diboride thin film growth.
Klaus Dibiasi from Italy was going for his third Olympic gold medal in 1976.
Chris DiBona: So, thanks for coming.
Chris DiBona: Really? Andrew Stanton: Yeah.
Chris DiBona: I’d imagine that at Pixar you’ve got, uh… Andrew Stanton: This is like a postage stamp.
Chris DiBona: Uh, the city of Mountain View is very generous to us, uh, so, most of the time.
Chris DiBona: Yeah. Chris DiBona: So, uh, John Carter.
Chris DiBona: So, I actually would like to start in the, this will drive our AV people a little nuts, I’d love to have the concept art from, how old were you?
Chris DiBona: You were 11 years old?
Chris DiBona: So this is you here?
Chris DiBona: So you were 11.
Chris DiBona: Yeah, he really kicked your butt.
Chris DiBona: Really? Andrew Stanton: And we said, we should now we have to make it like, if any other writer comes on this, they have to have a drawing and prove they like read this book
Chris DiBona: That’s right.
Chris DiBona: No, I couldn’t have.
Chris DiBona: But it’s, it’s interesting, cause you know 1917, it’s really...
Chris DiBona: But it was before that.
Chris DiBona: Pre-copyright I might point out.
Chris DiBona: Wow. Andrew Stanton: So it’s pretty amazing.
Chris DiBona: So, this brings up the question of anachronism, right?
Chris DiBona: That was anachronism.
Chris DiBona: And the little mer— Andrew Stanton: You know what I mean?
Chris DiBona: Oh the denigrating way back then is what Andrew Stanton: Well it’s still, it’s horrible stuff.
Chris DiBona: Yeah, pulp.
Chris DiBona: Yeah. Andrew Stanton: Um, was that it felt like a romantic adventure.
Chris DiBona: Well in some ways, I mean, you made it very clear in the movie, which you were nice enough to show me, well not you, your peeps.
Chris DiBona: Yeah. Andrew Stanton: We’re running out of power.
Chris DiBona: I think people are turning off their laptops and maybe it’s surging.
Chris DiBona: So, I asked a friend of yours, well a colleague of yours, Rob Cook.
Chris DiBona: You don’t have any friends?
Chris DiBona: Well, you know.
Chris DiBona: Well the cost of Mill Valley, yes.
Chris DiBona: It’s a horrible place, no I’m kidding.
Chris DiBona: Who just retired after 30 years at Pixar.
Chris DiBona: So he just retired and became like the first like, emeritus or whatever.
Chris DiBona: Yeah it is.
Chris DiBona: And so I wanted to talk to you about feet.
Chris DiBona: The way the feet met the ground never really looked right.
Chris DiBona: Well I don’t really like feet that much.
Chris DiBona: Alright. Andrew Stanton: And that’s the thing you see first time animators make the mistake of all the time, is not giving things the proper weight.
Chris DiBona: Including the fish movie?
Chris DiBona: Humans! You have to work with humans at Pixar.
Chris DiBona: Did that happen to you?
Chris DiBona: Is that where the arena was built?
Chris DiBona: Oh. Andrew Stanton: And, so, I'm...Taylor, who’s the lead, is walking through a door way, it’s your classic cowboy coming into the saloon kind of shot.
Chris DiBona: There was chicken.
Chris DiBona: But two chickens, that’s kind of cool.
Chris DiBona: So one of the things, uh, when Rob gave his talk here is he talked about how much work you put in to matching Wazowski up with Billy Crystal’s mannerisms and the
Chris DiBona: It’s not magic fairy dust.
Chris DiBona: Along those lines, actually, the relationship that was expressed in the film between Tars Tarkas and Sola, was probably, in some ways a disappointment, right?