142
" The definition of superb animation is that each character on the screen makes you believe it is a thinking being. Whether it’s a T-Rex or a slinky dog or a desk lamp, if viewers sense not just movement but intention—or, put another way, emotion—then the animator has done his or her job. It’s not just lines on paper anymore; it’s a living, feeling entity. This is what I experienced that night, for the first time, as I watched Donald leap off the page. The transformation from a static line drawing to a fully dimensional, animated image was sleight of hand, nothing more, but the mystery of how it was done—not just the technical process but the way the art was imbued with such emotion—was the most interesting problem I’d ever considered. I wanted to climb through the TV screen and be part of this world. "
― Ed Catmull , Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
149
" When Brad Bird was directing The Incredibles, he had a recurring anxiety dream. In this dream, he was driving down a winding and precarious stretch of highway in a rickety old station wagon, with no one else in the car. Apparently, it was up to him to pilot the vehicle. “But I was in the backseat!” he says. “For some reason, I still had a steering wheel, but my visibility was terrible because of where I was sitting. Basically, all I could do is say to myself, ‘Don’t crash! Don’t crash! Don’t crash!’ ” The takeaway, as he puts it: “Sometimes, as a director, you’re driving. And other times, you’re letting the car drive. "
― Ed Catmull , Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
151
" In this talk, I tell the story of how, when I was first a manager at New York Tech, I didn’t feel like a manager at all. And while I liked the idea of being in charge, I went to work every day feeling like something of a fraud. Even in the early years of Pixar, when I was the president, that feeling didn’t go away. I knew many presidents of other companies and had a good idea of their personality characteristics. They were aggressive and extremely confident. Knowing that I didn’t share many of those traits, again I felt like a fraud. In truth, I was afraid of failure. Not until about eight or nine years ago, I tell them, did the imposter feeling finally go away. I have several things to thank for that evolution: my experience of both weathering our failures and watching our films succeed; my decisions, post–Toy Story, to recommit myself to Pixar and its culture; and my enjoyment of my maturing relationship with Steve and John. Then, after fessing up, I ask the group, “How many of you feel like a fraud?” And without fail, every hand in the room shoots up. As managers, we all start off with a certain amount of trepidation. When we are new to the position, we imagine what the job is in order to get our arms around it, then we compare ourselves against our made-up model. But the job is never what we think it is. The trick is to forget our models about what we “should” be. A better measure of our success is to look at the people on our team and see how they are working together. Can they rally to solve key problems? If the answer is yes, you are managing well. "
― Ed Catmull , Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
152
" To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. "
― Ed Catmull , Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
153
" This set Brad off. “A lot of us in this room have not grown up—and I mean that in the best way,” he said. “The conundrum is how to become mature, how to take on responsibility and become reliable while at the same time preserving your childlike wonder. People have come up to me many times, as I’m sure has happened to many people in this room, and said, ‘Gee, I wish I could be creative like you. That would be something, to be able to draw.’ But I believe that everyone begins with the ability to draw. Kids are instinctively there. But a lot of them unlearn it. Or people tell them they can’t or it’s impractical. So yes, kids have to grow up, but maybe there’s a way to suggest that they could be better off if they held onto some of their childish ideas. "
― Ed Catmull , Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration
158
" No lo puedo evitar, pero de todas las películas de Pixar uno de mis momentos favoritos es aquel en que Anton Ego, el hastiado y temido crítico gastronómico de Ratatouille, entrega su reseña del Gusteau’s, el restaurante dirigido por nuestro héroe, la rata Remy. Con la voz del gran Peter O’Toole, Ego dice que el talento de Remy «ha puesto en cuestión todas mis ideas preconcebidas sobre la gastronomía … [y] me ha hecho ver las cosas claras». Su discurso, escrito por Brad Bird, tuvo el mismo efecto sobre mí, y resume hasta la fecha lo que pienso sobre mi trabajo. «El trabajo de un crítico es fácil en muchos sentidos —dice Ego—. Arriesgamos muy poco y sin embargo disfrutamos de una posición superior a la de quienes ofrecen su trabajo y a sí mismos a nuestra crítica. Nos encanta hacer malas reseñas, porque son divertidas de escribir y de leer. Pero la amarga verdad a la que debemos enfrentarnos los críticos es que en el gran esquema de las cosas, cualquier mal producto es probablemente más valioso que la crítica que nosotros hacemos de él. Pero hay ocasiones en las que el crítico se arriesga al descubrir y defender algo nuevo. El mundo suele ser cruel con el nuevo talento, con las creaciones nuevas. Lo nuevo necesita amigos.» "
― Ed Catmull , Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration