I'd like to do a detailed blog post sometime on my backup process. Your backup process will always be evolving, and will never be perfect, but you should have a system.

The episode with Paul Schneider (#9) is especially interesting. He went from a director at Digital Kitchen in Chicago to being represented by a commercial direction firm in Hollywood. He describes the process of moving from a design agency to a production company. And gives a peak inside what it's like at DK. Worth a listen.

Pixar is a culture of storytelling magic, so any peak behind the curtain is valuable, I think.

The interview is broken up into five parts below, enjoy:

http://gointothestory.blcklst.com/2012/02/gits-qa-part-1-mary-coleman-pixar.html

http://gointothestory.blcklst.com/2012/02/gits-qa-part-2-mary-coleman-pixar.html

http://gointothestory.blcklst.com/2012/02/gits-qa-part-3-mary-coleman-pixar.html

http://gointothestory.blcklst.com/2012/03/gits-qa-part-4-mary-coleman-pixar.html

http://gointothestory.blcklst.com/2012/03/gits-qa-part-5-mary-coleman-pixar.html

Enjoy!

http://youtu.be/BngKNFWSeDM

This is a great talk by Michael Ellsberg. He is specifically talking about ditching college and going straight for critical mentor relationships.

Here's the brief summary:

You create mentor relationships by giving to your mentors. "givers get". But very important: When you give, it has to be selfless (although highly directional), only if your giving is genuine will you genuinely receive later in life.

There are 3 types of giving:

-Give your knowledge/consult (you know something they don't know, even if they're experts)

-Give your connections, give leads to people you know (both parties that you introduce must benefit, not 1-way benefits)

-Give/show your eagerness to put your mentors advice into action. It will speak volumes to them.

http://youtu.be/RAyp69S1egY

Every image is the artwork of Gostave Doré. I wanted the title sequence to serve two purposes: To establish the worldview of the movie, and give a VERY brief primer on the conflict of spiritual creatures.

I liked Gostave's art so much because it looks like a historical drawing, as if the events were documented with pencils. I wanted the events of the past to feel credible and literal, like you were turning pages on an ancient history book.

All of this art is originally black and white. I added "old tones" and old paper textures to add to the "historic book" feel.

This sequence was designed and animated before we shot the film, it was a fun way to prepare myself for the huge task of telling this story.