Pixar Cars Quotes

At the casting sessions it was all boys and though I wasn’t exactly bored I didn’t need to be there, and songs constantly floating in the car keep commenting on everything neutral encased within the windshield’s frame ( … one time you were blowing young ruffians … sung over the digital billboard on Sunset advertising the new Pixar movie) and the fear builds into a muted fury and then has no choice but to melt away into a simple and addictive sadness.

One morning in June, an overtired artist drove to work with his infant child strapped into the backseat, intending to deliver the baby to day care on the way. Some time later, after he’d been at work for a few hours, his wife (also a Pixar employee) happened to ask him how drop-off had gone—which is when he realized that he’d left their child in the car in the broiling Pixar parking lot. They rushed out to find the baby unconscious and poured cold water over him immediately. Thankfully, the child was okay, but the trauma of this moment—the what-could-have-been—was imprinted deeply on my brain. Asking this much of our people, even when they wanted to give it, was not acceptable.

Then the heavy lifting began. For the next six months, our employees rarely saw their families. We worked deep into the night, seven days a week. Despite two hit movies, we were conscious of the need to prove ourselves, and everyone gave everything they had. With several months still to go, the staff was exhausted and starting to fray. One morning in June, an overtired artist drove to work with his infant child strapped into the backseat, intending to deliver the baby to day care on the way. Some time later, after he’d been at work for a few hours, his wife (also a Pixar employee) happened to ask him how drop-off had gone—which is when he realized that he’d left their child in the car in the broiling Pixar parking lot. They rushed out to find the baby unconscious and poured cold water over him immediately. Thankfully, the child was okay, but the trauma of this moment—the what-could-have-been—was imprinted deeply on my brain. Asking this much of our people, even when they wanted to give it, was not acceptable. I had expected the road to be rough, but I had to admit that we were coming apart. By the time the film was complete, a full third of the staff would have some kind of repetitive stress injury. In the end, we would meet our deadline—and release our third hit film. Critics raved that Toy Story 2 was one of the only sequels ever to outshine the original, and the total box office would eventually top $500 million. Everyone was fried to the core, yet there was also a feeling that despite all the pain, we had pulled off something important, something that would define Pixar for years to come. As Lee Unkrich says, “We had done the impossible. We had done the thing that everyone told us we couldn’t do. And we had done it spectacularly well. It was the fuel that has continued to burn in all of us.” T

Pete has a few methods he uses to help manage people through the fears brought on by pre-production chaos. “Sometimes in meetings, I sense people seizing up, not wanting to even talk about changes,” he says. “So I try to trick them. I’ll say, ‘This would be a big change if we were really going to do it, but just as a thought exercise, what if …’ Or, ‘I’m not actually suggesting this, but go with me for a minute …’ If people anticipate the production pressures, they’ll close the door to new ideas—so you have to pretend you’re not actually going to do anything, we’re just talking, just playing around. Then if you hit upon some new idea that clearly works, people are excited about it and are happier to act on the change.” Another trick is to encourage people to play. “Some of the best ideas come out of joking around, which only comes when you (or the boss) give yourself permission to do it,” Pete says. “It can feel like a waste of time to watch YouTube videos or to tell stories of what happened last weekend, but it can actually be very productive in the long run. I’ve heard some people describe creativity as ‘unexpected connections between unrelated concepts or ideas.’ If that’s at all true, you have to be in a certain mindset to make those connections. So when I sense we’re getting nowhere, I just shut things down. We all go off to something else. Later, once the mood has shifted, I’ll attack the problem again.” This idea—that change is our friend because only from struggle does clarity emerge—makes many people uncomfortable, and I understand why. Whether you’re coming up with a fashion line or an ad campaign or a car design, the creative process is an expensive undertaking, and blind alleys and unforeseen snafus inevitably drive up your costs. The stakes are so high, and the crises that pop up can be so unpredictable, that we try to exert control. The potential cost of failure appears far more damaging than that of micromanaging. But if we shun such necessary investment—tightening up controls because we fear the risk of being exposed for having made a bad bet—we become the kind of rigid thinkers and managers who impede creativity.

The next morning, Steve and John were sitting on the porch of the house, taking in the nice view—which was marred only by the sight of John’s 1984 Honda Civic, with 210,000 miles on it. “The paint was just sunburned off,” says Lasseter. “The seats were shot—I put T-shirts over them. Steve had driven up in their Jeep Cherokee. Now he knew the roads I had to drive on every day.” “Don’t tell me that’s your car,” Steve said. “Yeah, it is,” John told him. “You drive to and from Pixar on these roads in that car?” Steve said. Lasseter sheepishly nodded. “Okay. No, no, no, no. No, that just won’t do.” “Steve,” said Lasseter, “I’ve got to be honest, I can’t afford a new car right now. We just bought this house and it’s far more than we can afford. I just can’t do it now.” “I think what he was thinking,” Lasseter told me, “was, ‘Oh my God, I bet the farm on this guy, and he’s driving that crap car … if a truck hits him—dink!—he’ll be dead.’ ” “Okay,” Steve said, “we’ll figure something out.” When Lasseter got his next paycheck, it contained a small bonus. “You have to use this to buy a new car,” Steve told him. “It has to be safe, and I have to approve it.” John and Nancy picked out a Volvo, and Steve approved.

Pixar employees must remain free to exercise their creative freedom with their titles and names on their business cards; number 33 ensured that Pixar’s people could continue to exert “personal cube/office/space decorating to reflect person’s individuality.”) Some sought to preserve popular company rituals. (Number 12: “Event parties (holiday, wrap, various events) are prevalent at Pixar. Various holiday parties, end of film parties, the annual car show, the paper airplane contest, Cinco de Mayo festivities and the summer barbecue

In retrospect, the fact that Toy Story was the beginning of Steve’s professional resurrection seems preposterously appropriate. Its plot established the Pixar formula: a likable character is the cause of his own downfall, often as a result of hubris; but he (or she, once Pixar finally made Brave) overcomes weakness through kindness, bravery, quick wits, invention, or some combination thereof, and thereby earns a redemption that makes him—or her—an even better and more complete toy (or bug, car, fish, princess, monster, robot, mouse, or superhero!). The hero’s downfall, incidentally, often involves some kind of exile, as in Toy Story, where Woody “accidentally” sends Buzz careening into Sid’s backyard, and then must join him to engineer a hair-raising escape from that evil child. The parallels to Steve’s own exile from Apple are obvious.

In his early twenties, Jobs almost single-handedly introduced the world to the first computer that could sit on your desk and actually do something all by itself. He revolutionized music and the ears of a generation with a spiffy little music player called the iPod and a wide selection of songs at the iTunes store. He funded and nurtured a company called Pixar that made the most amazing computer-animated movies—Toy Story, Cars, and Finding Nemo—bringing to life imaginary characters like never before. Though

There’s a great Pixar video about telling stories. The video—“Pixar in a Box”—featured Pete Docter, director of the films Inside Out, Up, and Monsters, Inc. According to Docter, the power of story is that “it has an ability to connect with people on an emotional level.” He gives a bit of advice that I think is worth keeping in mind when you create a compelling story: Write what you know. Says Docter, even though you may be writing a story about explosions or monsters or car chases, “put something into it that talks about your own life—how you feel…. Something from your own life will make that story come alive.” Every good story has three elements: Characters. In a work situation, that might be you, your teammates, your customers or clients, and your boss. Who is in the story? Get your audience to feel an emotional investment in the characters. Plot. This could be, for example, the process of digitally transforming your business. A good plot keeps your audience engaged, wondering what’s coming up next. Story arc. This is the movement of the story from beginning to middle to end. You’ve got a problem and, through much trial and tribulation, you find a solution and become the hero of your team. Every story you tell—even if you’re writing about a technical problem, or starting your own business, or whatever it might be—needs to have these three elements. If you do this right, then people will care about your story. They don’t care about features, they care about the benefits of your idea—how what you’re pitching makes them better, smarter, more successful, happier, more fulfilled, more respected, and so on. They want to feel like a hero. And if you can make your audience feel like heroes, they will be engaged in your story and deeply connect with it on an emotional level.

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