:25
  Sussman.
• 35:26
  A
• 35:27
  team
• 35:27
  of
• 35:28
  seven
• 35:28
  sequence
• 35:28
  supervisors
• 35:29
  and
• 35:29
  16
• 35:30
  shot
• 35:30
  supervisors
• 35:30
  worked
• 35:31
  on
• 35:31
  her
• 35:32
  team
• 35:32
  to
• 35:33
  assemble
• 35:33
  and
• 35:33
  render
• 35:34
  every
• 35:34
  shot
• 35:35
  in
• 35:35
  the
• 35:36
  film.
• 35:36
  Galen
• 35:36
  Sussman
• 35:37
  was
• 35:37
  the
• 35:38
  person
• 35:38
  responsible
• 35:39
  for
• 35:39
  saving
• 35:39
  Toy
• 35:40
  Story
• 35:40
  2.
• 35:41
  The
• 35:42
  story
• 35:42
  of
• 35:42
  that's
• 35:43
  in
• 35:43
  episode
• 35:44
  112,
• 35:44
  and
• 35:45
  she
• 35:45
  was
• 35:45
  actually
• 35:46
  laid
• 35:46
  off
• 35:47
  from
• 35:47
  Pixar
• 35:48
  in
• 35:48
  2023
• 35:48
  after
• 35:49
  working
• 35:49
  at
• 35:50
  the
• 35:50
  company
• 35:51
  for
• 35:51
  almost
• 35:51
  30
• 35:52
  years.
• 35:52
  And
• 35:53
  this
• 35:53
  was
• 35:54
  Pixar's
• 35:54
  real
• 35:54
  venture
• 35:55
  into
• 35:55
  a
• 35:56
  world
• 35:56
  other
• 35:56
  than
• 35:57
  our
• 35:57
  own.
• 35:58
  And
• 35:58
  Monstropolis
• 35:59
  is
• 35:59
  beautifully
• 35:59
  realized.
• 36:00
  It's
• 36:01
  a
• 36:01
  similar
• 36:02
  world
• 36:02
  to
• 36:02
  our
• 36:03
  own,
• 36:03
  but
• 36:04
  caters
• 36:04
  to
• 36:05
  monsters,
• 36:05
  both
• 36:05
  tiny,
• 36:06
  large,
• 36:06
  slimy
• 36:07
  and
• 36:07
  furry,
• 36:08
  but
• 36:08
  environmentally
• 36:08
  close
• 36:09
  to
• 36:09
  our
• 36:10
  own.
• 36:10
  Monsters
• 36:11
  can
• 36:11
  travel
• 36:11
  to
• 36:12
  our
• 36:12
  world
• 36:13
  and
• 36:13
  still
• 36:14
  breathe
• 36:14
  our
• 36:14
  air.
• 36:15
  For
• 36:16
  example,
• 36:16
  Boo
• 36:17
  can
• 36:17
  run
• 36:17
  riot
• 36:18
  through
• 36:18
  the
• 36:19
  Monstropolis
• 36:19
  city
• 36:19
  centrecolours,butthere'sstilltoilets
• 36:22
  torelieveherself.This
• 36:23
  is
• 36:24
  a
• 36:24
  world
• 36:25
  of
• 36:25
  showing,
• 36:25
  not
• 36:26
  telling.
• 36:26
  There's
• 36:27
  no
• 36:27
  room
• 36:28
  for
• 36:28
  exposition.
• 36:28
  You
• 36:29
  understand
• 36:29
  the
• 36:30
  scare
• 36:30
  floor
• 36:31
  and
• 36:31
  how
• 36:31
  it
• 36:32
  all
• 36:32
  works
• 36:33
  immediately.
• 36:33
  And
• 36:34
  the
• 36:34
  bright
• 36:35
  coloursfavouraren't
• 36:36
  justlimitedtothemoviebutalso
• 36:39
  its
• 36:40
  titles.PeteDocterisafanofthe
• 36:43
  modernlooking2D
• 36:44
  animationofthe
• 36:45
  1950s,animation
• 36:46
  thatcallsbackDisneytoitself.Inmovies
• 36:50
  likeSleepingBeauty,thetitlesequenceintentionallypayshomageto
• 36:54
  theworkofgraphicdesignerand
• 36:57
  filmmaker
• 36:57
  SaulBass
• 36:58
  Bass.MostfamoustitlesequencesincludeAlfredHitchcock'snorthbyNorthwestandPsycho,andthetitlesequencewasdesignedby
• 37:07
  animatorandillustratorG.
• 37:09
  FreeBodo.Anditistimeto
• 37:12
  segueintothe
• 37:13
  veryfirstobligatoryKEANUreferenceof
• 37:16
  2026.
• 37:16
  Now,if
• 37:17
  you'renewhereand
• 37:19
  youdon't
• 37:20
  know
• 37:20
  whatthat'sit,whatthisis,thisisapart
• 37:25
  ofthe
• 37:26
  podcast
• 37:26
  whereI
• 37:27
  try
• 37:27
  andlinkevery
• 37:29
  movie
• 37:29
  that
• 37:29
  IfeaturewithKeanuReevesfornoreason
• 37:33
  otherthan
• 37:34
  he
• 37:34
  isthebestof
• 37:36
  menandcontinues
• 37:37
  tobe
• 37:38
  thebestofmen.Ican'treallylinkhimtoPixarunlessIgo
• 37:44
  theToyStory4route,which
• 37:47
  to
• 37:47
  behonest,I'vedoneafewtimes,so
• 37:51
  Ifeel
• 37:52
  likeIcan'treally
• 37:53
  dothatanymore.
• 37:54
  ButbothKeanuandJohnGoodman
• 37:57
  haveappearedinWaitingforGodot.Keanurecentlyon
• 38:01
  Broadwayin2025withhisbill
• 38:04
  andTed
• 38:05
  costar
• 38:06
  AlexWinter,andGoodmanonBroadwayin
• 38:09
  2009
• 38:09
  withBillIrwin,
• 38:10
  JohnGloverandNathanLane.
• 38:12
  Ihaveto
• 38:14
  add,I'venot
• 38:15
  seenWaitingfor
• 38:16
  Godot.Idon'tthinkit'sanythinglike
• 38:19
  MonstersInc.IfI'mbeingcompletely
• 38:22
  honest.
• 38:22
  Butmovingon
• 38:24
  to
• 38:24
  themusic,
• 38:25
  becauseMonstersInc.Marksthe
• 38:27
  fourth
• 38:28
  feature
• 38:28
  film
• 38:29
  collaborationbetweenPixarandacclaimedcomposerand
• 38:32
  songwriter
• 38:32
  RandyNewman,anditwould
• 38:34
  give
• 38:35
  himhis
• 38:35
  first
• 38:36
  Academyawardwinafter16nominations
• 38:38
  to
• 38:39
  the
• 38:39
  music,
• 38:40
  because
• 38:40
  Monsters
• 38:41
  Inc.
• 38:41
  Marks
• 38:41
  the
• 38:42
  fourth
• 38:42
  feature
• 38:43
  film
• 38:43
  collaboration
• 38:44
  between
• 38:44
  Pixar
• 38:45
  and
• 38:45
  acclaimed
• 38:45
  composer
• 38:46
  and
• 38:46
  songwriter
• 38:47
  Randy
• 38:47
  Newman,
• 38:48
  and
• 38:48
  it
• 38:49
  would
• 38:49
  give
• 38:49
  him
• 38:50
  his
• 38:50
  first
• 38:51
  Academy
• 38:51
  award
• 38:52
  win
• 38:52
  after
• 38:53
  16
• 38:53
  nominations
• 38:53
  for
• 38:54
  best
• 38:54
  Original
• 38:55
  Song
• 38:55
  for
• 38:56
  the
• 38:56
  song
• 38:57
  if
• 38:57
  I
• 38:57
  Didn't
• 38:58
  have
• 38:58
  you
• 38:59
  sung
• 38:59
  by
• 39:00
  John
• 39:00
  Goodman
• 39:01
  and
• 39:01
  Billy
• 39:01
  Crystal.
• 39:02
  Newman
• 39:02
  also
• 39:03
  composed
• 39:03
  the
• 39:04
  score,
• 39:04
  a
• 39:05
  mix
• 39:05
  of
• 39:05
  1940s
• 39:06
  jazz
• 39:06
  and
• 39:07
  big
• 39:07
  band
• 39:08
  influences.
• 39:08
  He
• 39:09
  would
• 39:09
  also
• 39:09
  win
• 39:10
  a
• 39:10
  Grammy
• 39:11
  for
• 39:11
  the
• 39:12
  song
• 39:12
  too.
• 39:13
  So
• 39:13
  Pixar
• 39:14
  released
• 39:14
  an
• 39:15
  early
• 39:15
  teaser
• 39:16
  trailer
• 39:16
  for
• 39:17
  Monsters,
• 39:17
  Inc.
• 39:17
  In
• 39:18
  October
• 39:18
  2000,
• 39:19
  which
• 39:19
  was
• 39:20
  distributed
• 39:20
  online
• 39:21
  and
• 39:21
  included
• 39:21
  on
• 39:22
  home
• 39:22
  video
• 39:23
  releases
• 39:23
  of
• 39:24
  Toy
• 39:24
  Story
• 39:25
  2.
• 39:25
  It
• 39:26
  was
• 39:26
  later
• 39:27
  attached
• 39:27
  to
• 39:28
  102
• 39:28
  Dalmatians
• 39:29
  theatrically
• 39:29
  and
• 39:29
  also
• 39:30
  appeared
• 39:30
  on
• 39:31
  the
• 39:31
  Emperor's
• 39:32
  New
• 39:32
  Grief
• 39:33
  DVD
• 39:33
  in
• 39:33
  May
• 39:34
  2001
• 39:34
  because
• 39:35
  DVDs
• 39:35
  did
• 39:36
  used
• 39:36
  to
• 39:37
  include
• 39:37
  trailers
• 39:37
  at
• 39:38
  one
• 39:38
  point
• 39:39
  in
• 39:39
  time.
• 39:40
  Another
• 39:40
  trailer
• 39:41
  premiered
• 39:41
  in
• 39:41
  cinemas
• 39:42
  in
• 39:42
  June
• 39:43
  2001
• 39:43
  with
• 39:44
  Atlantis
• 39:44
  the
• 39:45
  Lost
• 39:45
  Empire.
• 39:45
  I
• 39:46
  am
• 39:46
  just
• 39:47
  listing
• 39:47
  previous
• 39:48
  episodes
• 39:48
  of
• 39:49
  this
• 39:49
  podcast
• 39:49
  here.
• 39:50
  Monsters
• 39:51
  Inc.
• 39:51
  Premiered
• 39:52
  at
• 39:52
  the
• 39:53
  El
• 39:53
  Capitan
• 39:53
  Theatre
• 39:54
  in
• 39:54
  Hollywood
• 39:55
  on
• 39:55
  28
• 39:56
  October
• 39:56
  2001,
• 39:57
  but
• 39:57
  the
• 39:57
  release
• 39:58
  of
• 39:58
  the
• 39:59
  movie
• 39:59
  was
• 40:00
  almost
• 40:00
  delayed
• 40:01
  by
• 40:01
  a
• 40:01
  lawsuit.
• 40:02
  The
• 40:02
  lawsuit
• 40:03
  was
• 40:03
  filed
• 40:04
  by
• 40:04
  Laurie
• 40:05
  Madrid,
• 40:05
  writer
• 40:05
  of
• 40:06
  a
• 40:06
  short
• 40:07
  story
• 40:07
  called
• 40:08
  There's
• 40:08
  a
• 40:08
  Boy
• 40:09
  in
• 40:09
  My
• 40:10
  Closet.
• 40:10
  The
• 40:11
  lawsuit
• 40:12
  named
• 40:12
  Pixar,
• 40:12
  Disney
• 40:13
  and
• 40:13
  Chronicle
• 40:14
  Books
• 40:14
  as
• 40:15
  defendants,
• 40:15
  and
• 40:16
  it
• 40:16
  was
• 40:16
  claimed
• 40:17
  that
• 40:17
  they
• 40:18
  had
• 40:18
  stolen
• 40:19
  Madrid's
• 40:19
  story
• 40:20
  and
• 40:20
  used
• 40:20
  it
• 40:21
  as
• 40:21
  inspiration
• 40:22
  for
• 40:22
  Monsters,
• 40:23
  Inc.
• 40:23
  Madrid
• 40:24
  wrote
• 40:24
  the
• 40:24
  short
• 40:25
  story
• 40:25
  in
• 40:26
  1999
• 40:26
  and
• 40:27
  sent
• 40:27
  it
• 40:28
  to
• 40:28
  many
• 40:28
  publishers,
• 40:29
  including
• 40:29
  Chronicle
• 40:30
  Books.
• 40:30
  Madrid
• 40:31
  believed
• 40:32
  Chronicle
• 40:32
  Books
• 40:32
  forwarded
• 40:33
  it
• 40:33
  to
• 40:34
  Pixar,
• 40:34
  who
• 40:35
  then
• 40:35
  used
• 40:36
  it
• 40:36
  to
• 40:36
  come
• 40:37
  up
• 40:37
  with
• 40:38
  Monsters,
• 40:38
  Inc.
• 40:39
  Madrid
• 40:39
  requested
• 40:40
  a
• 40:40
  preliminary
• 40:40
  injunction
• 40:41
  to
• 40:41
  block
• 40:42
  the
• 40:42
  release
• 40:43
  of
• 40:43
  the
• 40:44
  film
• 40:44
  until
• 40:44
  the
• 40:45
  court
• 40:45
  case
• 40:46
  was
• 40:46
  complete.
• 40:47
  So
• 40:48
  on
• 40:48
  the
• 40:48
  1st
• 40:49
  of
• 40:49
  November
• 40:50
  2001,
• 40:50
  the
• 40:51
  day
• 40:51
  before
• 40:52
  the
• 40:52
  film's
• 40:52
  release,
• 40:53
  the
• 40:53
  film's
• 40:54
  director,
• 40:54
  Pete
• 40:55
  Docter,
• 40:55
  and
• 40:56
  Dick
• 40:56
  Cook,
• 40:56
  chairman
• 40:57
  of
• 40:57
  Disney's
• 40:58
  Motion
• 40:58
  Pictures
• 40:59
  Group,
• 40:59
  appeared
• 41:00
  before
• 41:00
  a
• 41:00
  judge
• 41:01
  in
• 41:01
  a
• 41:02
  Wyoming
• 41:02
  courthouse.
• 41:03
  Both
• 41:04
  Doctor
• 41:04
  and
• 41:04
  Cult
• 41:05
  took
• 41:05
  the
• 41:06
  stand
• 41:06
  and
• 41:07
  doctor
• 41:07
  explained
• 41:08
  that
• 41:08
  Madrid's
• 41:08
  book
• 41:09
  had
• 41:09
  no
• 41:10
  impact
• 41:10
  on
• 41:11
  the
• 41:11
  Monsters,
• 41:12
  Inc.
• 41:12
  Story
• 41:12
  or
• 41:13
  film
• 41:13
  development
• 41:14
  and
• 41:14
  how
• 41:15
  the
• 41:15
  development
• 41:16
  of
• 41:16
  the
• 41:16
  film
• 41:17
  had
• 41:17
  begun
• 41:18
  years
• 41:18
  before
• 41:19
  Madrid
• 41:19
  wrote
• 41:20
  her
• 41:20
  story.
• 41:20
  After
• 41:21
  an
• 41:22
  entire
• 41:22
  day
• 41:23
  in
• 41:23
  court,
• 41:24
  the
• 41:24
  judge
• 41:24
  ruled
• 41:25
  in
• 41:25
  favour
• 41:26
  of
• 41:26
  Pixar
• 41:27
  and
• 41:27
  Disney
• 41:28
  and
• 41:28
  denied
• 41:28
  Madrid's
• 41:29
  request
• 41:29
  for
• 41:30
  an
• 41:30
  injunction
• 41:31
  on
• 41:31
  the
• 41:32
  release
• 41:32
  of
• 41:32
  Monsters
• 41:33
  Inc.
• 41:33
  So
• 41:34
  it
• 41:34
  was
• 41:35
  released
• 41:35
  the
• 41:36
  following
• 41:36
  day
• 41:36
  on
• 41:37
  2
• 41:37
  November
• 41:38
  2001,
• 41:38
  and
• 41:39
  the
• 41:39
  cinema
• 41:40
  release
• 41:40
  was
• 41:40
  accompanied
• 41:41
  by
• 41:41
  Pixar
• 41:42
  short
• 41:42
  for
• 41:43
  the
• 41:43
  Birds.
• 41:44
  It
• 41:44
  opened
• 41:45
  at
• 41:45
  number
• 41:46
  one
• 41:46
  at
• 41:47
  the
• 41:47
  box
• 41:48
  office,
• 41:48
  stayed
• 41:48
  at
• 41:49
  number
• 41:49
  one
• 41:50
  for
• 41:50
  two
• 41:51
  weeks
• 41:51
  before
• 41:52
  being
• 41:52
  dethroned
• 41:52
  by
• 41:53
  Harry
• 41:53
  Potter
• 41:54
  and
• 41:54
  the
• 41:55
  Philosopher's
• 41:55
  Stone,
• 41:56
  or
• 41:56
  Sorcerer's
• 41:56
  Stone.
• 41:57
  It
• 41:57
  would
• 41:58
  stay
• 41:58
  in
• 41:59
  the
• 41:59
  top
• 41:59
  10
• 42:00
  for
• 42:00
  10
• 42:01
  weeks.
• 42:01
  At
• 42:02
  the
• 42:03
  time,
• 42:03
  Monsters
• 42:03
  Inc.
• 42:04
  Held
• 42:04
  the
• 42:05
  record
• 42:05
  for
• 42:06
  having
• 42:06
  the
• 42:07
  biggest
• 42:07
  opening
• 42:07
  weekend
• 42:08
  worldwide
• 42:08
  of
• 42:09
  an
• 42:09
  animated
• 42:10
  film,
• 42:10
  making
• 42:11
  $84.8
• 42:11
  million.
• 42:11
  That
• 42:12
  was
• 42:12
  surpassed
• 42:13
  in
• 42:13
  2007
• 42:14
  with
• 42:14
  the
• 42:15
  Simpsons
• 42:15
  Movie,
• 42:15
  which
• 42:16
  David
• 42:16
  Silverman
• 42:17
  also
• 42:17
  directed.
• 42:18
  Monsters
• 42:19
  Inc.
• 42:19
  Was
• 42:19
  also
• 42:20
  the
• 42:20
  last
• 42:21
  Pixar
• 42:21
  movie
• 42:22
  to
• 42:22
  include
• 42:23
  a
• 42:23
  blooper
• 42:23
  reel
• 42:24
  until
• 42:24
  they
• 42:25
  reintroduced
• 42:25
  them
• 42:26
  for
• 42:26
  Elio
• 42:27
  in
• 42:27
  2025.
• 42:27
  The
• 42:28
  Incredibles
• 42:28
  technically
• 42:29
  also
• 42:29
  had
• 42:30
  animated
• 42:30
  outtakes,
• 42:31
  but
• 42:31
  those
• 42:31
  were
• 42:32
  part
• 42:32
  of
• 42:33
  the
• 42:33
  actual
• 42:34
  film
• 42:34
  and
• 42:35
  were
• 42:35
  only
• 42:35
  available
• 42:36
  on
• 42:36
  the
• 42:37
  DVD
• 42:37
  release.
• 42:38
  Monsters
• 42:39
  Inc's
• 42:39
  blooper
• 42:39
  reel
• 42:40
  includes
• 42:40
  the
• 42:41
  reveal
• 42:41
  of
• 42:42
  the
• 42:42
  renowned
• 42:43
  company
• 42:43
  play
• 42:43
  by
• 42:44
  the
• 42:44
  Monsters
• 42:45
  Inc.
• 42:45
  Company
• 42:46
  players.
• 42:46
  Put
• 42:47
  that
• 42:47
  thing
• 42:48
  back
• 42:48
  where
• 42:49
  it
• 42:49
  came
• 42:50
  from
• 42:50
  Also
• 42:51
  help
• 42:51
  me
• 42:51
  on
• 42:52
  its
• 42:52
  115
• 42:53
  million
• 42:53
  dollar
• 42:54
  budget,
• 42:54
  Monsters
• 42:55
  Ink
• 42:55
  would
• 42:55
  gross
• 42:56
  255.9
• 42:56
  million
• 42:57
  dollars
• 42:57
  domestically
• 42:58
  and
• 42:58
  272.9
• 42:59
  million
• 42:59
  dollars
• 42:59
  internationally
• 43:00
  for
• 43:00
  a
• 43:01
  total
• 43:01
  worldwide
• 43:02
  gross
• 43:02
  of
• 43:03
  528.8
• 43:03
  million
• 43:03
  dollars.
• 43:04
  It
• 43:05
  would
• 43:05
  become
• 43:06
  the
• 43:06
  third
• 43:07
  highest
• 43:07
  grossing
• 43:07
  movie
• 43:08
  of
• 43:08
  2001
• 43:09
  worldwide
• 43:09
  after
• 43:10
  Harry
• 43:10
  Potter
• 43:11
  and
• 43:11
  the
• 43:11
  Philosophers
• 43:12
  Slash,
• 43:12
  Sorcerer's
• 43:13
  Stone
• 43:13
  and
• 43:14
  the
• 43:14
  Lord
• 43:15
  of
• 43:15
  the
• 43:15
  Rings
• 43:16
  the
• 43:16
  Fellowship
• 43:17
  of
• 43:17
  the
• 43:18
  ring.
• 43:18
  On
• 43:19
  its
• 43:19
  DVD
• 43:19
  release
• 43:20
  it
• 43:20
  would
• 43:21
  sell
• 43:21
  5
• 43:22
  million
• 43:22
  copies
• 43:23
  in
• 43:23
  its
• 43:23
  first
• 43:24
  day
• 43:24
  on
• 43:25
  Rotten
• 43:25
  Tomatoes.
• 43:26
  It
• 43:27
  has
• 43:27
  a
• 43:27
  rating
• 43:28
  of
• 43:28
  96%
• 43:29
  with
• 43:29
  a
• 43:30
  consensus
• 43:30
  reading
• 43:31
  Clever,
• 43:31
  funny
• 43:31
  and
• 43:32
  delightful
• 43:32
  to
• 43:33
  look
• 43:33
  at,
• 43:34
  Monsters
• 43:34
  Inc.
• 43:35
  Delivers
• 43:35
  another
• 43:35
  resounding
• 43:36
  example
• 43:36
  of
• 43:37
  how
• 43:37
  Pixar
• 43:38
  elevated
• 43:38
  the
• 43:39
  bar
• 43:39
  for
• 43:39
  modern
• 43:40
  all
• 43:40
  ages
• 43:41
  animation.
• 43:41
  It
• 43:42
  was
• 43:43
  nominated
• 43:43
  for
• 43:43
  four
• 43:44
  Academy
• 43:44
  Awards
• 43:45
  Best
• 43:45
  Animated
• 43:46
  Feature,
• 43:46
  Best
• 43:47
  Original
• 43:47
  Score,
• 43:47
  Best
• 43:48
  Original
• 43:48
  Song,
• 43:49
  Best
• 43:49
  Sound
• 43:50
  Editing.
• 43:50
  As
• 43:50
  I
• 43:51
  mentioned
• 43:51
  it
• 43:52
  would
• 43:52
  win
• 43:53
  Best
• 43:53
  Original
• 43:54
  Song.
• 43:54
  It
• 43:54
  lost
• 43:55
  Best
• 43:55
  Animated
• 43:56
  Feature
• 43:56
  the
• 43:57
  inaugural
• 43:57
  award
• 43:58
  to
• 43:58
  Shrek.
• 43:58
  I
• 43:59
  still
• 44:00
  think
• 44:00
  this
• 44:01
  is
• 44:01
  better
• 44:02
  than
• 44:02
  Shrek,
• 44:02
  only
• 44:03
  marginally,
• 44:03
  but
• 44:04
  I
• 44:04
  think
• 44:05
  the
• 44:05
  animation
• 44:06
  holds
• 44:06
  up
• 44:06
  so
• 44:07
  much
• 44:07
  better.
• 44:08
  It
• 44:08
  would
• 44:09
  be
• 44:09
  nominated
• 44:10
  for
• 44:10
  and
• 44:10
  win
• 44:11
  the
• 44:11
  BAFTA
• 44:12
  for
• 44:12
  the
• 44:13
  BAFTA
• 44:13
  Children's
• 44:14
  Award
• 44:14
  for
• 44:14
  Best
• 44:15
  Feature
• 44:15
  Film.
• 44:16
  It
• 44:17
  would
• 44:17
  also
• 44:18
  be
• 44:18
  nominated
• 44:18
  for
• 44:19
  eight
• 44:19
  Annie
• 44:20
  Awards,
• 44:20
  winning
• 44:21
  Outstanding
• 44:21
  Character
• 44:22
  Animation.
• 44:22
  A
• 44:22
  prequel
• 44:23
  titled
• 44:23
  Monsters
• 44:24
  University
• 44:24
  was
• 44:25
  released
• 44:25
  on
• 44:26
  21
• 44:26
  June
• 44:26
  2013.
• 44:27
  John
• 44:28
  Goodman,
• 44:28
  Billy
• 44:29
  Crystal
• 44:29
  and
• 44:30
  Steve
• 44:30
  Buscemi
• 44:30
  reprise
• 44:31
  their
• 44:31
  roles
• 44:32
  of
• 44:32
  Sully,
• 44:33
  Mike
• 44:33
  and
• 44:33
  Randall,
• 44:34
  Dan
• 44:34
  Scanlon
• 44:34
  directed
• 44:35
  Monsters
• 44:35
  University
• 44:36
  and
• 44:36
  the
• 44:37
  prequel
• 44:37
  plot
• 44:38
  focuses
• 44:38
  on
• 44:38
  Sully
• 44:39
  and
• 44:39
  Mike's
• 44:40
  studies
• 44:40
  at
• 44:41
  Monsters
• 44:41
  University,
• 44:42
  where
• 44:42
  they
• 44:42
  start
• 44:43
  off
• 44:43
  as
• 44:44
  rivals
• 44:44
  but
• 44:45
  soon
• 44:45
  become
• 44:46
  friends.
• 44:46
  In
• 44:47
  2017,
• 44:47
  Bob
• 44:48
  Iger
• 44:48
  announced
• 44:49
  a
• 44:49
  TV
• 44:50
  series
• 44:50
  for
• 44:50
  Disney
• 44:51
  set
• 44:51
  in
• 44:52
  the
• 44:52
  Monsters
• 44:53
  Inc.
• 44:53
  Universe
• 44:54
  called
• 44:54
  Monsters
• 44:54
  at
• 44:55
  Work,
• 44:55
  which
• 44:56
  premiered
• 44:56
  on
• 44:57
  Disney
• 44:57
  plus
• 44:58
  on
• 44:58
  7th
• 44:58
  July
• 44:59
  2021.
• 44:59
  Based
• 45:00
  on
• 45:00
  and
• 45:01
  a
• 45:01
  direct
• 45:02
  continuation
• 45:02
  of
• 45:02
  Monsters
• 45:03
  Inc.
• 45:03
  It
• 45:04
  features
• 45:04
  the
• 45:05
  voices
• 45:05
  of
• 45:06
  John
• 45:06
  Goodman
• 45:06
  and
• 45:07
  Billy
• 45:07
  Crystal
• 45:08
  reprising
• 45:08
  their
• 45:09
  roles.
• 45:09
  Pixar
• 45:10
  did
• 45:10
  not
• 45:11
  produce
• 45:11
  the
• 45:12
  series,
• 45:12
  it
• 45:13
  was
• 45:13
  instead
• 45:14
  produced
• 45:14
  by
• 45:14
  Disney
• 45:15
  Television
• 45:15
  Animation.
• 45:16
  Its
• 45:16
  first
• 45:17
  season
• 45:17
  debuted
• 45:18
  on
• 45:18
  Disney
• 45:18
  plus
• 45:19
  and
• 45:19
  its
• 45:20
  second
• 45:20
  on
• 45:21
  the
• 45:21
  Disney
• 45:22
  Channel.
• 45:22
  There
• 45:22
  were
• 45:23
  plans
• 45:23
  for
• 45:24
  a
• 45:24
  direct
• 45:25
  theatrical
• 45:25
  sequel
• 45:26
  to
• 45:26
  Monsters
• 45:26
  Inc.
• 45:27
  Which
• 45:28
  would
• 45:28
  have
• 45:29
  been
• 45:29
  called
• 45:30
  Monsters
• 45:30
  Inc.
• 45:30
  Two
• 45:31
  Lost
• 45:31
  in
• 45:32
  Scaradise.
• 45:32
  The
• 45:33
  film
• 45:34
  would
• 45:34
  have
• 45:34
  focused
• 45:35
  on
• 45:35
  Mike
• 45:36
  and
• 45:36
  Sully
• 45:37
  visiting
• 45:37
  the
• 45:38
  human
• 45:38
  world
• 45:38
  to
• 45:39
  give
• 45:39
  Boo
• 45:40
  a
• 45:40
  birthday
• 45:41
  present,
• 45:41
  only
• 45:41
  to
• 45:42
  find
• 45:42
  that
• 45:43
  she
• 45:43
  had
• 45:44
  moved
• 45:44
  after
• 45:45
  getting
• 45:45
  trapped
• 45:45
  in
• 45:46
  the
• 45:46
  human
• 45:47
  world.
• 45:47
  Mike
• 45:48
  and
• 45:48
  Sully
• 45:49
  would
• 45:49
  split
• 45:49
  up
• 45:50
  after
• 45:50
  disagreeing
• 45:51
  on
• 45:51
  what
• 45:52
  to
• 45:52
  do.
• 45:53
  It
• 45:53
  ultimately
• 45:54
  never
• 45:54
  happened,
• 45:55
  not
• 45:55
  because
• 45:56
  Pixar
• 45:56
  thought
• 45:57
  the
• 45:57
  idea
• 45:57
  was
• 45:58
  bad,
• 45:58
  but
• 45:59
  because
• 45:59
  Pixar
• 46:00
  wasn't
• 46:00
  even
• 46:01
  involved.
• 46:01
  Let
• 46:01
  me
• 46:02
  explain.
• 46:02
  So
• 46:03
  when
• 46:04
  Disney
• 46:04
  and
• 46:05
  Pixar
• 46:05
  partnered
• 46:05
  up
• 46:06
  to
• 46:06
  release
• 46:07
  animated
• 46:07
  movies
• 46:08
  in
• 46:08
  the
• 46:09
  1990s,
• 46:09
  the
• 46:09
  original
• 46:10
  contract
• 46:10
  was
• 46:11
  for
• 46:11
  seven
• 46:12
  films
• 46:12
  with
• 46:13
  success
• 46:13
  of
• 46:13
  Toy
• 46:14
  Story
• 46:14
  2.
• 46:15
  At
• 46:16
  the
• 46:16
  end
• 46:17
  of
• 46:17
  1999,
• 46:17
  then
• 46:18
  Disney
• 46:18
  CEO
• 46:19
  Michael
• 46:19
  Eisner
• 46:20
  and
• 46:20
  then
• 46:21
  owner
• 46:21
  of
• 46:21
  Pixar,
• 46:22
  Steve
• 46:22
  Jobs,
• 46:23
  began
• 46:23
  to
• 46:24
  disagree
• 46:24
  on
• 46:25
  how
• 46:25
  Pixar
• 46:25
  should
• 46:26
  be
• 46:26
  run
• 46:27
  and
• 46:27
  the
• 46:28
  terms
• 46:28
  of
• 46:29
  their
• 46:29
  continued
• 46:29
  relationship.
• 46:30
  Eisner
• 46:30
  claimed
• 46:31
  that
• 46:31
  Toy
• 46:32
  Story
• 46:32
  2
• 46:33
  as
• 46:33
  it
• 46:33
  was
• 46:34
  a
• 46:34
  sequel
• 46:35
  did
• 46:35
  not
• 46:36
  count
• 46:36
  towards
• 46:37
  the
• 46:37
  original
• 46:37
  film
• 46:38
  count
• 46:38
  of
• 46:39
  the
• 46:39
  agreement,
• 46:40
  and
• 46:40
  Steve
• 46:41
  Jobs
• 46:41
  disagreed.
• 46:41
  After
• 46:42
  those
• 46:43
  seven
• 46:43
  films
• 46:44
  up
• 46:44
  to
• 46:45
  and
• 46:45
  including
• 46:45
  Cars
• 46:46
  were
• 46:46
  completed,
• 46:47
  Pixar
• 46:47
  said
• 46:48
  they
• 46:48
  would
• 46:49
  not
• 46:49
  renew
• 46:49
  their
• 46:50
  agreement
• 46:50
  with
• 46:51
  Disney
• 46:51
  and
• 46:52
  so
• 46:52
  Disney
• 46:53
  created
• 46:53
  its
• 46:53
  own
• 46:54
  animation
• 46:54
  division
• 46:55
  called
• 46:55
  Circle
• 46:56
  7
• 46:56
  Animation.
• 46:57
  The
• 46:57
  original
• 46:58
  Disney
• 46:58
  and
• 46:59
  Pixar
• 46:59
  partnership
• 47:00
  meant
• 47:00
  that
• 47:01
  Disney
• 47:01
  owned
• 47:01
  the
• 47:02
  story
• 47:02
  and
• 47:03
  character
• 47:03
  rights
• 47:04
  to
• 47:04
  the
• 47:05
  movies
• 47:05
  and
• 47:05
  could
• 47:06
  legitimately
• 47:06
  make
• 47:07
  their
• 47:07
  own
• 47:08
  sequels
• 47:08
  without
• 47:09
  Pixar's
• 47:09
  involvement.
• 47:09
  And
• 47:10
  the
• 47:10
  Monsters
• 47:11
  Inc.
• 47:11
  Sequel
• 47:12
  was
• 47:12
  set
• 47:13
  to
• 47:13
  be
• 47:13
  developed
• 47:14
  by
• 47:14
  Circle
• 47:15
  7
• 47:15
  Animation
• 47:16
  now
• 47:16
  due
• 47:17
  to
• 47:17
  Disney's
• 47:17
  purchase
• 47:18
  of
• 47:18
  Pixar
• 47:19
  in
• 47:19
  January
• 47:20
  2006.
• 47:20
  On
• 47:21
  26
• 47:21
  May
• 47:22
  that
• 47:22
  year,
• 47:23
  Disney
• 47:23
  shut
• 47:24
  down
• 47:24
  Circle
• 47:25
  7
• 47:25
  Animation
• 47:25
  and
• 47:26
  transferred
• 47:26
  most
• 47:27
  of
• 47:27
  the
• 47:28
  studio's
• 47:28
  employees
• 47:29
  to
• 47:29
  to
• 47:29
  Walt
• 47:30
  Disney
• 47:30
  Feature
• 47:31
  Animation,
• 47:31
  which
• 47:32
  was
• 47:32
  renamed
• 47:32
  Walt
• 47:33
  Disney
• 47:33
  animation
• 47:34
  studios
• 47:34
  in
• 47:35
  2007.
• 47:35
  Circle
• 47:36
  7
• 47:36
  Animation
• 47:37
  had
• 47:37
  several
• 47:38
  Pixar
• 47:38
  sequels
• 47:39
  planned
• 47:39
  in
• 47:40
  various
• 47:40
  stages
• 47:40
  of
• 47:41
  development
• 47:41
  at
• 47:42
  the
• 47:42
  time,
• 47:43
  including
• 47:43
  Monsters
• 47:44
  Inc.
• 47:44
  2,
• 47:44
  Lost
• 47:45
  in
• 47:45
  Scaradise,
• 47:46
  Finding
• 47:46
  Nemo
• 47:47
  2
• 47:47
  and
• 47:48
  the
• 47:48
  Circle
• 47:48
  7
• 47:49
  version
• 47:49
  of
• 47:50
  Toy
• 47:50
  Story
• 47:51
  3.
• 47:51
  Those
• 47:52
  movies
• 47:52
  were
• 47:53
  all
• 47:53
  cancelled
• 47:54
  following
• 47:54
  Circle
• 47:55
  7's
• 47:55
  closure,
• 47:56
  and
• 47:56
  the
• 47:56
  idea
• 47:57
  for
• 47:57
  Monsters
• 47:58
  Inc.
• 47:58
  2
• 47:59
  Lost
• 47:59
  in
• 48:00
  Scaradise
• 48:00
  would
• 48:00
  eventually
• 48:01
  morph
• 48:01
  into
• 48:02
  Monsters
• 48:02
  University
• 48:03
  and
• 48:03
  become
• 48:04
  prequel.
• 48:04
  So
• 48:04
  Monsters
• 48:05
  Inc.
• 48:05
  Was
• 48:06
  released
• 48:06
  and
• 48:07
  was
• 48:07
  a
• 48:08
  big
• 48:08
  success.
• 48:08
  So
• 48:09
  you
• 48:10
  would
• 48:10
  think
• 48:11
  that
• 48:11
  that
• 48:12
  would
• 48:12
  be
• 48:12
  the
• 48:13
  end
• 48:13
  of
• 48:14
  the
• 48:14
  story,
• 48:15
  but
• 48:15
  no,
• 48:16
  because
• 48:16
  in
• 48:16
  2002
• 48:17
  another
• 48:17
  lawsuit
• 48:18
  was
• 48:18
  filed
• 48:19
  against
• 48:19
  Pixar
• 48:20
  and
• 48:20
  Disney
• 48:20
  about
• 48:21
  Monsters
• 48:21
  Inc.
• 48:22
  In
• 48:22
  the
• 48:23
  federal
• 48:23
  court
• 48:24
  in
• 48:24
  San
• 48:24
  Francisco
• 48:25
  by
• 48:25
  a
• 48:26
  poster
• 48:26
  artist
• 48:27
  called
• 48:27
  Stanley
• 48:28
  Mouse.
• 48:28
  He
• 48:29
  claimed
• 48:29
  that
• 48:30
  Monsters
• 48:30
  Inc.
• 48:31
  Stars
• 48:31
  Mike
• 48:32
  and
• 48:32
  Sully
• 48:33
  were
• 48:33
  derived
• 48:33
  from
• 48:34
  a
• 48:34
  one
• 48:35
  eyed
• 48:35
  creature
• 48:36
  called
• 48:36
  Wise
• 48:37
  G'Eye
• 48:38
  and
• 48:38
  a
• 48:38
  larger
• 48:39
  monster
• 48:39
  who
• 48:40
  often
• 48:40
  appeared
• 48:41
  together
• 48:41
  in
• 48:42
  his
• 48:42
  cartoons
• 48:43
  going
• 48:43
  back
• 48:44
  to
• 48:44
  1963
• 48:44
  and
• 48:45
  strongly
• 48:45
  resembled
• 48:46
  a
• 48:46
  character
• 48:47
  drawn
• 48:47
  by
• 48:48
  him.
• 48:48
  As
• 48:49
  part
• 48:49
  of
• 48:50
  his
• 48:50
  ideas
• 48:51
  for
• 48:51
  a
• 48:52
  film
• 48:52
  called
• 48:53
  Excuse
• 48:53
  My
• 48:54
  Dust,
• 48:54
  which
• 48:54
  was
• 48:55
  Set
• 48:55
  in
• 48:56
  Monster
• 48:56
  City,
• 48:57
  where
• 48:57
  the
• 48:58
  animated
• 48:58
  monsters
• 48:59
  worked
• 48:59
  for
• 49:00
  the
• 49:00
  Monster
• 49:00
  Corporation
• 49:01
  of
• 49:01
  America.
• 49:02
  Stanley
• 49:02
  Mouse
• 49:03
  had
• 49:03
  unsuccessfully
• 49:04
  tried
• 49:04
  to
• 49:05
  sell
• 49:05
  the
• 49:05
  idea
• 49:06
  for
• 49:06
  Excuse
• 49:07
  My
• 49:07
  Dust
• 49:08
  to
• 49:08
  Hollywood
• 49:09
  studios
• 49:09
  in
• 49:10
  1998.
• 49:10
  Drawings
• 49:11
  attached
• 49:11
  to
• 49:12
  the
• 49:12
  complaint
• 49:13
  dating
• 49:13
  from
• 49:14
  the
• 49:14
  early
• 49:15
  1960s
• 49:15
  have
• 49:16
  a
• 49:16
  small
• 49:16
  two
• 49:17
  legged
• 49:17
  eyeball
• 49:18
  with
• 49:18
  a
• 49:19
  large,
• 49:19
  dull
• 49:20
  witted
• 49:20
  monster
• 49:21
  character
• 49:21
  in
• 49:21
  a
• 49:22
  buddy
• 49:22
  friendship.
• 49:23
  The
• 49:23
  law
• 49:24
  suit
• 49:24
  also
• 49:25
  claimed
• 49:25
  that
• 49:26
  a
• 49:26
  story
• 49:26
  artist
• 49:27
  from
• 49:27
  Pixar
• 49:28
  visited
• 49:28
  him
• 49:29
  in
• 49:29
  2000
• 49:30
  and
• 49:30
  discussed
• 49:31
  his
• 49:31
  work
• 49:32
  with
• 49:32
  him.
• 49:32
  A
• 49:33
  Disney
• 49:34
  spokeswoman
• 49:34
  responded
• 49:35
  saying
• 49:35
  that
• 49:36
  the
• 49:36
  characters
• 49:37
  in
• 49:37
  Monsters
• 49:37
  Inc.
• 49:38
  Were
• 49:38
  developed
• 49:39
  independently
• 49:39
  by
• 49:40
  the
• 49:40
  Pixar
• 49:41
  and
• 49:41
  Walt
• 49:42
  Disney
• 49:42
  Pictures
• 49:42
  creator
• 49:43
  teams
• 49:43
  and
• 49:44
  do
• 49:44
  not
• 49:45
  infringe
• 49:45
  on
• 49:46
  anyone's
• 49:46
  copyrights.
• 49:47
  The
• 49:48
  case
• 49:48
  was
• 49:48
  ultimately
• 49:49
  settled
• 49:49
  under
• 49:50
  undisclosed
• 49:50
  terms.
• 49:51
  It
• 49:51
  seems
• 49:52
  strange
• 49:52
  now
• 49:53
  that
• 49:53
  in
• 49:53
  2026,
• 49:54
  25
• 49:54
  years
• 49:55
  ago,
• 49:55
  Pixar
• 49:56
  in
• 49:56
  2001
• 49:57
  was
• 49:57
  still
• 49:58
  an
• 49:58
  up
• 49:58
  and
• 49:59
  coming
• 49:59
  studio
• 50:00
  with
• 50:00
  just
• 50:01
  a
• 50:01
  few
• 50:02
  hits
• 50:02
  under
• 50:03
  its
• 50:03
  belt.
• 50:04
  Their
• 50:04
  fourth
• 50:05
  movie
• 50:05
  being
• 50:06
  a
• 50:06
  buddy
• 50:07
  movie
• 50:07
  just
• 50:08
  like
• 50:08
  Toy
• 50:09
  Story
• 50:09
  and
• 50:09
  Toy
• 50:10
  Story
• 50:10
  2
• 50:11
  might
• 50:11
  not
• 50:12
  have
• 50:12
  whetted
• 50:13
  too
• 50:13
  many
• 50:14
  appetites,
• 50:14
  but
• 50:14
  early
• 50:15
  Pixar
• 50:15
  proved
• 50:16
  that
• 50:16
  their
• 50:17
  concepts
• 50:17
  and
• 50:18
  imaginations
• 50:18
  were
• 50:19
  second
• 50:19
  to
• 50:19
  none.
• 50:20
  And
• 50:20
  Monsters
• 50:21
  Inc.
• 50:21
  Really
• 50:22
  is
• 50:22
  no
• 50:23
  exception.
• 50:23
  The
• 50:24
  power
• 50:24
  of
• 50:25
  fear
• 50:25
  really
• 50:25
  is
• 50:26
  the
• 50:26
  key
• 50:27
  to
• 50:27
  this
• 50:28
  movie.
• 50:28
  Yes,
• 50:29
  it's
• 50:30
  gorgeous,
• 50:30
  the
• 50:30
  voice
• 50:31
  acting
• 50:31
  is
• 50:32
  great
• 50:32
  and
• 50:33
  it's
• 50:33
  incredibly
• 50:34
  well
• 50:34
  conceived
• 50:35
  and
• 50:35
  executed.
• 50:35
  But
• 50:36
  fear
• 50:36
  powers
• 50:37
  everything.
• 50:37
  Fear
• 50:38
  powers
• 50:38
  the
• 50:39
  city
• 50:39
  of
• 50:40
  Monstropolis.
• 50:40
  Quite
• 50:41
  literally,
• 50:41
  fear
• 50:41
  powers
• 50:42
  the
• 50:42
  levels
• 50:43
  of
• 50:43
  screams
• 50:44
  a
• 50:44
  monster
• 50:45
  can
• 50:45
  elicit
• 50:46
  from
• 50:46
  a
• 50:46
  child.
• 50:47
  The
• 50:48
  scarier
• 50:48
  the
• 50:49
  monster,
• 50:49
  the
• 50:50
  bigger
• 50:50
  the
• 50:51
  screams.
• 50:51
  A
• 50:51
  fear
• 50:52
  the
• 50:52
  monsters
• 50:53
  have
• 50:53
  against
• 50:54
  coming
• 50:54
  into
• 50:55
  contact
• 50:55
  with
• 50:56
  human
• 50:56
  children.
• 50:57
  Fear
• 50:57
  of
• 50:57
  the
• 50:58
  unknown.
• 50:58
  What
• 50:59
  could
• 50:59
  be
• 51:00
  behind
• 51:00
  that
• 51:01
  door?
• 51:01
  What
• 51:02
  was
• 51:02
  that
• 51:03
  noise
• 51:03
  I
• 51:04
  heard
• 51:04
  downstairs?
• 51:05
  But
• 51:05
  like
• 51:06
  most
• 51:06
  movies
• 51:07
  made
• 51:07
  by
• 51:07
  Pixar,
• 51:08
  it
• 51:08
  translates
• 51:09
  to
• 51:09
  both
• 51:10
  a
• 51:10
  child
• 51:11
  and
• 51:11
  adult
• 51:12
  audience.
• 51:12
  For
• 51:13
  adults,
• 51:13
  it's
• 51:14
  the
• 51:14
  fear
• 51:15
  of
• 51:15
  letting
• 51:16
  your
• 51:16
  children
• 51:17
  go
• 51:17
  of
• 51:18
  their
• 51:18
  child
• 51:18
  growing
• 51:19
  up.
• 51:19
  The
• 51:20
  fear
• 51:20
  of
• 51:21
  disappointing
• 51:21
  your
• 51:22
  child,
• 51:22
  overcoming
• 51:23
  your
• 51:23
  fears
• 51:23
  is
• 51:24
  the
• 51:24
  grander
• 51:25
  theme
• 51:25
  of
• 51:26
  this
• 51:26
  movie.
• 51:27
  And
• 51:28
  this
• 51:28
  just
• 51:29
  perfectly
• 51:29
  segues
• 51:29
  into
• 51:30
  the
• 51:30
  relationship
• 51:31
  between
• 51:31
  Sully
• 51:32
  and
• 51:32
  Boo,
• 51:33
  which
• 51:33
  is
• 51:34
  the
• 51:34
  emotional
• 51:34
  core
• 51:35
  of
• 51:35
  the
• 7:41
  ufuellingcolourslXBye.
• 1:36
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