A Quote by Pete Docter
'Toy Story' really felt like just a bunch of guys working in their garage for fun. When it came out and people liked it, it was mind-blowing.
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My story really is incredible. It's got a bunch of story lines - the garage-built thing. I'm an older guy. It's out in the middle of nowhere, plus the flat Earth. The problem is it brings out all the nuts also, people questioning everything. It's the downside of all this.
I nodded. I liked Augustus Waters. I really, really, really liked him. I liked the way his story ended with someone else. I liked his voice. I liked that he took existentially fraught free throws. I liked that he was a tenured professor in the Department of Slightly Crooked Smiles with a dual appointment in the Department of Having a Voice That Made My Skin Feel More Like Skin. And I liked that he had two names. I’ve always liked people with two names, because you get to make up your mind what you call them: Gus or Augustus? Me, I was always just Hazel, univalent Hazel.
We've always had ups and downs at Pixar, starting with the high we felt doing something we'd never done - 'Toy Story' - and the low we felt right after when we realized we'd messed a bunch of things up along the way.
'Red Robin' was just another audition, like a lot of other auditions. I just lucked out, and I got it. It's a great group of people I get to work with. Roger Craig Smith and Will Friedle and a bunch of guys. It's fun!
When I started making films I just decided "I'm the filmmaking equivalent of a garage band and I'll just make my garage band movies." But even the same musicians from garage bands would go to my movies and you could tell what they liked from the way that they dressed and they would be the first ones to walk out.
I liked the story and wanted to do it, but I guess the time for the project came now, because I had to change my image through movies like 'Temper' and 'Nannaku Prematho' to finally suit the script of 'Janata Garage.'
... I just want to remind the owners and the players: you guys make money because you have a whole bunch of fans out there who are working really hard. They buy tickets. They're watching on TV. Ya'll should be able to figure this out. Get this done.
After we finished 'Toy Story 2,' we talked about going right into making 'Toy Story 3,' because we had an idea that we thought had some promise. But there were a bunch of boring contractual problems going on between Disney and Pixar at the time that kept us from making the movie.
Scott Foley was always fun because he's a very funny guy. So I liked working with him a bunch.
To meet our troops was just wonderful, and I really, really admired the Iraqi security forces I met. I felt like, 'I'm pulling for you guys.' They want peace. They're working hard for it.
I came across this guy named DJ Grumble and I just really liked his beats because they were different. I felt like they spoke to me.
There's a big song at the beginning [of Sausage Party], and that was really fun to do. It felt like we were living out a dream of being the South Park guys for a minute.
I was working with D'Mile - he's amazing! And I don't know, it was like that guitar riff was so crazy to me, and so I think I was frustrated about something that happened earlier and I feel like I'm just a good guy, I don't cut people off, I don't really call people out when they do stuff that they should be called out on, and I'm just always the one being the bigger person. So, that day "Gangster" just came out. That's just how I feel in that day to day life.
I'm a very collaborative person, so that's not the way I work any way. Once VW got over the idea that I was going to blow their cars up, then we shot the thing really fast and it came out really good. Like I said, it won a bunch of awards and that really was the start of working in commercials.
Working with the actors, working with production designers, working with the creative people who surround the process is really fun, it's really inspiring and I take great pleasure in working with them. That's what's most fun about directing.
Motley never once sat down and said, 'Well, the music scene's changing. We need to make this record a little darker or heavier musically or lyrically.' It was just four guys sitting in a room like a bunch of 16-year-olds in a garage and jamming on riffs.
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