貓爪。創作。白日夢

很不會畫彩稿，突然想畫的練習，沒有打線稿直接用色塊構成，衣服是參考Project runway中，Christian的其中一件設計，從上次看到後就很想畫...雖然還是沒有畫的很仔細。 ...繼續閱讀

＊警告！有雷，不喜者勿入。
...繼續閱讀

[THE SOULTAKER～魂狩～ / Opening]

SOULTAKER

作詞/作曲：影山 ヒロノブ
編曲：須藤 賢一
歌：JAM Project

------------------------------
[THE SOULTAKER～魂狩～ / Opening]

SOULTAKER

作詞/作曲：影山 ヒロノブ
編曲：須藤 賢一
歌：JAM Project

------------------------------

傷(きず)ついた 日々(ひび)の向(む)こうに 何(なに)が待(ま)つのか

SOULTAKER


凍(い)てつく世界(せかい)に 心(こころ)を呼(よ)び覚(さ)ます声(こえ)が
鳴(な)り響(ひび)く

孤独(こどく)に(の)怯(おび)えた 昨日(きのう)を振(ぶ)り切(き)って

時代(じだい)の渦(うず)の中(なか)へ


今(いま)俺(おれ)は(わ)

何(なに)を信(しん)じて

この胸(むね)に

何(なに)を抱(だ)きしめて

走(はし)るのか

野望(やぼう)を蹴散(けち)らす 魂(たましい)の叫(さけ)び
気高(けだか)く吠(ほ)えろ SOULTAKER
世界(せかい)を導(みちび)く 一筋(ひとすじ)の光(ひかり)
消(き)えない夢(ゆめ)を その手(て)で SOULTAKER


記憶(きおく)のどこかで 出(で)会(あ)った眼差(まなざ)しが胸(むね)を
離(はな)れない

遠(とお)い風(かぜ)の中(なか) 夢(む)中(つい)で追(お)いかけた

あの愛(いと)しさは誰(だれ)？


その絆(きずな)

何(なに)より強(つよ)く

その誓(ちか)い

どんな時(とき)だって

忘(わす)れない

闇夜(やみよ)を切(き)り裂(さ)く 深紅(しんく)のナイフは
涙(なみだ)の証(あかし) SOULTAKER
未来(みらい)に伝(つた)える 熱(あつ)いこの想(おも)い
すべてを賭(か)けて 戦(たたか)うのさ SOULTAKER


傷ついた(つい) 日々(ひび)の向(む)こうに 何(なに)を見(み)つめて


闇夜(やみ)を切(き)り裂(さ)く 深紅(しんく)のナイフ(ないふ)は
涙(なみだ)の証(あかし) SOULTAKER
未来(みらい)に伝(つた)える 熱(あつ)いこの想(おも)い
すべてを賭(か)けて 戦(たたか)うのさ SOULTAKER

野望(やぼう)を蹴散(けち)らす 魂(たましい)の叫(さけ)び
気高(けだか)く吠(ほ)えろ SOULTAKER
世界(せかい)を導(みちび)く 一筋(ひとすじ)の光(ひかり)
消(き)えない夢(ゆめ)を その手(て)で SOULTAKER

ウンディーネ（Undine）
作詞：河井英里　作曲．編曲：窪田ミナ　歌：牧野由依


頰(ほほ)をなでる　優(やさ)しい風(かぜ)
波音(なみおと)に　搖(ゆ)られて
體(からだ)の中(なか)　ほどけてゆくよ

目(め)を閉(と)じて　見(み)えてくる
風(かぜ)の行(ゆ)く道(みち)が

さあ　漕(こ)ぎ出(だ)そう　光(ひか)る波(なみ)へ
笑顏(えがお)が　すぐ　こぼれる
ねえ　伝(つた)えよう　このときめき
かぜにのって　あなたのもとへ
行(ゆ)くわ　ウンディ(うんでぃ)ーネ(ね)

風(かぜ)が風(な)いで　振(ふ)り返(かえ)れば
夕映(ゆうば)えに　照(て)らされ
心(こころ)までも　染(そ)まってゆくよ

見上(みあ)げれば　響(ひび)きだす
星(ほし)たちの歌(うた)が

さあ　漕(こ)ぎ出(だ)そう　遙(はる)か未來(みらい)へ
水面(みなも)に　夢(ゆめ)　廣(ひろ)がる
ねえ　見(み)つけよう　まだ知(し)らない
寶物(たからもの)を　あなたと一緒(いっしょ)に
探(さが)そう　ウンディ(うんでぃ)ーネ(ね)

澄(す)み渡(わた)る空(そら)へと　鳥(とり)が羽(は)ばたくよ
いつも見慣(みな)れてた　景色(けしき)なのに
こんなに愛(いと)しく　思(おも)えるなんて…



----------------------------------------------------------------------------
Undine（ウンディーネ羅馬拼音歌詞）


hoho wo naderu yasashii kaze
namioto ni yurarete
karada no naka hodokete yuku yo

me wo tojite miete kuru
kaze no yukumichi ga

saa kogidasou hikaru nami e
egao ga sugu koboreru
nee tsutae you kono tokimeki
kaze ni notte anata no moto e
yuku wa UNDINE

kaze ga naide furikaere ba
yuubae ni terasare
kokoro made mo somatte yuku yo

miage reba hibikidasu
hoshitachi no uta ga

saa kogidasou haruka mirai e
minamo ni yume hirogaru
nee mitsuke you mada shiranai
takaramono wo anata to issho ni
sagasou UNDINE

sumi wataru sora e to tori ga habataku yo
itsumo minareteta keshiki na no ni
konna ni itoshiku omoeru nante...

声をきかせて

作詞/作曲：杉山加奈 編曲：丸尾めぐみ

唄：MAHO堂



ないしょの話(はなし)　もうすぐわたし

誕生日(たんじょうび)がくるの　m m m …



泣(な)いたりもするし　ドジもするけど

やさしくするって　約束(やくそく)できる



思(おも)いっきり息(いき)すって　赤(あか)い風船(ふうせん)に

待(ま)ちどおしいよって　丘(おか)に登(のぼ)るんだ



負(ま)けないように　迷(まよ)わぬように

呪文(じゅもん)をかけて　空(そら)へ飛(と)ばそう

いつか夢見(ゆめみ)た　知(し)らない街(まち)へ

Lala　早(はや)く会(あ)おうよ　声(こえ)をきかせて



丘(おか)のその向(む)こう　煙突(えんとつ)と屋根(やね)

未来(みらい)はどっちから　やってくるの



背(せ)のびしてみたら　かかとがフワリ

ふくらんでいくよ　赤(あか)い風船(ふうせん)と



世界中晴(せかいじゅうは)れ　元気(げんき)になあれ

手(て)をふりながら　飛(と)んでゆくから

きっとみつかる　キミの住(す)む街(まち)

友(とも)だちになろうよ　声(こえ)をきかせて



負(ま)けないように　迷(まよ)わぬように

呪文(じゅもん)をかけて　空(そら)へ飛(と)ばそう

いつか夢見(ゆめみ)た　知(し)らない街(まち)へ

Lala　早(はや)く会(あ)おうよ　声(こえ)をきかせて


[Doremi]
Naisho no hanashi mou sugu watashi
Tanjoubi ga kuru no mmm...
[Hazuki]
Naitari mo suru shi
[Doremi]
Doji mo suru kedo
[Doremi & Hazuki]
Yasashiku surutte yakusoku dekiru

[Onpu]
Omoikkiri iki sutte
[Aiko]
Akai fuusen ni
[Aiko & Onpu]
"Machidooshii yo" tte oka ni noborunda

[Quartet]
Makenai you ni mayowanu you ni
Jumon wo kakete sora he tobasou
Itsuka yume mita shiranai machi he
Lala hayaku aou yo koe wo kikasete

[Doremi]
Oka no sono mukou entotsu to yane
Mirai ha dotchi kara yattekuru no
[Aiko]
Senobi shite mitara
[Hazuki]
Kakato ga fuwari
[Onpu]
Fukurande yuku yo akai fuusen to

[Quartet]
Sekaijuu hare genki ni naare
Te wo furi nagara tonde yuku kara
Kitto mitsukaru kimi no sumu machi
Tomodachi ni narou yo koe wo kikasete

[Quartet]
Makenai you ni mayowanu you ni
Jumon wo kakete sora he tobasou
Itsuka yume mita shiranai machi he

比爾蓋茲１１句名言

１．　生活是不公平的，你要去適應它。

２．　這個世界並不會在意你的自尊，而是要求你在自我感覺良好之前先有所成就。

３．　剛從學校走出來時你不可能一個月掙六萬美元，更不會成為哪家公司的副總裁，還擁有一部汽車。

４．　如果你認為學校裡的老師過語言哩，那麼等你有了老闆在回頭想一想。

５．　賣漢堡包並不會有損你的尊嚴。你的祖父母對賣漢堡包有不同的理解，他們稱之為“機遇”。

６．　如果你陷入困境，那不是你父母的過錯，不要將你的責任轉嫁給他人，而要學會從中吸取教訓。

７．　在你出生之前，你的父母並不像現在這樣乏味。他們變成今天這個樣子是因為這些年來一直在為你付賬單、給你洗衣服。所以，在對父母喋喋不休之前，還是先去打掃一下你自己的屋子吧。

８．　你所在的學校也許已經不再分優等生和劣等生，但生活卻並不如此。學校會不斷地給你機會讓你進步，然而現實生活完全不是這樣。

９．　走出學校後的生活不像在學校一樣有學期之分，也沒有暑假之說。沒有幾位老闆樂於幫你發現自我，你必須依靠你自己去完成。

１０．　電視中的許多場景絕不是真實的生活。在現實生活中，人們必須埋頭做自己的工作，而非像電視裡演的那樣天天泡在咖啡馆裡。

１１．　善待你所厭惡的人，因為說不定哪一天你就會為這樣的一個人工作。

本文受到密碼保護，需要輸入密碼才能觀看！
密碼提示：社團

Honda Accord commercial

全世界電視廣告有史以來的TOP 10之一，一鏡到底，據說拍攝了606次，一共拆了兩台手工打造的Accord的零件！！！在英國思考、法國鄉間拍攝。總共試了一萬多次。老師解釋了當時拍攝的原因：當時Honda在歐洲碰到銷售瓶頸，歐洲各車廠聯合起來打擊日本車的銷售，在展示中心作鋼板的剖面比較。日本車雖然便宜、省油，但由於歐洲高速公路沒有限速，若日本車撞到，鋼板太薄影響生命安全，導致日本車滯銷。
Honda社長親自下令，限時內要找到一間有Big idea的公司，經費不限，這隻廣告要讓所有人呆住，讓大家口耳相傳，以轉移話題，轉而討論日本製作精細、工作嚴謹，造成話題。


IKEA Lamp

最低預算拍攝，拿下坎城總金獎。

Guinness "Evolution"

幾乎用後製製作，製作費將近一億台幣。


Ariston Aqualtis ”Underwater World”


Canal + The March of the Emperor (English Subt.)


無責任翻譯:Emperor是皇帝的意思，但皇帝企鵝也叫做Emperor。

VW Ink



Alzheimers(老人癡呆症)


無責任翻譯：

Hi媽，是我，安娜。
Hello，很高興認識你。
你好嗎？
很好....姑姑早上來看我。
今天我叫他幫我藏在床底下。
床底下？
是阿
我爸應該馬上就來了。

片尾字幕
一個受虐的小孩永遠不會忘記。
替他們發聲，call ｘｘｘ-202-651


IKEA "Not a mistake"(不是個誤會）

Honda - 'Choir' Advertisement


Pampers "Lullaby"(搖籃曲）

無責任翻譯：
沒有任何東西可以吵醒寶寶。


Sony Bravia LCD TV Advert (Bouncy Balls) & "The Making of"

舊金山的事件行銷成功案例。25萬顆球從舊金山市街落下，取得市長同意後，於拍攝一個月前就先跟市民宣傳，同時開放拍攝比賽，並給予小孩打工（撿球換錢）的機會，除了舊金山外，還吸引鄰近城鎮的居民參與。拍攝結束後ｓｏｎｙ社長還親自拜訪舊金山的市長。對ｓｏｎｙ以及舊金山的旅遊都造常相當大的宣傳效益。城市不但沒有因為拍攝廣告造成困擾，反而讓大家記憶深刻、樂於其中。

看看別人怎麼做城市行銷，再看看我們的101大樓，從好萊塢取景被拒轉戰上海，到極限運動挑戰者得不到許可，冒險挑戰，台灣的軟性外交需要多一點的創意與思考。

Sony Bravia Paint Ad


BRAVIA PAINT BEHIND THE SCENES!!


Sony Bravia bunny & "The Making of"

昨天在店裡看到自由時報的頭版還瞄到了上頭「銃夢」的照片，除了搖頭還是搖頭，原因當然不是因為相信媒體的鬼話，而是當下讓我聯想到了宮崎勤事件。Alane大詳細的蒐集了國內外報紙的報導，詳情請參考Alane大的部落格，關於案件細節就不再討論，這幾年媒體消費弱勢族群也不是甚麼大新聞，除了ＡＣＧ族群外想必大家都還記得水蜜桃阿媽的故事，上網爬了一些文，發現網友們也似乎習慣了，對這次的事件已不太有甚麼大反應。

「銃夢」是我從小就一直很想找機會觀摩的大作，當時漫畫店地下室入口掛著整幅的凱麗海報到今天還讓我念念不忘，因此昨天看到新聞後順道就去漫畫店抱回家了。關於銃夢的內容，當然跟甚麼「殺人可以改運」這種荒謬的事情完全扯不上關係。如果硬是要說，反而比較像是美國電影的英雄成長歷程，一個喪失記憶的合成人造人為了探尋自己的過去，只能選擇身體還留有記憶的方式－「機甲術」，不斷的在戰鬥中找尋真實的自己。劇情當然不只這樣，不過捏他不是我的嗜好，請有興趣的人自己去看，這是一部很值得推薦的漫畫，現在許多的科幻故事都有它的影子存在。

在開始正題前先來補充一下，何謂宮崎勤事件。

宮崎勤事件發生於1988年－1989年的日本東京都與埼玉縣，案中罪犯宮崎勤先後綁架、傷害及殺害四名年紀介乎4—7歲的女童，然後拍攝裸照猥褻、姦屍、吃屍、飲血，幻想吃掉女童後會令死去的爺爺復活，幾個月後被害女童的家屬都收到一隻紙箱，裡面放著被害女童的骨灰，犯案過程甚至被拍成錄影帶作為他個人的收藏品。他在1989年因傷害他人身體與謀殺而被捕。律師以心智失常為由想為他脫罪，但未被法官接受。主審法官藤田宙靖前年宣判死刑時表示：「被告為滿足變態的性慾而殺害4名女孩和致一名女孩受傷，罪不可赦。」2008年6月17日宮崎勤在東京監獄被問吊，多年來他未曾向受害人家屬道歉，反而向治療師說：「請你告訴全世界，我是一位好人。」
日本警視廳起初將事件命名為117號事件，後來被日本傳媒被稱為「東京・埼玉連続幼女誘拐殺人事件」。（摘自維基百科）

其他相關資料網站
宮崎勤事件
宮崎勤事件,維基百科

宮崎事件發生後，由於在其家中搜出大量動漫畫，加上教育學者所謂的反省檢討，導致御宅族（指在某專業領域中有相當專長者，一般指ＡＣＧ愛好者，跟台灣媒體稱的宅男宅女不一樣）受到了嚴重的歧視與白眼。而日本動漫畫產業則遭受了毀滅性的打擊。至1995年才開始恢復。

另外一個事件則是發生於去年2008年6月的秋葉原殺人事件，雖然影響未及宮崎勤事件，但也連帶的使得許多可能會造成聯想的劇情在問市前及時打住。


但是！請注意非常重要的卻常被「社會大眾」所忽略的重點，通常這些犯罪者都是具有『心理或精神上的疾病』未接受治療及控制！包括多重人格等症狀。


在媒體偏頗的宣揚下，動漫畫常被汙名化，而絕大多數的人，並不會將自己去查證聽到的傳言或片面看法是否正確，這也就是為什麼網路上會有許多四處流傳的騙人謠言，像是消費券簽名就不能用一說，即為其中一例。

而ACG被扣上了大帽子，許多人見怪不怪，卻不知多年來的偏見限制了台灣動漫畫的發展! 從過去看漫畫的小孩不讀書，畫漫畫沒出息，到現在漫畫會造成傷害事件等說法。
漫畫是無罪的，只有人的思考才能主導一個人的行為，人都有欲望，一個具有理性受到社會規範的人應該知道甚麼是能做或不能做的，這跟動漫畫本身根本扯不上關係，更何況媒體經常未加以驗證漫畫內容便下斷言，如同許多網路上的評論者所言，漫畫亦是受到出版法規範的，若是宣揚犯罪行為的內容當然不可能會出現在內。

一路走來許多過去的同好都捨棄了畫筆，放棄了腦中天馬行空的想像力，產業的萎縮間接導致人才的流失。要振興一個產業，必須先對他有正確的觀念，就好像投資股票，要先對標的物有一定程度的了解，如果台灣的主導者們不能調整對動漫的看法，持續的以一種偏頗的觀念認為這種東西是不好的，是色情跟暴力的綜合體，台灣的動漫文創產業要振興是相當有難度的。

我們都知道不能一竿子打翻一船人的道理，事實上有許多會喜歡動漫的人童心相當重，所以才能擁有這麼多的幻想與創意，單一的幾個個案並不能代表所有的ＡＣＧ族群，特別是當媒體亂扣帽子的時候，正視且正確的傳達觀念才是媒體該有的道德。這點上聽閃光說蘋果日報這次處理的比較好，說查證過沒有漫畫有這樣的內容，如果是真的那真的該給他們點鼓勵（恩..因為不是親眼所見，持保留態度）。

Another Interview
Interview: Wall-E's Writer and Director Andrew Stanton

Interview: Wall-E's Writer and Director Andrew Stanton
June 23, 2008
by Alex Billington
Andrew Stanton

I have always dreamed of stepping inside the walls of Pixar. A week ago that dream came true. Disney invited me out to San Francisco to interview Andrew Stanton, the writer and director of Wall-E, at Pixar Studios. I am a true dedicated Pixar fan, from Toy Story all the way to The Incredibles and it's breathtaking to be sitting inside of Pixar with the man who has been a part of some of the greatest films in history. Stanton worked with John Lasseter on A Bug's Life and eventually went on to bring us the wonderful Finding Nemo, easily one of my Pixar favorites (although it's impossible to truly rank them). And now it's a great honor to present my interview with the mind behind Pixar's latest film, Wall-E.

Being inside of Pixar was like being a kid in a candy store. Everywhere you turned, a Pixar memory could be found. There hand-drawn were sketches of Remy from Ratatouille and Wall-E on the walls inches from the ground; concept art, sculptures, and storyboards filled every open square inch in every hallway; life-size figures from Monsters Inc., The Incredibles, and even Finding Nemo welcomed you to the studio. It was a surreal experience but one where I finally got to see where it all happened. Talking with Andrew Stanton to me was much more of an opportunity to talk to someone who had, indirectly, changed my life and inspired me in so many ways - a true honor. It was one of the most unforgettable experiences I've ever had.

I decided to focus my interview not on the obvious questions, but on the more intricate details of Pixar and the development of Wall-E. If you're curious to hear about how Stanton was inspired by binoculars or the basics of the story, you can read our coverage from WonderCon. If you're already familiar with the background story of Wall-E and are curious to hear more, then read on and enjoy!

Alex and Andrew Stanton

To start off, can you tell us the story of how Wall-E went from the idea in your mind with the binoculars to actually becoming a film here at Pixar?

Andrew Stanton: Well, actually, I'm sorry, there's no short answer to this, but in '94 we were having a lunch about what to do next because we were finishing up Toy Story and we realized we were already behind schedule-wise if we were going to make another movie soon. So we came up with A Bug's Life from that lunch, but before we got to that, we threw out a bunch of other sort of half-baked thoughts. Some of them just were settings, like an ocean, some of them were your fears, and that's – it's fascinating to see later that they became Finding Nemo and Monsters Inc. But then we just had a character we came up with. We came up with the last robot on Earth, this robot that just keeps doing the same thing, that got left on for whatever reason, and it's just doing the same job. And I just thought that was the saddest character I had ever heard of and I just loved that and I remember Pete Docter and I couldn't drop it for a couple of weeks. We said, wouldn't it be cool if it was sort of like R2D2, you sort of had to infer based on how it was engineered how it — it would almost be a movie about Luxo Jr. through the whole thing.

And then the very next thing we said is nobody will ever let us do it, because we hadn't even proven ourselves as filmmakers, hadn't proven Toy Story yet and it just seemed so out there. But as filmgoers, as geeks, we were like, I would go see a movie like that! So that just stuck up there for a long time and we got completely swept up in all these other movies and so it wasn't until Finding Nemo that I was having to do rewrites, so about 2002, so we're jumping to eight years later, almost a decade later, and I couldn't stop — so I started thinking about this little guy again, and I said, he's so lonely, it's such a great character, I don't even know what he's called, I don't why we've left Earth…

And I just started to answer all that. I found myself very quickly writing the first act of the movie, which is not that different then what you have here. Then I couldn't stop. Then, I was like, by the time Nemo came out, this is what I want to do next, and I was definitely emboldened by the idea that Nemo was so huge. I mean, I had gone with my gut on so many things on Nemo that seemed iffy and not so sure. The whole time I was working on them here that it kind of threw me for a loop that it went over so well and it gave me a lot of confidence to just stick with my gut. So I said, well, my gut is telling me to do this movie, so I'm going to do it. So it was in 2003 near the end of the year, Nemo was already out, that I was really thinking seriously about design and stuff like that. And I knew the design of him was going to be crucial to how engaging he was and how much you wanted to follow him and how much you wanted to infer personality on him and the big epiphany was definitely late 2003. I was at a baseball game and I got the binoculars and I think the rest is known. So it had a long gestation period, a long time sitting on the stove, simmering.

And were the higher ups here at Pixar receptive to the original idea?

Stanton: They were receptive to the concept, the idea, but like anybody else, they were a little like, how exactly is that going to work. So I had a lot of leeway because of Nemo. I definitely leveraged off that, because it was so huge, I was sort of like — this is what I want to do next. And they were like okay. And so I could tell there would be a lot of debate going on about how to do it, not whether we should do it, but how to do it. I didn't want to waste time debating that, so the year that Nemo was out, 2004, people expected me to be on vacation and just slowly research what I may want to do next, so I knew I would be under the radar.

So I actually stayed at work, got three of my favorite board artists and an editor, so I was completely under the radar with nobody paying attention and was able to, without any pressure, just completely free associate how I would want a movie like this to be like. We boarded and put on reels, with scratch voices and stuff like that, the first act, the first 20 minutes of the movie. I figured that I will prove to myself, without any pressure, that I can do something like this and that something like this is possible. If I don't, then I'll just stop and nobody will know and it won't matter, but if I do feel like I've cracked it, then I can just show it to anybody that's skeptical and that will answer it. I won't have to debate it. And that's exactly what happened after about four hard months, we got something that feels very much like what we've watched here and I showed it to John Lasseter and Steve Jobs at the time, who were the biggest guns then, and they said, 'oh, I get it!' And I could tell that when they walked in, they were skeptical. And when they walked out, they weren't, so it worked.

Is technology a limitation at Pixar in terms of building story ideas?

Stanton: No, not at all. Honestly, I've gotten asked that by some people like, where is technology going? I honestly sit there and go, you know what, I kind of think it's here, I think it's been here since Lord of the Rings, I kind of feel like – all the paint and brushes and canvas that you need to realize what you've been imagining are there, now it's just more of a reflection of how good you are with the technology and how good of an artist and visionary are you to use it. But there's the paint, there's the brush, there's the canvas. You can paint whatever you want and I think that's been possible for at least the last five or six years.

To come back to Wall-E, how did you come up with Hello, Dolly! as the film Wall-E watches in his truck?

Stanton: I know, it's bizarre isn't it?

Yeah! I mean, I love the choice–

Stanton: I know, and I love the choice, too, and I couldn't explain it at first. I just knew I wanted an old-fashioned song against space, and I just loved the future against the past, but I thought that's millions of songs. Which one do I pick? And so I started going into standards and a lot of standards come from musicals, and that sort of led me to musicals, and I did musical theater as a kid, so I knew a lot of them. I got to Hello, Dolly!, and I was just hittin' songs on iTunes, and you're just hearing the beginnings and I hear 'Out there…' and I loved it! I was like, that just works, I can't even explain, it just works, with the stars and what a great way to kick off the movie. It kind of propels you into it and it was a great juxtaposition to such a dire background. I loved the two together. I thought it really balanced the movie and it really, in a weird way, helped you meet Wall-E before you meet him.

Then when I thought about the song, I said, why do I like this so much and then I realized not only is it catchy and it has this sort of naiveté to it, but it's about these two guys that have never left their small town and they want to go out into the big world and kiss a girl. And I thought — that's Wall-E, that's it! So I started looking at other songs, just to see if there would be any other epiphanies, and I got this huge one from watching the movie and seeing 'It Only Takes a Moment' with the two lovers and when I saw them hold hands, it was like, that's exactly it, that's how we will convey that the phrase 'I love you.' When you get that much back from research, you just take it as fate, you just go — I know and I'm running with it. I know I will be answering this question for the rest of my life, but it's a price I'm willing to pay because it just works.

Did you have any trouble getting the rights to it?

Stanton: No, fortunately we got a lot of cooperation from Fox. We knew enough people that knew each other, we could get past all the red tape, talk to the right people.

How do you go about developing a story, like in Wall-E, that really doesn't have a lot of dialogue. How do you go about writing that?

Stanton: Here's my argument. There's dialogue from frame one. Each of those beeps and those squawks and those whirrs mean something and they're trying to convey a specific thing, so I actually wrote the script with dialogue – wrote it just like a regular script. I would just put the dialogue in brackets. So if he says 'hey, come over here,' I wrote 'hey, come over here' and I put it in brackets. Now it was a map for me and for anybody else, for Ben Burtt, whoever. When you put in a sound, it's got to convey that. And so it was actually very conventional how I wrote it.

The only thing I did that was a little unconventional, is the manner in which I formatted the script. I was very inspired by Dan O'Bannon's script for Alien. His description paragraphs were not your typical paragraphs, they were actually small phrases that were all left justified, almost like a haiku, and they created this rhythm of just being in the moment of quiet and visual. And you found yourself reading the descriptions much more than you normally do a script because of that form, instead of just skipping to the dialogue. It really kind of paced you as a reader and gave you the much more visceral feel of what it will be like to watch that movie. So I used that for Wall-E — it really helped.

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I was very curious about that. And talking about Ben Burtt, I also recently heard that Roger Deakins was involved as a visual consultant on this as well.

Stanton: For a short while, yeah.

Which to me – both of those people are incredible to have on a film like this.

Stanton: And Dennis Muren we had for a couple of months, which was huge. Those three really, really – well Ben, he was the actor. I was casting the character and I was casting all these other characters, so to me that was like two-thirds of my casting. Dennis and Roger were, for more similar reasons, that we wanted to crack the conventionalities of integration, like how to make you truly feel like you're really there. Dennis Muren is the master, and has been for decades now, of integrating the latest in effects into live action and how to make it just feel seamless. Roger Deakins is one of the best cinematographers and so he has a real association with how to light and how to use the camera. And we really wanted both the sense of believability, it wasn't – even though I know it really dips into photorealism, I wasn't trying to trick you into thinking you were there, I just wanted you to believe you were there as much as possible. So much of that was what you were truly seeing in the background, which Dennis was a help on, and what the camera was doing, which Roger was a help with.

We actually had a lot of stuff that wasn't correct in our software. The math wasn't doing the right thing, so all the subtle imperfections that you're used to, that you don't pay attention to that happen with the camera lens — the way things go distorted in the background, when they do it, how the plane of focus works, what things do in the foreground — all that was either slightly or majorly incorrect with our software, and had always been. I wanted to use the camera much more directly as a tool for intimacy in the film. I mean, I got a metal box falling in love with a metal box and a dystopian background, where am I going to get the intimacy? I'm going to use it with the camera by how shallow of a lens we use and how shallow the focus is, how narrow the lens is. So fixing all that and having Roger there to sort of confirm that we were in the right ballpark with it visually was just key to getting a lot of what comes, I think, unconsciously when you're watching the film.

You were one of the first hired at Pixar in the animation department and I'm interested in how you've seen Pixar grow over the years.

Stanton: What's fascinating about it is that in a weird way it's never been the same place for more than a year and a half, it's always changed. It's interesting for me to see people panic when we get to a certain size or Disney bought us or whatever and then they all have legitimate concerns but the sense of the act of just the fact that we're changing has never worried me because that's all I've ever known. It's almost this consistent rhythm of change. The thing that's never changed that amazes me, is that if you were to go back and sort of gauge the atmosphere and the sensibility of the ten of us when I was first on, and then gauge it now with a thousand, it's no different. It's fascinating, it's a real experiment.

When we were really small, no matter what the job was, you got interviewed by everybody that was in the group because we cared more about what it was like to work with you late into the night than whether you were qualified for the job. So almost who you were mattered more than what your skills were and that in a weird way has not changed. It's almost like, if you get enough good apples in a barrel, the bad apples just can't stay and they just outnumber the bad apples. So it's sort of this positive form of attrition that's just sort of happened over the years and it's not a perfect place and nobody's perfect, but the reason everybody works so hard– Somebody had an interesting point the other day, they said, we never get any leaks out of Pixar and yet we do nothing to be tight with our security about it and I think it's because everybody's happy and everybody loves this place and nobody wants to see it go away or falter. They don't want to contribute to putting a chink in the wall, so everybody keeps their mouth shut, which I think is more of a testament than anything to how happy people are working here.

I actually read a quote of yours recently that said, "the day we start thinking about what the audience wants we're going to make bad choices." I love that quote and I wanted you to elaborate more on that and how it plays into the way films get made here.

Stanton: Yeah. I've been saying that since Toy Story. Honestly, we were so driven on Toy Story, we just knew we wanted to make this kind of a movie and nothing was going to stop us no matter what anybody said. When the dust settled and the film came out and it was so well received, we realized so much of that was because we listened to our gut, and I would say the filmgoer part of our gut, not just the filmmaker.

We're all film geeks, we all go and see more movies than you guys ever could and we're all out-geeking each other and out-quoting each other. We love the movies and we are just as disappointed, just as frustrated, just as excited by all the same things. So we feel like that's the part of the film audience to trust — the audience in ourselves. We don't need to guess what other people want. I don't go to see another filmmaker's movie hoping he's guessed what I want. I go to see it because I like his sensibility and I want to see what he wants to do next, or she wants to do next. Because that was such a direct reason Toy Story worked, because we just finally got to this point of crisis and said, let's just go with what we want, we've been trying to please people for all this time, that we just know that that is the way to stay from here on out, no matter what people say or do.

I think even if we had a film that didn't do well, that wouldn't stop us. I don't see any good from trying to second guess – that just feels like you'll be spinning in a circle for the rest of your life because there'll always be somebody that likes something that you don't or doesn't like something that you do. You'll always find something to derail yourself so why listen to that. You can't please everybody.

That makes a lot of sense… You're writing John Carter of Mars, right?

Stanton: I am. Me and Mark Andrews.

Is it going to be CGI or live action or a mix?

Stanton: We don't know. We honestly don't know, because it's clearly got to be a hybrid of some sort and we're going to basically spend the first — this year for sure — just worrying about the story. That's one thing I've learned working on all these movies, is there's plenty of time and very quick ways to answer what way you're going to make something look and you can use it as a crutch to distract yourself from the hard work of making your story work. So we're just completely not even thinking about that stuff. This year is just about writing the script to make it as good as it can possibly be.

And are you worried about the violence in the books?

Stanton: No, no. We'll find the proper venue to put the movie out.

So is this still going to be in the Pixar vein?

Stanton: Who knows? Honestly, this is the pollyanna year where you're just like, let's just make it the movie it should be and then everybody can wring their hands and figure out how the best way is to show it, rate it, distribute it, all that stuff. That should all be decided on based on the story, so it's just about the story now.

Last question: What are your five favorite films? Not to put you on the spot…

Stanton: Really? Films in general?

Yeah.

Stanton: Lawrence of Arabia. Lion in Winter. Cool Hand Luke. Gallipoli. And a toss up between, for number five, is Close Encounters or Cinema Paradiso.

Those are two you can't compare!

Stanton: I know!

Thanks to both Andrew Stanton at everyone at Disney for one of the most amazing interviews I've ever had. It has always been a dream of mine to interview one of the brilliant minds from Pixar and it was an honor to see it come true. Wall-E arrives in theaters this coming weekend and is definitely a film you do not want to miss!

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