SPIEGEL: In “Inside Out” to transform the feelings of eleven-year-olds in animated characters. How to get to something like
Docter: I wanted to understand what happens to people when they grow up. My daughter was before she was eleven years old a living, wild girl. Then she changed, withdrew, was silent, thoughtful. This reminded me of myself, I made as a child by the same development. And suddenly I had the idea that it is a funny story could arise – if the feelings transform into figures.
SPIEGEL: parents of daughters will be thankful that the main character of “Inside Out” Hockey plays and never wears pink dresses. There are also no princess, no fairy in front of …
Docter: Oh, my daughter had also their pink phase, but her childhood is made so much more. We wanted to visit a wide range tell how girls are
SPIEGEL ONLINE:. Go therefore not distance themselves from the world, showing Pixar’s parent company Disney in his films’? / p>
Docter: Clear, since there is not there busloads of princesses, with us just. However, there are at Disney, other worlds, which I cherish. But it’s true, our film does not fit into it
SPIEGEL ONLINE:. So what makes the difference between Disney and Pixar from
Docter? : Disney of course has this great, long tradition, classics such as “Fantasia”, “Peter Pan” and “Dumbo” at Pixar are often cited as models. But we go at the same time distance themselves from this tradition
SPIEGEL ONLINE:. They came to Pixar in 1990. What attracted you to the prospect of work for this time so little company?
Docter: What attracted me was not necessarily the view to make computer animations. On the technical aspect, I am very worn as a child and teenager. As I got older, but I was interested in becoming stronger, the actual narrative. And that was something I admired in the early Pixar short films: They had an excellent technique – and genuine characters
SPIEGEL ONLINE:. “Inside Out” is a film that works for children and adults. If that does not represent a problem for the marketing of the film?
Docter: So that I have never felt busy. I know that I have a lot of luck, because I worked for a studio that the filmmakers can this freedom. Although of course at Pixar are hurdles. The largest is John Lasseter, the artistic director. When I imagine him an idea, and he leans forward and shows interest, then a project is on the right track.
SPIEGEL ONLINE: “Inside Out” seems as if you had taken all freedoms here. The movie is full of jokes and allusions, for example, to the history of art.
Docter: Our approach was: Let us make an animated movie, which is cool and different. I do not want to show the real life indeed. I wanted to, I would grab me a camera and go out with it. But here we can with the resources of the animated film creating a fantasy world, even find visual equivalents for abstract thought. We really had the opportunity to move the boundary. That was not so simple – sometimes what you see on the screen is, the 47th attempt at a scene
SPIEGEL ONLINE:. As animator you are free of the physical laws the real world. But arises from the fact not forced to work particularly disciplined, so you do not get bogged down? As you channel the imagination
Docter: When standing around in a movie houses of Jell-O, people melt and everything explodes, then the audience no longer go sometime with. Our preparation is extremely meticulous. Before we start the actual production, we have not only solved the biggest problems in the script and an idea of how the characters and their world should look like. We have also drawn each scene
SPIEGEL ONLINE:. Drawn? And in times of computer animation
Docter: We are working intensively with storyboards. The also help us, if we do not get stuck with the script. As Hitchcock and Spielberg. But with us it makes from the essence of the work. Only when we have marked the history, we can see if it works. It’s almost as if we’d cut the film, before we even start shooting
SPIEGEL ONLINE:. you have rotated as a child their first films. What made you so fascinating about it
Docter: Unique escapism. I wanted nothing to do with the world, I was a shy child and did not have many friends. So I spent a lot of time painting or creating other worlds. My father had an 8mm camera, and I found out how I was able to make stop-motion movies. That was my way to stage a safer world for myself. There was no fear, no strangers, with whom I had to talk. I think some of these feelings driving me to this day
SPIEGEL ONLINE:. Is that what makes art for you at all
Docter?: Yes. Art can be completely removed from the world. But no matter how fantastic or bizarre it is – always lets our real life in another, new light.
SPIEGEL: you show in “Inside Out”, too complex human behavior, in particular as regards the relationship of parents to children.
Docter: Can there be a more complex relationship than that between parents and children? When our first child was born, someone said to my wife and me: “From today, you prepare this child before it to leave you.” As a parent, you have of course exactly the opposite instinct. They want to make the world perfect for his child: “I’m doing your homework, I wash your things, I clean all objects with sharp edges away.” But we’ll have to let go, so that they can make their own mistakes.
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