Interview With “UP” Writers And Directors Part 1

Over the next week we will be posting numerous sections of an interview with the co-Directors and co-Writers of Disney/Pixar’s “UP,” Pete Doctor and Bob Peterson.

Below is the first part of the interview:

Q: What was your experience like taking the film to Cannes?

Pete Docter: Cannes was amazing. It was overwhelming, like something out of a fever dream. Here we are, a bunch of geeks who draw cartoons, being mobbed by reporters and fans, at one of the most prestigious international film festivals in the world… I kept thinking, “You’ve got the wrong guys!” But we think of what we do as filmmaking — not anything more or less. We don’t think we should get any special “free pass,” or be seated at the little kids’ table, just because we use animation to tell our stories. And being selected to open the Cannes Film Festival showed us that the film community feels the same way. It was very gratifying.

Bob Peterson: It was like Alice going through the looking glass! Or another metaphor, it was like Pixar is a space administration and they sent us as astronauts to another planet. We kept pinching ourselves that it was real. Cannes after all welcomes amazing live action films with unique content. To be the first animated film to open the festival was an honor! The standing ovation after the film ended will be a memory I will always cherish.

Q: Can you give some advice to young people who would like to work in animation?

Pete Docter: I get a lot of people telling me, “I’m thinking of making an animated film.” Well don’t think about it… DO IT! Today’s technology makes it easier than ever to create films right in your home. I had a teacher tell me, “You’ve got 10 thousand bad drawings in you before you get to the good ones. So get drawing.” The same goes for films (though as you’re making them they’re all works of genius).

Bob Peterson: Several things. First of all, just start animating! Don’t wait for someone to say it’s ok. When I was younger I drew a comic strip that appeared everyday in my college newspaper – I got to draw a lot and get a ton of feedback from readers. This was invaluable to me as a storyteller today. Always carry a notebook to do sketches. Watch and analyze animation. Go to conferences and get to know people – it is who you know sometimes that does get you the job. The best advice is to make sure to get good life experiences – we draw from our experiences every day in story and animation!

Q: Hello! I´d like to know, from both of you, how do your children feel about your job? They must think it´s great to have a father animator.

Pete Docter: My kids don’t seem to think it’s unusual or unique. They probably think EVERYBODY works at a company where they ride scooters and eat candy. They’re going to have a rude awakening when they graduate…

Bob Peterson: I have three kids who each feel differently about my job. My 14-year-old has now grown up with 10 Pixar films. She loves what I do but doesn’t want to brag to her friends – she wants to keep it “cool.” At the same time she is taken by the glamour of Cannes, and the Oscars and wants to go with me to these events! My 7-year-old is a good story sounding board for what is funny to kids. He loves to analyze the humor in our films. My 4-year-old is confused when she hears my voice coming out of dogs and monster slugs.

Q: To Bob Peterson – did you model Dug’s character after any real dogs you know?

Bob Peterson: Of course! I’ve owned a lot of dogs in my life – Marcela, Rusty, Petey Pup, Precious, Rosy and Ava. Each were in love with life’s simple pleasures, but being people in dog suits, as they seem to be, they each had a defined personality. Rosy, my present dog is very interested in squirrels!

Q: What do you think is the most important adventure in life?

Bob Peterson: The great thing about this film and any film we work on is that it contains truths taken from our lives. Pixar lets the directors create an “autobiography.” In other words, things that are important to us make it into the film. I do believe that the greatest adventures happen between me and my kids, my wife, and in small moments. A morning around the kitchen table eating breakfast is an adventure in my house.

Q: In conversations with Ronnie del Carmen and Peter Sohn, they both talked about the advantages of collaboration: animators adding stuff you wouldn’t have thought of. Are there any scenes in particular where somebody gave you an idea that was better than you originally intended?

Pete Docter: ALL of the scenes got better throughout the production process. But there were certain parts that really came to life once we started in animation — like where Russell climbs up Carl in an attempt to scramble up to the house. All the business of him stepping on Carl’s nose and stomach was stuff we added in animation. Kevin, the bird, was another one that was fun to animate. Tony Rosenast was the story artist, and he came up with really funny stuff for that scene where they meet Kevin, but pantomime characters like Kevin just come to life once you get them moving.