Best animated feature film of the year, Oscar 2010

A. Hello everybody. I'm Pete.

Q. Hey, Pete. I just wanted to say to you, what is it about animation that allows you to tell such different stories? This is, as we spoke about before, is a movie about a 78 year old guy and a chubby little kid and all the other things that are involved. What does animation give you that, you know, that other movies do not?
A. Well, I think for me there's a level of abstraction that is involved that, because it's not real actors on the screen, because they're designed and they're character that simplifies it, it allows the audience to kind of project a little bit of themselves in that character in a way that they might not for Tom Cruise or, you know, whoever. And plus, I think there is something about our process so. Of course we use scripts as everyone else does, but we very quickly move to storyboards, which are almost like a comic book version of the film. And we film those with our own dialogue and music and sound effects and that then becomes a real heavy reliance on the visual because we're telling it visually. We end up cutting lots of dialogue, and it's thereby we are allowing ourselves the visual side of the artist to express that as well, so that's my only guess.

Q. Well, congratulations.
A. Thank you.

Q. Hi Pete. Congratulations.
A. Thank you.

Q. You mentioned that one stage about how this idea came from a flip book or a math book that you used to make a flip book way back when. And I was just wondering, do you still have the flip book and are there any other books from your school days that you might be turning into a film?
A. Well, this one, just to clarify, wasn't actually from that. It was just the idea that, "Oh my gosh, I can make things look like they're alive" that got me hooked and that's why I'm here today is that idea of movement. But I still love flip books and I make this every Christmas. It's our Christmas cards to friends, a little book that I make. And I think it's basically the same thing that we do at Pixar only we use millions of dollars worth of computer equipment instead of, you know, 45 cents' worth of paper.

Q. Hi Pete. I'm over here.
A. Oh, hi.

Q. So I wanted to ask you if you have any advice for some of the kids back in Bloomington, how they too can get an Oscar?
A. Well, get lucky. Beyond that, I'd say draw, draw, draw. I don't think there's anyone who's ever regretted being able to draw and just it really it helps you see the world, things that you might notice or might not notice otherwise. When you draw them, you put them down on paper. Suddenly they become clear and it's just a great way to amplify and visually see the world better. Beyond that, just do it. More than ever before, there is technology out there. Make movies and love what you do.


Q. Hi, Pete. I'm interested in your view on the future of filmmaking and whether when we gather in here in 10 or 15 years' time they'll be traditional dramas as best pictures or whether technology will change all of that and, as Avatar almost did this year, and change, and your movie did too, and sort of made things different in terms of what is the best picture and what are actors and the director and stuff like that?
A. Well, I think Avatar is definitely changing things regardless of the awards. It's just as we move forward it seems as though the line between animation and real life is getting blurrier and blurrier. And I think as time goes on that technology becomes cheaper and more accessible, you just see more of that out there. But, no matter what technology comes new into the fray, it's always all about storytelling and characters and that's why good writers and directors will always be and actors will always be in need.

Q. Hi, Pete. Congratulations. Wanted to see if you feel like there's pressure from inside the halls of Pixar to constantly at least top what the last film has done or at least equal that amazing legacy?
A. You know, it's pretty there is like a little bit of sibling rivalry, but it's a very supportive and really I mean when one film does well, we all do well, and the whole system is very, very unique. I think in moviemaking today where when I show my movie as I'm working on it, along the way I get to use Brad Bird and John Lasseter and Andrew Stanton and all these amazing filmmakers who sit and watch what I'm doing and give comments and suggestions. And if they're great ideas, I get to take credit for them. And if I don't like them, I don't have to take them. You know. So it's very unique and amazing, and I think that contributes to what we do. But there's not really like a high I had to top this last guy, or whatever, like that. Thankfully.

Q. Hi, Pete. Just wondering if you could talk about the arrival of 3D as a creative tool to be taken seriously?
A. I think 3D can be a gimmick or it can be legitimate just like anything else. For us it's is a tool in which to amplify and tell the story. So if you've seen Up on in 3D, the scenes where Carl, say, is VERY depressed or alone, we purposefully made that flat when he floats up into the sky and takes off. And you want majestic and uplifting. We really stretched out the depth, so we tried to reflect what the main character is feeling just like you would with lighting or cinematography or music or any other of the tools. That's the way we look at it. It is a great new tool, a new toy to play with. Thank you.