In the parlance of journalism, film, a "junket" means organized marathon of interviews with paramilitary precision, during which the character of the moment is virtually nailed to a chair, a camera and microphone pointed her, and meet a set of interviewers who succeed in the armchair opposite. And camera operators are the same, so you save on preparation time lighting and framing. And the minutes for the meeting are counted: usually five or six, although in rare cases you can sneak an extra minute or less. It is the interview speed dating, there's just time to get to say a few words on the movie to a standard TV service a couple of minutes. In the words of a press office with whom I spoke in the days of Venice, is not not even a real interview, it is pure promotion.
There are those who submit to junket reluctantly, and get even more from the same five to ten ready-made answers to break away (just, you know, movies are the interviewers for 98% of the incompetent who can not come up with a decent demand not even to save his life) and who has become very good at exploiting the best time to be able to communicate something that gives at least to those who interviewed him, giving him the illusion of something personal.
John Lasseter I had met him several years ago to another junket, that for "Toy Story 2," and even then, in the seven minutes that we had a disposizione, mi aveva dato risposte articolate, interessanti e appassionate. E anche qui a Venezia, nonostante l'argomento non fosse strettamente un fim bensì il Leone d'oro alla carriera (sua e della sua Pixar) e un nuovo titolo di cui tuttavia non sapevo praticamente nulla, l'incontro è stato prezioso. Anche perché si è parlato di un argomento avviato qualche mese fa con Katzenberg , ossia il passaggio a 3D di film d'animazione concepiti, originariamente, per essere fruiti sul tradizionale schermo piatto. Le righe che seguono sono un junket , più che un'intervista, ma trattandosi di Lasseter mi sembra che valga comunque la pena di trascriverle. In genere ci vuole una vita to get a Golden Lion. You've had it after fifteen years ... even if it is true that, in animation, fifteen years is a long time. How do you feel?
Receiving the Golden Lion at the Venice Film Festival was very exciting. I am particularly proud because they gave it to me only, but to me it's Pixar. This is the first time in history that the award is given to a study. Because we are one. We are not just a group of individuals, we study a . We work very closely and we are extremely focused in an effort to make good movies.
I am curious your initiative to make three-dimensional some of your films that are not initially been made in three dimensions. The fact that computer-generated allows you to have all the necessary information to make a 3D version?
Well, as we see it, we always film in three dimensions, which until now only looked at them with one eye closed. This is because inside the computer is really a three-dimensional environment in which we make all our films. The exciting thing is that since it is data, computer data, we can go back in, update your information to our current operating system. At that point we can produce another point of view inside the exact same scene. We have not changed only one thing in "Toy Story" or "Toy Story 2." It is exactly the same movie, only you can see it in 3D. It is also a fun, exciting, like a lot to me because people can again see "Toy Story" and "Toy Story 2" on the big screen, that is, in ways they had been conceived.
intrigues me very much the idea that the first move by John Lasseter, founder of Pixar, Disney once entered into, was producing an animated film after the traditional Disney itself, in the wake of Pixar's runaway success, he abandoned this system. Well, the whole mia carriera si deve ai film di Walt Disney. Sono stato tirato su da artisti Disney, ho lavorato come giovane animatore agli studi Disney, poi ho cominciato a interessarmi di animazione al computer, cosa che mi ha portato nel nord della California. Ora, quattro anni dopo che la Disney ha acquistato la Pixar... non appena sono rientrato ho detto: "Faremo di nuovo un fim di animazione disegnato a mano", perché amo quella forma d'arte. L'obiettivo è fare un grande film, non importa quale mezzo si usi. La questione è intrattenere il pubblico. Ho chiesto a John Musker e Ron Clemens, due cari amici (e i registi di "La sirenetta" e "Aladdin") di tirar fuori un'idea: loro sono venuti fuori con questa fantastica nuova rilettura the frog and have called it "The Princess and the Frog." There is a very strong female character and is a return to the fairy tale, a return to musical, it's beautiful ... There are wonderful characters - both human and talking animals ... so ... has all the elements of a classic Disney movie. But it is brand new.
Since you mentioned the acquisition of Pixar by Disney, and then: what it is, today, Disney and what it is, today, Pixar?
study is not a building ... A study is made of people. Pixar Animation Studios has a group of filmmakers and animators who work there, as well as the Disney Animation Studios. Really, are different groups of artists, but both studies are directed by filmmakers - that's what we do. We are the filmmakers, but also those responsible for the studies and ideas are by these artists in the studio. There is a difference, and it is in tradition. Both studies are very proud of its tradition. Pixar is a studio that we started from nothing, founded to develop new technologies and has always made great films in computer animation ... Disney is the studio built by Walt Disney ... has never closed, has always made animated films. It is a great tradition and the artists who are part of it are enormously proud. And moreover This partnership moves up the bar: we we do at those movies made by Walt Disney, otherwise it makes no sense to bear the Disney name. I see it. And the "Princess and the Frog" is at that level. It's a great film.
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