Blank Check with Griffin & David - A Conversation with Andrew Stanton

Episode Date: August 6, 2026

Surprise! In a first for Blank Check, we’re dropping a bonus main-feed episode featuring a conversation with the Academy Award-winning director of the films we just covered. The great Andrew Stanton joins us for a delightful conversation about Pixar, what happened to scatting, and how Elmo messed everything up for everyone. He answers many questions from Griffin (the Pixar nerd formerly known as FlikLover98), and goes in depth on the ending of WALL-E. Enjoy! Sign up for Check Book, the Blank Check newsletter featuring even more “real nerdy shit” to feed your pop culture obsession. Dossier excerpts, film biz AND burger reports, and even more exclusive content you won’t want to miss out on. Join our Patreon for franchise commentaries and bonus episodes. Follow us @blankcheckpod on Twitter, Instagram, Threads and Facebook!  Buy some real nerdy merch Connect with other Blankies on our Reddit or Discord For anything else, check out BlankCheckPod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

We have no idea how to start these. We don't, there's not a, there's not a format. No. No. Not a little theme. There's, well, I guess we'll do the theme. But then usually I do a quote from the movie. I butcher that.

That's how it starts. But we're not talking about a specific film here today. You could like pretend laugh like you just were telling jokes or something before you got started. Oh, you want to, you want to WTF it. Yeah. Yeah. Ask about the traffic on the way over here. Yeah, it was the traffic.

Did you take the subway? I took the R. Oh, there you go. Got here in 25. That's a workman-like train. You know, the R, she's nobody's favorite. It was 30 seconds from my apartment and then about... It's very close to me.

25 seconds from... The dream. Yeah. From the stop here to get in. The R just trundles along, though. Like, you're never on the R like, great, we're about to pick up speed. The R does yeoman's work. It's a yeoman's work train by a long shot.

Now, I feel like... Re burrows, local all the way. You often say that the cue is going to... kind of default the best train. Q's great train. Not your personal favorite. Not my personal favorite. It's a great train. Why is the Q? Always an express. Oh, yeah. Yeah. And I think that the line it goes down in Brooklyn is very attractive.

Like, it's very, it's very nice sort of... Oh, the curves of that Q's... No, it's outside. It's... The outside is really nice. It's a special... If you want me to get really nerdy, there's not a lot of parts of the subway that are like the Q because the Q was a very, very old steam railroad. So it's just open cut in the ground. So it's not elevated, which, you know, is cute, but like you got to go up and down these stair and, you know, and it's not underground.

It's really nice, the Brighton Line. Sims is a fan of the New York Transportation system. I'm a New York kid. Did you know before they put the subway system in? There was a pneumatic tube system between postal stations? Yes, yes. They inaugurated it with a live cat? A live cat?

To make sure the cat, like, didn't die. Yeah, exactly. I didn't know. Yeah. The cat was like the, the Lyca was like the animal sent through. Like, they put it in all the cage, like a box and shot it down the tree. And it made it. other guys were like, we got her. That's what they say. That's what they say. Okay.

I think we should go back to pneumatic tubes. I do too. They're fast. Yeah. Okay. Griff doesn't have a take on. Does anyone still use them? I think a lot of places still use them. When we were building the studio for Pixar in the late 90s, we did Wired Magazine was kind of O'Carrant at the time. And they did a whole thing about how pneumatic tubes actually still exist. And Boeing uses them like a huge scale and advanced technology, send engine parts like half a mile down their property. So we were like, let's put that in the building. And Steve was like, no, no, no, no. And then we got whittled down to like, can we just have one loop?

And it just goes nowhere. And we just pay the receptionist to like put a envelope and into a tube and shoot the capsule and then just do it every 15 minutes. And does it go back down to her? Yeah, exactly. Okay. Can we just have that? Yeah. No, no, no.

I was in Chicago recently and I bought weed, the weed shop. Congratulations. Had pneumatic tubes? Yeah. Really? Is that. You know what? That actually makes a lot of sense.

I do think that's how we bring the pneumatic tube back. It makes sense to go hand in hand with the legalization of weed. Yeah. Those stores shouldn't be pulling a thing out of a drawer. Right. Or going in the back. Yeah. Even if it's just a guy blowing a thing through a tube from the back, that's what it should be.

Pixar is in the bay? Where's Pixar? Pixar is technically in Emoryville. Right. It's like North Boeckland. A industrial piece of real estate that's about, a mile, maybe a quarter of a mile high and maybe a mile wide. And it connects Oakland and Berkeley. So if you go across the Bay Bridge from San Francisco, there's a right below it is a big IKEA store.

And right behind that, is us. Is that good being far away from Hollywood, like quote unquote far away? That's further away. That's part of the secret sauce. Yes. That you guys were sort of insulated. Yeah. And it's a lot of other factors. But it also kept, it still does, keeps most of the employees grounded because when you leave, the waiters not trying to sell a script or run and roll. You're not meeting other people in the business. I mean, it's become kind of tech broie everywhere, but there's nobody trying to make movies.

So it kind of keeps you appreciative of what you get to do every day. We're here with Andrew Stanton, who, and this is a fact, is the director that we have been covering for the last six weeks. That's so true. Films, correct? Yeah, just six features. I should have opened with this, but explain to me. Can I just, can I just say, can, for the rest of this episode, can I call you Flick Lover-N-A-N-8?

Absolutely. Because that- Wait, you listen to a Patreon episode, that's sick. I'm sorry I wasn't a big box-life, man. Sorry I was anti-Buscliffe life. You should have led with that when you met me, Griffin. A gentleman's character. We should establish the back story here.

At first I thought there were 97 lovers of Flick, but then I realized, oh, it was the year you made it. Right, right. The year the film came out. It was the year the film came out. Yeah, yeah, I needed that. Flick lover 98. You can indeed call me.

You're the one person who's allowed to call me that. You know, let's clear the air on this. You're the co-director of that film. Yes. Oh, this is a good question. That does mean you are not the director. Because like some people will sort of say like, well, why won't you cover this film?

They're a co-director and I'm like, I think that title, like, It means... Signifies that you're not the director. Exactly. The way of explaining is we came up with it because that's my beer. This is an intense question. Because during Toy Story, the team that had been doing commercials together was John, Lasseter Pete Doctor, and myself.

And John and I just really clicked. And like, I was a really good Jiminy Cricket, like a good conscience for him. I always say I'm like the devil on his shoulder and Joe Ramps, who, who, God bless him was like angel on his shoulder. But I was able to kind of always help him keep thinking in the right direction or avoid the wrong direction. And so I kind of was invisibly that role without knowing it because we were all learning what the roles were on Toy Story. So after it was over, we said, can we make this official?

And so I said, well, let's let's make sure it's not Disney only knew dual directors. I was going to say. But we didn't want to make up a title that was new. So we just said, we just know what the role means. Co-director means deputy. And you're just there to help the director be in two places at once. Like if you do the role right, if somebody talks to me and say, what should we do? I'm not pushing my vision.

I'm pushing the vision of the director. And I'm helping keep moving a lot. But it's sort of a little different from like an assistant director, which is a very defined. No, assistant director is a very, very, very, very different role. And so that's unique to Pixar. It's just, it's something people get hung up on to this day, but I think because of the uniqueness. It's all semantics. Right.

But we've always been consistent since the first movie that like sometimes we there, and I'm the same way. Like I found out on Nemo, I worked better having the Yonkrich, who had always had as an editor to confer with when John was busy to have him at the ready. So he came on board like the last year and a half. Does every Pixar projects have a coder? No, it's just the director's choice. Right.

It's lit. There is not a stamped way it's done. And it's more like we are very individual, visionary based, like filmmaker based, and we do whatever will make that filmmaker work better. So the one beef I have that you guys fall accidentally into, it's my only beef, and it's for the greater good. when you use the word they for Pixar, it's like, you don't do that with Nolan.

You don't say they for the universal studios or they for a part. Like, yes. There is no star chamber of people going, you've got to do this. And everybody wants there to be. Even internally Pixar people want that to be with Disney, but there isn't. It's like we are, we take the high risk we take is we invest in that visionary filmmaker. Yes. And then we will support them or.

kind of sometimes cast them and put a group around them so that they will succeed because we can't afford to fail. But we also can't afford not to follow a singular artist vision. We learned that from the first movie. So it's, Toy Story is a John Lasseter movie. You know, it's always bugs life. Toy Story 3 is a Lee Uncrich movie. Toy Story 4 is a Josh Cool movie. There's no they, it's not like Pixar head. Nobody knew that they were going to make a two. Nobody knew we were going to make a three. There isn't a great map. One of the great wisdoms of growing up and getting older is realizing nobody's flying the fucking plane. And you go, oh, so we're just trying to make the best smart decisions we can at the time.

And maybe hopefully not pay for it later, you know. It's your victims of your own success. I mean, the reason people, including us, are like, well, Pixar is because Pixar's run was so unique. And it's treated more like a sports team. Yeah. I know I'm fighting a losing battle. but I just, the idea that like there is a, it is a group sport to make a movie, but that still everybody believes in live action that there is a one person that is

running that movie. Barbie's a Greta Gerwood movie. Yes. And so so are the pick. I can't speak for any other animation studios, but I can speak for Pixar and go, that individual was the director and visionary of that film. But also that's why, you know, we covered you and we're not a podcast going like, let's do a 25 film series on Pixar.

Well, that's true. And we did, right. We did Ron Clements and John Musker. And we did Brad Bird. And we did Brad Bird. And we've done like and Clements and I know, I know you get it. Right. No, no, but we're just using the trap of they. Absolutely. Okay, but here's my big question. Why was Red's dream never in front of a movie? Like what the hell? David brings us up every day. Why can't Red have his moment. Everybody was probably, I can't speak because I, why. You can speak for Red. No, I just, I wasn't there when it was made. Okay, fair enough. It's a really old one. I have a feeling. I have a feeling. it was because it was a downer ending. It is a downer ending.

It's still stuck in the bike shop. You still have to convince Disney, who has the money and the distribution that this is the best choice to put as a short in front of a zone. They put all the classic shorts in front movies. Nobody wants to depress the audience right before you start rolling. Fair point. Because that's your favorite? Did we realize this?

Look it, we loved it on its own, but as a lead in to tee up something. Yeah. It was just something that I saw at a young age for some. reason. It must have been on some compilation. I don't know why. Tiny toy stories. I was very taken with. Well, that just shows you were, you were destined for art house movies. Seriously. It's true.

It's like the French sort of. Yes, it's very much. Existential movie that sparked from you. Yeah. Yeah. I just but you didn't, you didn't even work on Red Street. So I won't hound you about Red Stream. But you were, you were the second employee? Is that correct? The second anime. The animation department,

I was the ninth employee, second anime. So what was the first thing you worked on? I was hired with just thinking that we had no idea that there would be a future of film. We just thought this is this new thing that they were the inventors of, which is called CGI, which is like, what the heck does that mean? It means computer graphics. All I knew is it could look photorealistic. At the time, we thought it did in our eyes so trained, it looks like crap.

But we were the first of maybe only two other houses that could do that medium for possible advertising. was the only way to make an income. So they had, I got hired to animate and think up commercials. And so my first thing was a Trident commercial with a Ice Cube that played jazz while a mint leaf scat sang on the top of the beginning. The 90s, this was like,

we had to figure out. We had it figured out. God damn it. What happened to saxophones? What happened to scatting? The 90s, everything was just like, there needs to be a saxophone. In this commercial, in this like,

you know, the WB is going to. launch all jazz. Why isn't there a blue M&M and why isn't he voiced by John Goodman? We had it figured out. I now pay, if I can just grind an axe for a second, I pay for every option I get to remove ads from any streaming service. If the ads were still the ads from the 90s, I'd pay extra to get them back. Yeah, that's true. Yeah, if it was the, what's the commercial, would they need the air conditioner? I'll call now. What's that one? Sears? You know, I don't remember this one. I'll show you later. I'm always, I wanted to pitch this to Disney, like they own ABC.

I don't know about the ads of it, but wouldn't it be great if you could just pick a year and just watch ABC with the commercial cuts, like the actual content? Like, I would watch that all the time. A streaming service where it's just, this is June 21st. Yes. Show me TGIF. Yes. I want to, right, the block.

I want the whole experience of just having it all. Exactly. The toy commercial. Yeah. Sure. I would think that would be a very profitable thing to do. It would be incredible. Yeah.

I used to, yes. I mean, I used to tape movies off of TV and watch them over and over again. I rediscovered them when my parents moved those VHSs. And I put it in and immediately knew every word of every commercial. Isn't that crazy? It's incredible. No. Okay.

Are you a baseball fan? This is all I care about these days. Fair weather, but I was, you're going to hate me because I'm a socks fan because I was born and raised. That's fine. I'm a man. I don't care. I was just throwing because you're in Europe in Oakland, you know, if you feel for the A's, but no, you don't really do.

Many people I work with are still in mourning. Yeah. And don't want to talk about it? Rip A's. Okay. Yeah. All right. Andrew Stanton's here in the studio with us.

I'm David Sims. Are we saying names? I'm Griffin, man. Great. Cool. Ben Hosley's here. Hey there. Looking great, by the way.

He's always looking great. I've seen you in a while, but he's looking particularly good. Right. For the listener, this is our first time seeing Griffin in since end of June. Six weeks. Since the Stanton's started. Yeah. I mean, I saw you on.

I went away. I come back. We're ending it. Yes. Mm-hmm. And Andrew's joining us. Toy Story 5 has come out. Come and went.

Now it's done great. It's all about Spider-Man right now. It is so funny that you just made a cash billion dollars and it's like a month later, it's like Spider-Man in the Odyssey. Who cares? You did get to be the highest grossing film of the year. So far. Yes. I mean, it's not going to be that at the end of this thing.

But you got to be. For a while. It was anointed. Sure. Yeah. You got that little badge. I have nothing to complain about. It seems the movie did

beyond expectation. It's great. Totally beyond expectation. Highest gross and toy story film. Yeah. Before inflation. Yeah. Made my daughter very sad. Really?

Yeah, in a way that she couldn't articulate because she's only five. Oh, well, I don't count five as movie going yet. Well, fair enough. I guess she can go. Just a dark theater can be traumatizing for a child. In my child's defense, she's a very experienced theater goer.

We see lots of movies together. And usually when we exit the theater, she's just kind of like, best movie. Great, loved it. Every minute was great, obviously, because we're seeing things like Super Mario or what are some anima? Goat. The great sports drama, Goat.

Tourist 35, she was just upset. She was like, I want mom. Like, she was just, like, clearly thrown by it, I think, because of the friendship stuff. You know, just because it was about interpersonal... Child drama. Yeah. And most of the things she sees are more about.

interpersonal kind of like Star Fox or Mario drama, Minion drama. She's very wrapped up in the Star Fox drama. Flippy Frog. And like the emotions in Toy Story Five are subtler. And like are, I'm not, you know, I'm not trying to like tell you something you don't know here. He's not trying to like bill you for therapy. I'm more investigating like my, it's like my kid walks out of, you know, Star,

Super Mario and it's like, I like that Luigi's scared. Like she gets that. You know, it's just a very loud emotion. Like I think Toy Story 5, she was like trying to process. at all, like what was going on with Bonnie. Hopefully they'll watch the movie again when they're older and it'll be different for him. No, it's great. I'm saying this is a compliment.

She liked it. It's just intense. I said flippy frog instead of slippy toad. Andrew. Here's Jesus. I know. I just need to correct myself before I'm fired from this podcast. Here's a Redstream related question. And then I want to get more focused on things. What's Redstream? Redstream? You cited

the Pixar. Oh, Redstream. I'm sorry. I was hearing Redstream. Can we get the shorts back and front of the movies. Oh yeah, sure. The movies are a little longer, I feel like. The Pixar movies have inflated in length. There was a period of time where we had a lot more being made and just the theatrical experience was a little more for sure. And then I think between having to make things for less and being in a questionable still space of theatrical, although it's starting to feel like a good year. It's just feeling good. It may come back, but that's

that's a lot. They're not cheap to make. Yeah. And they, they, they take a year and a half to make a short. And that's longer than some live action movies are to take. So it's, it's, it's hard and harder to justify. Wasn't the, uh, wasn't it obvious, sorry, wasn't it often the idea that like, with the shorts, you're testing some sort of, you know, sometimes, sometimes. But we're at a place now where it's, now you can, now you can use to, I mean, the stuff we could do, like I was away for 10 years or eight years, but 10 if you count going in like when last time I was like in production at and I thought we could do everything looks wise back then in 2014-15 and now I just like as a kid in a candy store working on this one I was just like wow we can we can do anything I think wali still looks incredible but it is while

when we do this podcast I often will go back and read the reviews from the time and at the time everyone went well they've cracked it it's name never going to look better than this. Every single thing has technically been accomplished now on this film. Yeah. Yeah, I'm of the belief that like about, yeah, maybe 10 years, maybe a little longer, it's all still costly, just manpower-wise. But you can, if you can think of it, you can make it. It's just in the eye of the beholder now. It's, it's, if you don't like the look of something, you got to blame the artist, not the paints. Was it weird, though, like coming back 10 years later, Or was it freeing or fun or like cool to open up the old toy box?

It was fun. It was fun to be in the production of it. It was fun to work. I love, I mean, I love production. I love working with other artists. I've always been that kid that loved putting on a show in the backyard kind of equivalent or making her movies with your Super 8. And so that's the drug.

What I knew I wouldn't love and was confirmed only about two years in was I don't like how long it takes. as you just mentioned before, I'm hoping not getting anything away. You're 40. I am. No, no. Time gets faster at 40 and then it gets even faster at 50. And so four years at 60 is just too long because then suddenly half a decade's practically over. And I can count on one hand how many more times I could do this.

Like it's time that's made me kind of anti-animation at this point. Here's a kind of. And you don't think children should have fun or have fun or be happy too. So you're anti-animation for that. No, I think children should have a lot of fun. But I'm not worried about being the bearer of that. Yes, it's not your responsibility anymore. No, I'm making films for myself.

The press you did, the press runs for the two movies you had this year. You talked about this a lot and how growing up you never specifically were interested in animation in a singular way. That was never the exclusive goal of what you wanted to do. And how you feel like this might be your last animation. film because of the time issue. This is maybe a very stupidly broad question, but how did you realize you had the capacity to do animation?

Because it is the kind of thing, unlike live action directing, where it starts with needing to have some facility at doing the technical. It's easy to look back to 2020 now and go, I was Jack of All Trades and Master of None. Like, I was going to be an actor, I was going to be a musician,

I was going to be an artist. I could do all three of those things. And none of them went great to such mastery in my teens that I knew that this was calling me. And I didn't, but I liked doing all of them. And I definitely loved the arts. And I went to the movies like a frickin church. Every, it was. And you're in Massachusetts?

Yeah. So it's like what sports are for sometimes to bond parents and the kids and the family, movies were that. Our whole family would jump into the station wagon, go up, what we said, up the line to the movieplex. And we didn't even think about what was that playing. We would just go see it. And you worked at an art house theater as well.

Yeah. By the time I got old enough to be employed, yeah. And so all of that I didn't want to give up. And so it's because I found out, and this is, you got to remember so far before the internet, before knowledge of anything. You know, they have handbooks. Was the only way you could find out about colleges or somebody went somewhere and told you about something. And so it was my junior year of high school and my guidance counselor. had to meet me to say what I'm going to do with my life, where am I going to go? I didn't know. And he was

late to the office. I sat there and I stared at this bookcase and there was this binder with a fluorescent, hot fluorescent orange binder. And I pulled it out and it was for Cal Arts. And I learned, I learned, oh my God, they teach animation I draw, which is sort of like acting. I like to act. It's all about timing and I've got good rhythm. I like music. And it's ultimately on film. And I love film. And I was like, suddenly, I was like, I don't have to give up any of this. It was literally all in that one. It was, it was all in that one. And then I became like devil's tower. Like, I had to go. And because I had fucked off most of my high school and I was really bad student, I didn't get in. And so I spent the next, I got into one school to Hartford. Hartford Art School, which is basically a business school.

And there's this one little oasis that took me. And I learned and it kicked my ass foundations wise. I was probably their best student because I was trying to make a portfolio to just get the hell out. And so the next year, I got into Calat. So I have the rejection letter from one year and stuff. But then the conclusion to that story is you jump to 2003. Nemo comes out. CalArts wants to give me an award at the Red Cat Theater. My sweetmate for one year was Don Cheathel.

Don Cheathel's doing well. What? And so Don starts to, presents me with the award. And I give this same speech about how I found out about Cal Arts. And then I say at the end of it, I said, so whoever in 1982 in the admissions department decided to make the binder floresy. and orange. Thank you.

And this guy in the back went, that was me. Wow. So it was very nice closure. Because he knew of pop. Full circle. Cheidel was he, what was he doing? Acting program.

Calhers is like fame. Cool. And I don't know if that means anything. No, no. Are you aware? I dropped out of Calais. He dropped out of Calarch. How long did you go?

I went for nine months. And what made you drop out? What made me drop out? I went for live action film directing, which I think was the wrong choice for me. and school, and I also think I didn't want to be in school. Who was running the program then? Steve Anchor.

Sandy McHendrick was running it when I was there. Can you believe that? I mean, who was... The sweet smell of success. Monty Helmandi was teaching at the time. Lavender Hill Mob. And James Benning, it was like an incredible faculty. You also didn't drive.

So getting around was a quite challenging for you. That's a problem in California. Andrew, it was maybe 50% of the reason I dropped out. Oh, okay. Why didn't even go to school in the Northeast? Like, why didn't you go to, like, school over here? Because I didn't like the idea of going to a school where I could come back home and me out with the same people on the weekend.

Why not? I get that. I grew up here, and almost everyone I knew was doing that. And I was feeling very defiant about I'm going to go somewhere different. I'm going to make a new life for myself. And I got locked on to Kellerts because I thought I wanted to be animating. And I had some facility for it. but I didn't have the discipline I found, ultimately.

I think I could have done experimental, but I had locked into character, and then when I felt like I'm not good enough at this, then I shifted to live action, and then when I was there, I started going, I feel like I want to act. And so it was also at a weird transitional time in my life. But I'm very familiar with all of the places you're listing,

and also who the alumni are. Ed Harris, David, also went to, to Cal Arts. Pee We Herman. Yes, Paul Rubens. Yes. Absolutely. Lots of it.

I know CalArts. I mean. Who roomed for a hot minute with David Hasselhock? Really? Yeah. That's true. These pairings are incredible. I know.

Somebody should write a book. Yes. Yeah. And I know. Just like, what was it like, you know? My roommate was Josh Glennie Smith, who was an actor. He's still working actor. Great.

Yeah. Should we just stick on this? No, absolutely not. Okay. But, but I, you're calling out a thing. I think isn't discussed enough, which is how much of animation is acting. Yeah, no, I always have to explain to the actors that I'm working with that you're half the equation, you know, and that I'm going to have a conversation with what I call the shy actors,

which are the animators not in front of the camera. And, but they have to be cast as appropriately as anybody, you know, that old adage of if you can get the script and the casting rights for a movie, then they're halfway there. It's kind of true also for your animators. You know, they have the things that their strengths are and aren't. And it's almost a little tougher because you have to, you usually have a team. So like there's not one person animating Woody or one person animating Jesse. It's a group of people.

So we adopted at the very beginning of the whole studio was what Disney did, which you have dailies every morning where all the animators watch everybody's work in the middle of their project, the middle of their working on it. So that if there's notes from me about what I would think the character would or wouldn't do, everybody hears it. So they all think the same. But it's also a chance to be inspired. And you get a little competitive, you're like, wow, look at what they did with the smarty pants in that shot. I never knew you could do that with the handle and that you could make it look like he's, you know, flipping him off or something. And that would inspire them to like go. And so, it's just a win-win.

And so there's this sort of, it's almost like summer stock. Like everybody's got to learn all the roles. Yeah. And, but it's actors. You talk to them just like actors. This is your mark.

This is where you're coming from. This is where you're going to. And you're not trying to get into it too much, you know, because you don't want to get too much into their head. This is something that I feel like is a defining aspect of your films in particular. Is, and maybe it goes back to that,

kicking yourself in the ass. You're at Hartford. but by design, giving yourself characters who are going to be incredibly difficult to animate, I feel like there's a lot of self-imposed challenges of like, you go to the AA gang in Toy Story 5 is three characters that do not lend themselves to animation. They are characters that don't have traditional limbs,

you know, two of them don't, one of them doesn't have a traditional face, Wally and Eve, certainly. You talked a lot about with Nemo not wanting to cheat. Yeah, that's true. I never put that together. I kind of personize them more. And then I feel like sometimes in the opposite direction,

you have a character like Hank where the challenge is. A whole different one. Yeah. Yeah. Yeah. Yeah. Of extremity. But that's not a thing you consciously sort of throw at yourself.

Not in the, I mean, I'm sure there's an element of challenge that I just want for anything. I think I'm a little bit more. It's more that I'm just not afraid of it. I just go with what logically makes sense to, look, and I was charmed like everybody else, at least that was around at the time that they first saw that Luxo lamp. I was like, there's so much personality in this simple lamp. You do it with this mic right now.

And I felt seen because I felt like I had been anthropomorphizing everything since I was a little kid. Like my bike was cold in the rain as far as I was concerned. And that leaf falling was afraid of heights when it fell. Like that just was how I thought. I didn't like learn that. And so I realized I had a tribe. these are these are my people and i also was lucked out that i was the first generation sesame street kids that came out in 69 i was four years old and to me the muppets just always existed yeah i learned

everything entertainment and timing wise and and and if you go back and watch on youtube any of the original first season like they were little adults there was nothing kidified like i always have this theory that elmo fucked it up for everything because it started a kiddie voice and everything had to be young and everybody started thinking about the kids and i'm like nobody thought about the kids, at least entertainment-wise. And it was clever. And so like, guys were tired New Yorkers. Yes, they're tired of their jackets, say, like, you want to buy a cue, you know.

I mean, we're talking about a 50. It's a great character. It's really. But anyway, what I was quickly going to connect to was how much personality came of just doing an open mouth with your hand, just a hand puppet, like just taking a napkin and like, so I just was raised going, I'm seeing a million subtleties of actions. and reactions from just a hand puppet. So I've never thought you couldn't do it under extreme limitations.

You logically just run there. I just like, it's always existed. So I've never really thought about it. But I do have arguments with, or not arguments, but I have to like convince animators sometimes. I realize, oh, they don't all think like that. They,

they have to logic it out. And I'm clearly, I'm clearly more right-brained than left-brained because people want to go down rabbit holes about like, well, if they did this, why did they do that? And I just go, well, I'm already starting with a story that fish are talking. So can we, I'm not going to, I'm not going to left brain this. It's an illness, though, about Pixar that people are like, well, I want to impose reality on it. And it's like, but we're outside of reality. And it makes you realize maybe they're right and I'm

wrong, but I never think like that. So I'm not going to start thinking like that. I just want to have fun. And I want to just not be distracted while I'm watching it. And I feel really bad for somebody that is. That's a curse because I just want to go along for the ride or any more. movie I'm watching. So I'm just going like, all right, look at one of the arguments. That's just what it is. People are in the internet? I'm always fascinated because like there's an Aesop's fable of that starts out there once was a sausage and a bird and a mouse and lives in a house and you go and it was amazing if you start that way, everybody goes, okay. Okay. And and you're like so it just shows you that if you made if you made people have questions about it, then you're just

telling the story badly. This is what I always say. It's not the story is bad. You're just telling it badly. I think what Pixar movies sometimes do, and again, I am using Pixar monolithically here, so feel free to yell at me. But right, but it doesn't pose some logic, which is part of the fun, right? It's like, let's...

But just enough that we can get going. Exactly. Like, we live in a... We're inside of a child's, you know, brain. Like, let's... What could that look like? We're, you know, we're inside of the axiom or, you know, like, whatever.

Like, let's... There'll be some logic, but you need to, you know, embrace the fantasy as well. You guys can speak better to this, but I can only surmise that because the gaming world is so immersive and thorough that you will want that same truth to be on any movie you want. I've been thinking about this a lot. Look, I mean, Cars is the one I think that broke everyone's brain. But no, but I've been thinking about this a lot that I do think there is, as games became more cinematic and less their own art form entirely, they start working more of the language of films into them.

And people have control and autonomy within that. Yes. Nolan did this interview recently. I just saw that the Chinese interview. It's fucking incredible. Right. Where he said like, I think there is this problem of people feel like if they're able to recognize a trope of storytelling that invalidates it. Yes. That's such a weird.

I mean, that's sad. Yeah. But it's so true. And it's such a sickness and sort of modern media of now that we can slow everything down and look everything a million ways. And, you know, like, you know, I can look at YouTube at any clip I want. Yes, I can show you patterns. And then you'll be smart. You'll see the patterns like I see the patterns.

And it's like, there's nothing interesting about you seeing the patterns. Of course, there's patterns to storytell. And when you're playing the patterns, you compliment them if they work properly. Because you go, that's fun that this pattern challenged me and I beat it. I said this on blue sky like an idiot. You know, I made a social media post. Lock your hand. I don't really do that anymore.

Where I was just like, if you're a critic, the least interesting thing that any, the last thing anyone wants to hear from you is I'm smarter than the movie. Like, that's not criticism. That's just you talking about yourself. Who cares? Like, I don't care if you're smarter than the movie. I want you to tell me what this movie means either to you or to the culture or to what you maybe perceive in the filmmaker. You know, like, that's fine. I don't care that you, you're like, well, these are tropes I know. So I'm smart. You know, like, that's not, you're not telling anyone an interesting story. That's all. I agree with that. Yeah, sure. Great. I guess I'll get out of here.

No, it seems to stay. Okay. If I, if I can put my, my Flick Lover 98 hat back on. Because we had, we had, you know, there was the argument of whether or not to include a bug's life. And a lot of it for me was just I wanted to cover bugs life, right? I mean, you could, you could almost get away with it because we, John was very gracious and we were a team on that even more so. But at the end of the day, you know, I, it's, it's his movie. It was not to discredit that, but it was more that I thought it was an important step in your arc in sort of the journey of screenwriter. Yeah, it was a second step. Yeah.

Because Toysbury, you sort of fall into it. I mean, Bugs Life was a chore for you or for everybody. For all of us, only in comparison to how, what's fascinating is, all I remember during her Bugs Life is complaining like, I wish I was as dumb and as eager as I was making Toy Story because we knew nothing. And so we kept saying we were like the young engineers that put a man on the moon at NASA. We just didn't know you couldn't do it. Yeah. And that got us through. That was our fuel. So even though I bet you on paper, it was harder to make Toy Story than a Bugs Live.

It felt funner because we were just young and like we're making a movie. Like we didn't think we'd do anything more than that. And it was came from such a natural inspiration like the well of like what like I remember us. And the story changed five different ways after this. But this, but This didn't. It was, what if it was your favorite toy on a top of bed and suddenly a new toy got brought in for a birthday and it got thrown off? Like, just that sense, like you suddenly realized the, it evoked such feelings of empathy about jealousy and how that felt when your, your next sibling came in, when a new kid came on the playground. Like, it just was so organic and natural. It was like literally striking oil. And so we never had that on a bug's like. It was an intellectual exercise. Like, what if we turned the ant in the grass up around its head?

It could go a little seven samurai. I could go a lot of all these things. But, like, just that was an intellectual left brain. Didn't evoke the emotion. Yeah, you didn't have the emotion. And I learned. And so it was, we got there, but it was always like trying to draw water out of a stone. So I learned that, like, oh, it's to our benefit, especially if we're going to work on it for three to four years.

And you're going to get out of bed with it not working most days. you got to be ideally on top of a well of something that is more natural of a geyser of emotion and or not do it, not do it yet. Yeah. And so that's why a lot of our movies sometimes take forever before we really start committing to them because we haven't found that well. I'm not going to want to spend five years on this until I like the idea. And then Toy Story 2 you guys made in like five minutes, right?

That was a notoriously easy one. You know, the more I look back at that, I realize that the perfect storm of that was they had tried so many other versions that there was about 30% of the movie that was worth keeping. Not in linear, but like pieces. Yeah, a little bits. And then the other was we literally got, had two versions, two other versions of Toy Story we'd thrown out, like two other, not like a whole wholesale, but there was so much in the costume box left from the first.

And then the biggest factor was we got literally the band back together. We got everybody back from. stem to stern that had made the first one. So we were psychic. So you just put us in. We had a costume box of leftover material. We had building blocks that made a lot of sense. But I was cleaning out my email last year.

Like it goes all the way back to 92. But like it's less and less because we weren't using it so much then. And I was freaked myself. Like I'm talking about it's November. of 98, I'm doing post at Skywalker on Bugs Life, but I'm being asked to help do the outline for this monster movie that he's doing. So I'm doing that on the side. By December, there's rumblings in the email that something's amiss across the street or the other production. By the holidays, John's calling me into like, we got to talk. By the January, we're like, we are going to have

to take it all over. By the end of February, I've written the whole thing. By March, I'm off and I'm starting to help this thing that's now called Monsters Incorporated, and I have this idea for a fish. Like that, and I had two kids. I had two little kids. And I look under like, and I just go, I wouldn't believe it if I hadn't. Like, I always put all those things in that era, but not so tightly together. And just to clarify for the listener, Toy Story 2 comes out in November of that same year you're describing.

Like, of 99. Yeah. Right. I was writing pages on a Monday. It was delivered to story by the end of Monday, like top of the day Monday, Tuesday morning at the latest. By Wednesday, Thursday, it's cut in.

By Friday, it's being refined. So it was just, it was insane. I don't know how we did it. It is my default. It's incredible that the movie's so good. Like, it just doesn't really make sense that the movie is so good.

Again, it's like if you said, you all have the short hand, went on tour and played so hard and then left and do something else. And they said, come back and do exactly what you did before and just keep it going. That's why. I mean, it's not only my favorite Toy Story movie. It's maybe my favorite movie. I often default to that as my answer. I answered this recently when the five drunk finance bros in Madrid asked me,

you like movies, what movie you like? And then proceeded to drop three beers while I answered. But a thing I've always pinpointed is that there is a feeling of mania to that movie. Well, that's also a reflection of us. Because we were left, Disney said basically, go with God. Yeah. Let you, and nobody was there to stop us. That's us left alone. Like, that was the core original group. And all we cared about was cracking each other up. We cared about the film. We cared about emotion. But not ever at the expense of cracking each other up. So like entertainment mattered greatly to us. Everything went through an entertainment filter. So even if we're doing this sad moment. And by the way, the Jesse, being sad is to emulate what it's like to be empty nester. Fascinating. So that's why you don't get with it right now. Is John the empty nester?

At that point? Who's that drawing from? Well, there was a range of people of ages. We had people that were already grandparents, people that were not single, that it was all over the map. But we were just going with the truth of the arc of life of giving up your kid and having to see them go away.

My kid's not going anywhere. You just keep telling yourself that. Yeah, she's going to go to... Our joke in the family is like she'll go to Megra Evers which is like the community college down the street basically. It's like, yeah, no, she can move there. She's going to go to Sims University. Yeah, exactly.

Like, yeah, no, she can go to college. You can go to college like one neighborhood over maximum. Yeah. The twins all just... They'll live in the basement, right? They'll just, I don't know. Oh, we gotta bring up the twin connection. Oh?

What's that? Because I brought up to you, David, having twins. I have twins. I have twins. Do you have three kids? I have three kids. I have an older daughter and younger sons. And how old are the sons?

They just turned two. Okay, so my younger brothers are identical twins. Oh, so what happened to me happened to your family. And what's going to happen to your daughter? I'm telling you now is that we're going to look back at photos. Yeah. When they're little and toddlers, you're twins and you're not going to be able to say who is who. Right.

And she will. Yeah, that's fast. Like you always knew your siblings. I can still look at photos with just the back of their head. heads. And I go, that's my brother, Nathan. Wait, so what's the age difference between five years? Okay. Yeah. So my daughter was like three and a half. Like, so like, I don't know with the minutes apart, but my brothers were born 10 minutes apart. And that might as well been 10 years apart. So whenever there was a lineup of us, the pecking order was who was came out first,

he came out last. It's great. My kids were born one minute apart. Wow. And yet it is, there's a C-section, you know, just one and the other. And it is nonetheless crazy. that the younger one is the baby. You refer him as the baby. Of course he's the baby. He's the baby in every way. He's littler. He's like, you know, whatever.

And they do. My brother, one brother has all the signs of the baby brother. One has all the signs of a middle child. I don't understand it. It's very strange so far. But yes, no, the older one is the alpha. Yeah. Well, your parents survived, though?

They barely survived. Yes. Yeah. They barely survived. And there was a story once where they figured out in their separate. cribs had one to push their cribs across the room. And my mother came in and the dresser drawers have been used like steps. And they got into the Vaseline and baby powder. And it was just like tar and fern feather, like the combined intelligence. And that was when they, they would speak,

baby talk to each other. And you could hear in the inflections that they were actually having a back and forth conversation. My kids do that. Yeah. It's fascinating. It's weird. It's right. They, they, right, they babble stuff at each other. And you're like, oh, right, this is like, like, communication, like, that we will never understand. It's very strange having twins, twin parents get at me always. Is that in the family in any? Not at all. On either side? No, we always joke, right? Because it's like, I should wear a t-shirt. Like, not in the family. We didn't do IBF. You know what I'm because like, those are the question. It's the same thing as when someone says, like, oh, I'm sick, right? And you're like, oh, I'm so sorry. So, do you like smoke cigarette?

You know, like, people immediately are like, is it going to happen to me? What happened to you? You know, like, they just sort of nicely start to ask questions. And is it genetically? Like, do you guys have that? And it's the same with the twins. Where people like, does it run in your family? Nope, just happened. We were older parent. Like, you know, it was an old...

Apparently, it's more common the older you get. Because your body basically just sort of starts, you know, getting rid of all the eggs, not to be, like, biological about it. But, yeah, that's all. I don't know. There's a part of Africa where people eat a certain yam that makes twin pregnancies incredibly common. I learned that.

You're just making shit up, man. I can send it to you. Wow. Yeah, what's the yam? How do I get something? You want twins? I know, it's working out really well for you. It's working out okay.

They're crazy. Yes, it's parts of Africa, particularly the Yoruba people in Nigeria, have a diet rich in native yams, and those have hormones called phytogestrogens, which some people stimulate multiple egg production. Anyway, we have interesting in here. We have hip, yes. And we're talking twins. We're talking twins.

Not the movie. Not the movie. Okay, so we talked Bugs Life, we talked. Oh, the crunch of... Right, yeah, yeah. A Bugs Life, you're consciously coming in as a screenwriter from the get-go. I get, like, yeah, I learned screenwriting by watching Josh Whedon do it for the year and a half he worked with us.

Right. And he was sort of at the top of his powers. He was a... He was sort of a boy genius. He was rising fast. He was still rising. But it was obvious because we had had had... scriptwriters before that failed miserably. And so we were getting a lesson on what good

screenwriting was. And what would be fascinated, we'd sit in a room together, the four or five of us, including Josh, and we'd spitball something, and we'd play it out for ourselves. He'd nod. He'd go off into a room, play soundtrack music really loud for a while, and then come back out, and you'd read these two or three pages. And the way they were written, you were just compelled to see it exactly the way we had talked about it. It wasn't, and it was. And it sucked you in. Like, it inspired me like, oh, there is a way to do. I called it cinematic dictation.

Like, oh, I failed in English in high school. So I thought that writing was for smart people. No offense. But then I realized, oh, it's cinematic dictation. Yeah. It's like, I've always seen the movie. There's just a way to do it that makes other people see it the way you want to see it. And it can be done.

And if it's done poorly, you don't see it the way that they want, even though you had it in your head. So that's what I just became deterrent. Herman to be good at that. And I, and I was honest with somebody recently. I said, some of it was self-preservation because there was no guarantee this company was going to last and that we were going to be beyond. We were such a startup. So we didn't know how the movie was going to do at the time. And I was like, I need to learn a trade I can use somewhere else. So I thought, screenwriting applies to other places beyond just learning how to computer animate. And so I just started doing it without anybody asking. Nobody was asking me to be the writer after Joss left for the last

year. And by the time it was done, they weren't going to give me credit. So I went to the current script of everything and I highlight everything that I, they had kept. And it was 75% of the script was what I didn't. And so I convinced them. And then, uh, then they said, okay, so Bugs Life was like the first time the officially okay that I could play that role. And from the beginning. Yeah. Yeah. Yeah. And then right. Because you're credited it. on Toy Story credit on Monsters Inc. As a writer, right? Was that just you and Pete or no, Daniel Gerson?

Right, okay. Isn't the legend? On Monster's Inc. Monsters was basically Daniel Gerson and... Let's see, Jim, Jill Colton, Jeff Pigeon, Ralph Eggleston. I'm just looking at the credits here. There's a lot of rebuilding by. And I just was part of their helping.

I mean, I wasn't the founder of any of that movie. Was there a moment where you were supposed to direct that idea in a different form? No, okay. They had real trouble at the... the beginning outlining it and getting it to have an engine. And the only thing I can really take credit for was, the engine is screams. Well, David, that's what it. That's what it really? Yeah. I came up with, I said, you need a motivation that creates greed and all the emotions that happen in the real world. And so scream is got a, what if you put scream in there so that it's

treated like oil is in this country? What was the movie before that? Because that does feel foundational. too. Like, here's why the monsters do this. You're smarter right now than any of us were in. We were all in our 20s just learning how to do it. So it was a new story. It wasn't a buddy film. And we just had to learn how to, you know, I was, we were still reading every screenwriting

book, going to McKee classes. Like we were just, we were, you're watching us learn as you watch those first three movies. I mean, a lot of why I watch those movies incessantly. And also why I think people sometimes will have. because I dropped out of Cal Arts. Like, where did I learn story structure stuff when I ran away from academia

trying to teach me that kind of thing? And so much of it is from watching all of the DVDs that you guys put together, the talks that you guys have done, the commentaries. I think we were so excited to learn. Yeah, you guys were real sure. We wanted to pass it on. Right.

Because that's, for a long time, for like almost the first 20s. years, but definitely the first 15, it just felt like we just got to continue film school. And so we just promoted that atmosphere and anything we did. Maybe this is a dumb question, but you're talking about the identification of the oil spring that you had from the beginning with Toy Story that you felt like you couldn't find with a bug's life for a while. How do you know when you found it? Is it just from the reaction from other people? Is it within yourself? You just go, the story now kind of explains itself? You can definitely tell. You just feel it. It usually evokes an involuntary response

from not only yourself, but when you put the peanut butter with the chocolate and you pitch just the basics to somebody else, even in its rarest golden book form, you see investment happening from the person you're pitching to. And that tends to be the proof of that there's golden in the hills. Because you talked about in this recent press tour, that Toy Story is one of those things where if you sit in a room for an hour, you start coming up with new ideas of what could happen in that universe. And it does feel like it's an infinitely fertile playground for story. One of the reasons I think I get pulled in is because they've skipped the ABCs. Like they've gone straight to like other letters in the alphabet. And they've just made, understandably,

they're trying to be different or trying to be interesting or trying to go. They think literally going to new territory will give us new ideas. And I'm like, what was free in the beginning was just the fact that toys came to life. Like, just like that was like, wow. And I get to witness that. And you have to, and now we've kind of, from that movie on, messed up for generations. Everybody thinks toys come to life. Like there's no wow factor for watching a toy story movie.

It's a given now. So the other thing that's behind that, that I have to remind them on is that the secret sauce is in the mundane. I said, if you take collectively the hours spent watching Toy Story movies, even if you put five with it now, it's about what, six hours, maybe seven? That's seven hours of a toy's life. That's one day. And they have spent, if there are toys in your life, like for five years or six years or maybe even eight in your house, that's a lot of hours in the day not accounted for. I remember thinking there'd be a lot of humor when we were trying to come up with the first

movie of like just the boredom of being in the room while the kids gone and making it treating it like jury duty. We had a joke of like, if I have to read Pokey the little puppy one more time, I'm going to kill somebody. But that's where the humor starts to come from is like the mundane and seeing it from that perspective. 100%. Look how disrespectful we're being right now, Greg.

Yeah. I'll put them all in bad. Like you could do a whole sequence just about being trapped in that Ziploc back. It's why those movies make people dizzy sometimes, right, because these are intellectually developed conscious creatures that are basically little grownups living in a child's room kind of bored all day, right?

And then one day they might be trash or they might be in a box or, you know, yeah. The way people describe seeing Star Wars in theaters for the first time and seeing the runner go over and feeling like the world has exploded, like my mind explosion. moment was Woody starting the meeting in the first toy story. Yeah. There's something that just activated in me and, oh, they're acting like grownups. This isn't for me.

We did a sequence early on before we had all the, we had that scene where we thought we'd start with the birthday party, but because this had recently happened at Pixar, there had been two layoffs, a couple years prior. So everybody was kind of very savvy now to what layoffs felt like in the company and it was getting the next. And so we treated, we did a scene of introducing Woody in the Andy's bedroom with everybody going, is it me? You know, who am I going to, you know?

And we suddenly loved like that we were capturing something about adult life, but the metaphor of what it's like for the toys and it made complete sense. And we were told it was too juvenile by Disney at the time. So we had to ax it. And everybody knows about the Black Friday and it not going well and everything like that. And that's whenever that was year, you know, months. of going down to what was supposed to be like adult humor or savvy humor. Yeah.

And when we had to like rescue the film and to save our asses and we had like two weeks to like try to resurrect it, we went back to that layoff scene. And we said there's something Muppity and just really, which is now we all know is Toy Story now. Right. But we said the, we think our gut was right on that mojo and we're going back and it became Woody's meeting. Plastic corrosion awareness. I mean, all that stuff, which is just not, none of it is inappropriate. And even as a small child,

I recognize there was something funny in why are the cartoon characters talking like my parents? Right, right, right. Yeah. Yeah, that there is a kind of clocking, clock out vibe. Should we ask about Finding Nemo? If you're asking the movies he's directed? I mean, geez.

We're asking a lot of general. But yes, Finding Nemo, it's a perfect movie, in my opinion. Yeah, I was just downhill from after that. Not true. Yeah, you followed it up with Wally. What were you thinking? That, you know, a piece of junk. You would have thought, you would have thought I had at the time.

Was that the feeling? At the preview screening. For Wally? There was a lot of anxiety. It got the lower marks. And like Pixar generally, right, tended to, I mean, and you'd had. And that's when I had to swap. I was going to say, I did this before you do the final act change.

Yeah. Yeah. And, you know, again, learning curve. Wait, wait, remind me. I'm sorry. That the final act was, well, I'll let you explain it. You directed the film, Wally.

It pretty much scene-wise played out similar, but it was missing two things. We kept treating Wally and the third act like he had to be the hero. And so he rescued Eve. And we thought Eve wasn't going to be alive. And then he put her together at the end. Or no, no, no. He still got smashed by the time he got to the, Alito Dick. But we also didn't have him

like losing his personality. Which is the true kind of like, oh my God, like, bit in your stomach. So we knew it. You could feel it. And so, but I was at a, I was just, you know, I was three and a half years or four years by now and I was just beat down. I didn't know. It just felt like I'd come, tried everything. And, but it was the same guys that I'd always had in the room to like cover my ass before. And so we really just stayed in the room and thought and hammered it out until we realized, oh, uh, Wally's more like Chaplin.

Like he changes everybody else and then you have to have the payoff of that. And then losing his identity at the end, it all seems obvious now. No, it does. The losing his identity thing, it feels so obvious that it's so, it's making movies is crazy. Because like you telling me that wasn't always part of the movie. I'm like, I can't believe that. But, but if you think about it, when you start writing a movie, nothing was in the movie. Right.

And so, like, it's just, that's why I always equate writing to an archaeological dig. And it's very ethereal where you just feel like you're saying that the story already exists out there. But I really do believe that. It's very much like the angel in the marble and Da Vinci or Michelangelo chipping it away and letting it fly. And you always saw it in the cube of marble. And I've just seen that happen so many. many times at Pixar where you've uncovered these bones, you're just digging all the time trying to build this dinosaur that you claim is in the ground or the story.

And then you don't have a say for what you find and when you find it. You can only give yourself credit for digging in the right place and for how hard you're working at digging things up. But you have to be sort of open-minded to like the answers don't come when you want them to. You just got to be ready to do something about it when they do. I saw Rashida Jones was doing press for the invite and she cited something that you said to her

the mountain metaphor but it was something to the extent of your job in constructing a story or finding what the story is is exploring every possible way. Okay, when you're trying to figure out the path around the mountain you're going to go up it or round it down at whatever, just move the mountain.

Like sometimes you just have to restructure and let something go essentially. Sometimes you're like, why are we... I can't figure this. Why did we put this mountain here? Let's just go some. And it's like, right, you're a writer. You can just be like, you know what? The matter can be in a different place.

Right. Yeah, you can easily trick yourself into thinking like that's cheating or that you're a failure for not acquiescing to the story gods that like, oh, there was a different path that I just wasn't thinking about. Here's a question I have for you. Your animated films have started with your idea, right? John Carter, you write, but it's an adaptation, obviously. And in the blink of an eye starts with a script from Colby Day.

And there are the other live action films that you've been attached to. to over the years, which were almost always scripts that were out there in the ether. Have you ever tried sitting down and starting a live action script on your own? Is there a reason you feel like you're more attracted to, or is that just the nature of how things? Because it's so fucking hard. I've shaken out. All I've known my career mostly is stuff that I either was a party to vary from the get-go or was mine. and everything that gets criticized,

everything that gets changed, everything that, you know, you take it personally, even when you think you're not, you debate whether you're a failure, whether you're, right, it just takes so much out of you emotionally. And once I found out you could actually,

and I said, wait a minute, some of my favorite directors never wrote what they worked on. And, and I realized, oh, I don't have to, like,

die on this hill every time I make something. And so I started looking at things. Some of it was television. Some of it was scripts. And there were a lot of scripts. I tried to get made that were other people that never got picked up. And just kind of did the more traditional route of like, I would love to see this film. I could totally see how this film should be made. And it was still hard, but it was so much. It was so easy not to make it about me. It was so easy to be objective. Does TV feel particularly liberating in that sense? It is just that I enjoy the doing. I enjoy being on set.

I enjoy the making of the older you get, the less you're like, I'm not here to like talk about my career or look it back. Like I've got this much time left while I'm still standing. I'm still healthy. And I love. Sorry for making you look back at your career. I apologize. No, but you know what I mean? Like I love the doing.

And like, and I was like, it takes four years. and then I finally, you know, in the same building with the same people, like, it can get a little maddening and you feel like time stands still. And I just love the camaraderie and the summer camp put on a show that you get on. And I love the brevity. I mean, in two months, I've gone away to do TV, which is about two to three months max, and I've come back to Pixar and nobody knew I left. Like, that's happened several times.

And I equate it to being a session player. Like, oh, I get it. I'm basically, somebody else's album. This is how they want or this is how they want to play it. And they're asking me to come in as a session player and play on this one song out of their, all their tracks. And I thrive because I just feel so unshackled and unburdened by, is it about me? What does it say about me? What do I think?

Like, I just, you're doing the opposite. It's right. It must be so easy. It's not even easy. But it's enjoyable. It's taking a lot of things that I thought were burdensome and making them enjoyable. Because I realized telling the joke for me is half the fun, not just having to write the joke. So a lot of times it's freeing and I get to use my muscles and I get to get outside to just work on a TV show.

Try different stuff. Yeah. Are you going to do any more of that? Yeah, I'm going to be on one this fall that I can't talk about right now. Fair enough. But I wasn't looking for, but it's one of my favorite shows. So I was like, psyched. And so I don't know if I'll do them more, but because it's also no life for two months, three months.

Because it's just. Yeah. Whereas animation, to be fair, it's bankers hours, nine to six, nine to five. You can be got to go to the doctors that day. You can be, like, but it's for three or four years. Yeah. And not only that, there just must be a frustration and like, oh, I want to fix this. Okay.

well, that's going to take a while. Versus like, hey, you give an actor direction and the next take, they do it different or whatever. And this is mean, but on a day where I'm frustrated with another show, I'm going like, you kind of have no excuse not to fix this guys. You have all the time in the world. So let's put a time limit on like, if you haven't gotten somewhere by the end of the month or the end of the week. But that's the other thing that I took back to like Toy Story 5 is the fastest we've ever made

a movie outside of Toy Story 2, which was on. duress. Yeah. Right. How quick? What are we talking about? Three and a half months. Three and a half years.

Three and a half months would be pretty impressive. That would be very impressive. I'd be doing it all the time. It was by three and a half years with me away for half, for six months of that to finish up. Finish blank. Yeah. And because I learned on TV to measure time differently. Like in in TV, any problem, any issue, they go, you talk in the terms of minutes,

days, minutes, minutes, hours, days. minutes, hours, days. And if you're talking days, you know you're in trouble. So you're always talking like, can we fix it in minutes and hours? In animation, you're talking days, weeks, months. And so it's too easy to just push it down the road or take longer than you need to. So I applied the minutes, days hours, a minutes, hours days to coming back. And it was a little agro, little aggressive, but it was still a better place to be. People were excited that they were getting things solved and getting more times at bat and figuring things out. When you have to fix Wally, how long does that take?

We don't know what I mean? That was under duress because all our audience previews are usually set with about six months left to release, which means only three months left in production. And that's like your last week in regular terms. That's like you've got Friday left. So you hope, you know that you're going to change something. You have it on the books. It's almost like reshoot's built in.

You know there's going to be something you're going to change, hopefully about 10% of the movie max or less. And it's strategic where and what you do. And that was about a 30% change. Yeah. No, that was how it was, but every, it was a hard. It was worth it. It was a hard conversation to have with my crew who was ready to be done.

Yeah. I feel like there's video. on one of the releases. There's probably video of everything I don't want to know about. Of you apologizing before the demand. Yeah. There's probably put that on the DVD.

But those DVDs, yes, that's what I'm saying. I would want, like, especially obviously the two, you know, Brad Bird's two movies in the 2000s between Nemo and Wally, you've got Incredibles and Ratatooie. And those DVDs, he's pretty up front about, like, I'm a pain in the ass. Like, I'm really, yeah, I'm really demanding and like, you know,

and like, I as a kid or as a teen, I was a teen and I was interested in movie making. I was fascinated watching them being. like this is very upfront about like it's not just like oh yeah we're all so happy to be doing this he came up with the adage pain his temporary film is forever i quote it all the time yeah it is it's memorable yes it's but like obviously in brad's movies you see that in his movies right like it's like that that character like makes it across the line you know in terms of the stories he tells or whatever emotions he's driven by or you know and i feel like that's what makes the best

Pixar movies the best. That's what makes your Pixar movies good. It's like they all have your kind of, you just have a very funny sensibility. And like, I mean that is the highest compliment. Like, it's, it's because at the end of the day, that's what comes out of us naturally. It's, it's like, I was talking on another podcast and I was saying like, I don't feel worthy equating us to the Beatles, but you, nobody, nobody questions that the Beatles were just making, they just made, like, if they never got out of their basement or Paul McCartney's family bathroom, they would make hummable tunes that everybody would remember immediately. Like, that's just what came out of them. Yeah. They didn't change for the audience. They just tapped into something that they naturally did that worked great for the

rest of the world. And so when you put us together, the infamous brain trust, everything we did got more entertaining. Like, we were just naturally entertainers. And people discredit that they treated that are like costumes to put on after the fact. But we're like, if you do it right, it's essential. Like you, the joke is telling the story, is being part of the machinery and part of the entertainment and the core of it. The sequence in Nemo of the story getting spread across the ocean, which leads into Nigel telling.

Did that a knight? Which, this is the thing. I feel like this is one of those legendary stories in your career of how does the word get from one side of the ocean to the other? And you end up voicing like three. different characters in that sequence? Well, just for the, just for the, the, uh, proof of concept. My co-writer was Bob Peterson, who's one of the funniest men I've ever met. And he makes me funny or brings out the funny in me that I can't seem to access fully on my own. And it's no different

than being with a great improv partner. Like, you just throw me the challenge, you know, you know, so we like, we were like, how do we do this? And we, it was like six o'clock or something, five o'clock in the afternoon and we had to have something up on the reels the next morning. And so it was, you treated like an improv challenge. Like, how would you make the news get across? And then, then you just were like, we can draw really fast. We're, we're our own scratch voices. So we just put mics up like this in the room and just crapped it. We craft out stuff all the time that take only a few hours. We just put this real high bar challenge to like, all right, you got to solve this exact problem. And you got to do it in an entertaining way.

And we've done plenty of those where they didn't stick, but this one stuck. I mean, but equating it to improv, Ben and I both come from improv backgrounds, among other things, many things we've done. But it makes sense in that sort of the game is how quickly can you identify the truth in what has now been set up in front of you, right? And that sequence is such a dynamic like speed rounding of, well, what would that type of fish be? and what would they do and how would they do it and what would they sound like

and the escalation of that and the build of that and the series of correct identifications that all feel right to the audience which then leads into the most emotional moment in the movie to me which is more effective because it's coming off of... Nima realizing Marlin's coming for him.

It's like 10 perfect verbal gags in a row that are all character and behavioral. That was Steve Jobs' favorite part of the movie. Well, because it should just be the most like shoe leathery kind of, this is just story weight, how to get from point A to point B. And instead, all of it is personal. Well, I got to give most of the comedy props to Bob.

Bob's just so funny. He could just see spitting out. And I'm such a structuralist. Bob Peterson, right? Yeah. That I think, again, when we're together, we're both able to speak each other's language, but we're able to, like, I was just, you know, how does this build was my probably my biggest driver, even though I'm still trying to be funny, bouncing off of him.

And he's like, how to make it funnier. And, but he cares just as much about building. But we, because the emphasis on the sentence was different for us, um, that just showed you how strong we were chemistry wise, working together. And then I'm such a, I'm such a, uh, film score nut that I'm always thinking about, is there a way the music can do this? Is there a way the music can be involved? Is there a way? And, uh, it's one of the, Thomas Newman's best scores. Yeah. And I was,

and I wrote to two pieces of music, or two composers all the time for Nemo. And that was 90% of the time or 80% of the time was anything Thomas Newman had scored. Because I just was like, and so he became a character in my mind. Any in particular, though? Any jams? Shawshank,

but particularly meet Joe Black. Oh, that's a great score. I mean, it goes over the top at the end. And that's why I love it. I mean, that movie's crazy. And then I would listen to nine-inch nails LaFragilege.

Oh, yeah. Because I kept saying, I make, this is, is this? Have you ever met Trent? Yes. Yeah, I told him that. I told him that on the red carpet. That's so funny. But I just was so afraid.

My biggest fear for making that movie was that it was going to be treakily and be an after school special because we had to go cute for a lot of it and innocent and sweet and adorable. And I just was worried about the tone and the balance being right because my, I grew up in the ocean. I grew up being scared of the ocean, but fascinated by it at the same time. I remember putting on a little diving mask and, you know, in needy, shallow water and ducking my head under and then being freaked out because things started to disappear so quickly in the void and you didn't know what was behind you. And I all, and I, that was the first thing I ever typed was, and it's the, I think it's still in the first page of script. I did it just typed

the void. And I wanted that. That was the big bold, the two big bold things at the time I remember really early on was like, I want to like not do the circle of life. Fuck that. It doesn't exist. Things are out to eat. Circle of life is one of the most banana sequences ever. It's gorgeous. It's very impressive. But you're like, I'm sorry. What? The animals have a king? The theory that some of them don't talk. I just like, things are out to get to. It's a predatory world. and there's a reason we're always scared about our kid crossing the street. And so the ocean is the perfect, you have to live in it, but you have to be afraid of it the all the time. So I said, can I keep that alive throughout the movie? And then the other thing was,

can I make the parent the main character, not the kid? And that seemed radical at the time. That's a fair point. Yeah, usually it's like the kid loses the parent either permanently or temporarily and has to figure something out, has to grow up. So that's, and that's, um, and that happens in emo. That's why I listen to The Fragile because it would remind me how dark, and I found out from him that he wrote that album listening to LaMere and Debussy was suicidal when he wrote LaMere by the ocean side. And so the whole thing has this dark, dark, deep connection. But it would ground me like that 10, 20% would just bring me back to going, don't be afraid to be scary. Don't be afraid to be tense. Don't be afraid to be unpredictable because that's part of the

point of this movie is that you're in the real world. And the whole, the whole. driving thing of this main character is fear and we have to be afraid to or else it's just theory. It's a, it's, it pervades the movie,

but not too much. You know, like it doesn't overwhelm it, which obviously I know with a lot of the movies you guys make that can happen, right? Where it's like,

oh, Woody's, Woody's coming off a little too agitated or villainous or what, you know, anxious. And same with the Marlon. Marlon's too worked up.

Like, he's too negative. I think I said, a balance to find. Every time I watch Nemo and he gets lost, I go, this is impossible. Right, right. He'll never fucking find him. The stakes couldn't feel more insurmountable. I was still trying to solve the movie and Bob Peterson came on about a year or two in and he was like, the thing that blows me a mind about this movie is, oh, you just spend the whole time going, how? Yeah. Yeah. Yeah. Which is, I mean, which is the magic of a lot of this, you know, like, Dori too. Just like, you know, and Wally. Like these movies where it's like a great.

distance is going to be traveled by a tiny thing. And every time you're kind of like, I don't know how they're going to do this. And characters with impediments. Toy Story obviously pretty much always is like, hey, the toy got taken across the street. And you're like, across the street. The machinations of the moving truck chase and Toy Story was mine. It's so good. And I boarded that out roughly. And then everybody came in to clean it up because we had to do it under our duress. And I realized then, and it's only proven all the way it's old Toy Story 5. that that comes more readily to me is the crazy engineering of how things will all fit. Did you, and Monster Zink too, did you have any, because a Monster Zink also has the, like,

we're somehow crossing dimensions and, you know, all that. I'm not the only person, but that's just if you had to get down to what comes out of me, the easiest, not easy, but easiest is how is this going to ultimately pay off? How can I hide it as a setup? How can it, like, not be seen right away? Is that the right brain thing? Is that just looking from... My dad was an engineer, chemical engineer, who was basically worked for a skunks work,

top secret company that could solve, had to solve things for the government when they'd run out of time. So I think I got that from my dad. What did your mom do? My mom was a frustrated actress. So you like Spielberg? The artist and the scientists. He and I have actually had that comparison. Yeah. But I realized I don't know science and math like my dad did. So that part of the muscle goes

towards abstract story building. Yeah. Story structure. So I think that's why people would love me to stay in that lane because I'm good at it. But you live long enough and you're not interested in scratching the same itch all the time. Like I'm also a hopeless romantic. I'm also a sci-fi nut. I'm also loved drama, just good drama and in new ways of finding tension and drama. And so exploring stuff that wouldn't come readily to me, but I would love to see as an audience member, is why I take chances whether they hit or miss on Carter or blink. That's making me feel as adventuresome and satisfied as I was on the first two animated movies I ever got to touch. Is there an ultimate, at least, I shouldn't say ultimate,

is there at this moment an itch your most eager to scratch that you haven't gotten to within your films? Yeah, because you've mostly worked in sci-fi when you've done live action. Yeah. Even in TV, you've done some, like you did three-body and you did a... Yeah, I also argue that Toy Story is low-key sci-fi. Yeah, a little bit. Something.

I clearly lean that way. I try not to think too hard about it. I've been enjoying not having anything planned. I didn't plan Toy Story 5. I didn't plan any of the TV shows that got offered to me. And I didn't plan the scripts that suddenly I read. And I was like, oh, I want to try and make that. There's for a long time, I was trying to get this movie made called Revolver that was written by Kate Trefi. Yeah. That came up in our research. That's the Beatles like stopping in Alaska or something.

Yeah. It's a great script. And I got, I got Paul, I got the Beatles estate okay for four songs. I got Ethan and Maya Hawks. Yeah, which songs? They were pre-revolver because it's all about, because that Alaska moment happened and they hadn't released revolving yet. Nobody knew that they were making that. And so it was like stuff from rubber soul and stuff like that. And but I got Ethan, it was a kind of a paper moon relationship with father and daughter.

So I got Ethan Hock and Mionhawk to attach to it. And nobody bit. This was, this was right before and then during. the pandemic. And so just the whole world just rocked in nobody bit. Yeah. And it's still to me like such an obvious win of a movie. You never see the Beatles in it. Yeah. Right. Which is always the biggest fear. Because this really happened. There was a, in 64, I think there was a nine point something earthquake. It's the largest earthquake ever on the North American continent or around. In Alaska, right? If you go to Alaska, they never shut up about it. There's signs everywhere. But like,

like, it's a hurricane happened. Yeah. But there was, they were still. in recovery a year later and there was one functioning hotel that you could stay at and the beetles were flying to japan to do to do their last nobody knew their last touring and they got rerouted by a typhoon and had to land in alaskan they stayed for a night in the day in this uh hotel in anchorage in 19605 and so the kate trefice from anchorage and her mother was there when that happened And so she's sort of elaborated because her mother had a crush on George Harrison. So her main heroin character is just her goal is to get into that hotel and sleep with George Harrison. And it's this beautiful coming of age story, just beautiful.

And I still wish I could make it. Was it chairman, Spaceman? What was? That was something Searchlight asked me to be involved in. Okay. And so I was heavy on the, and that was before I read blank. So it was my shot at getting something else made. And so it was based on an article from the New Yorker.

And we worked on many iterations of the script with the author of the piece. And he's a great script writer. And it just, it was clear what he wanted and what searchlight wanted weren't matching. And to be fair, the world changed. Like to do something about a billionaire going into space is. was fascinating and then it just became off-putting and then it became reality. And so it just was one of those ill-time things.

Those ill-time things. Now, I'm seeing here in 1994, you worked on the episode Cookies, Ookies, blokees, in the TV show, Two Stupid Dogs. Oh, oh, wow. Okay. That was comment. That was while I was working on Toy Story early days.

So I had friends that were... Now, there were two stupid dogs in that show. One big, one long. I kind of the Griffin Day. David relationship. It was a friend of Pete Doctors that was working on that show and he needed some boarding done and we just wanted to help out. It's always so funny with animators who are like you look back in their career. It's like all this great work. And it's like yeah. And then also just some random cartoon for the 90s. That was a funny show. I remember the show. The secret squirrel segments on

that. Rings a bell. So you were the prime audience. I mean, we were like seven years old or whatever. You worked on the back sheet Mighty Mouse as well, right? What was that? That was a murderers row of people on the show. If you couldn't hire that. That's pretty much your first credit. Yeah. Yeah. Right out of college, my friend Jim Merton, who would go on to be a major director on

Simpsons and Richmore were working on it. Richmore, who did Ben, wreck at Ralph. Yeah. That's right. Yeah. I love it. We all went to school together. And so they were, Ralph had this pattern of, you know,

coming into Hollywood, this all through the 70s and the 80s, where he would come into Hollywood off of just his Fritz the Cat fame or Lord of the Rings fame and get money enough to get something started and then burn all those bridges and then leave town once it failed and then wait for the regime change, which would happen about every five years until nobody knew who he was again except for his credits and then he'd come back out to California and start over again. And we were on this iteration because he had worked on the original Mighty Mouse. us as a young guy. Okay.

And I think it was Territunes was here in New York. I think. If I have it right, he worked on it in New York. Wasn't it, was it in Terrytown? Maybe. Maybe. You guys are in front of the. Yeah.

We got, we got devices. But anyway, he got the rights to it and wanted to be remade. So John Chris Felushi was his, was his guy. Bruce Tim was on there. Vicki Jensen worked there. Oh, those are, yeah. Like all of us became somebody in animation, but no, but we were all nobody's then. It was crazy.

It was a crazy time. We worked in an abandoned preschool in Van Nuys. That's what that show feels like. Yeah. It feels like it came out of. It escaped something. And the intercom system was still working. And he took, Ralph took the principal's office.

And he was this huge guy from the Bronx. I don't want to, if he's Bronx or Brooklyn. Yeah. That's the vibe he had. Out of Burr. And he had a bit of a Lisp. And he considered us 20-something. He wanted writers.

cheap. So this is like 86, 87. So we would have legal pads and pencils and we'd sit in this windowless teacher's lounge that clearly had still all the smoke from cigarettes from all the previous teachers that had ever worked there in it. And he would just hit the intercom and go, guys in my office right now. And he'd suddenly pick up and you'd go into his office. But he would, keep pulling out his old friends that he had made in the 70s. So one day he was like, guy, this is Frank Fitheta. Like you to meet Frank Fithetta. And we're like, and it's guys, chain smoking comes in. We're like eating Frank Prisetta.

And then then they guys, this is, this is Amos. He sells cookies. And it's like, and famous Amos comes in dressed exactly, just exactly like he is on the package. Yeah. With the samples in a bag. He had cookies on. And it turns out he worked in, wow. Wow.

In post and sound when he worked on, and he was one of the sound engineers, I think, for one of his movies in L.A. And then he was, he said, and Ralph was saying like, yeah, he's trying to tell me he's going to start the cookie business. I'm like, get out of here. And like, you want to put money in the cookie business? I'm not going to put money in the cookie business. He was like a music manager and he made the cookies as like gifts to his clients. Yeah. And everyone's

like, sell the cookies, my guy. And he made a killing. Jim would say, every day was an interesting story working with you. Yeah. Is there anything? I want to let you go because we already have a second plan of you today. We're going to chat with you a little more in depth about John

Carter. Oh, yeah, yeah. Yeah. So obviously, we can sort of dip into that more there. But yeah. Anything else you wanted to bug him? Because you terrifyingly... I already asked the two stupid dogs questions. Yeah, that was really important. That was high on the list. It's been sitting on that.

I don't remember it at all. Really? No, no. You texted me after finding Nemo and you said, you guys got things mostly correct. Oh, sure. Yes. I'm wondering if there is a thing,

because we were talking right before we started recording about how when you do these press tours, you have to condense stories, and then you create a myth that then circulates for decades, and you have to correct your own myth. Is there a thing that you have heard us say, as you terrifyingly have been listening to the episodes on you? Yeah, please don't do that. That you feel like we have helped perpetuate.

To be fair, I haven't listened to the Carter or the blink. Okay. I can't mind. It's too soon. Therapy. It's too soon for me. Yes. Yes.

But I can't remember what the Nemo things were. We can open it up. There was nothing egregious. It was just more like, oh, that's a little off. It can be, is there a myth that you wish you could correct here? We're trying to get you to say something so we could fire JJ. We're really trying to find. Oh, I see.

Yeah. Yes. He spelled your name, Pandrew Stanton? Can we fire him for that? Yeah. Nope. He is silent.

P is silent. I would have texted you with the correction if it was that egregious. No, I let JJ know that he did a good job. He's a good guy. He's a good guy. And you're very, very, very nice to bless us with your presence on this show.

It's a hilarious show. I'm showing my age. I don't get half the references half the time. Please. Anytime you want to get one of the references, you just text me and I'll explain the references. But I'm impressed. I'm impressed with your film knowledge. Thanks. I'm impressed with your film analysis. That means a lot. That's very nice. Thank you. Press with your running gags. As I said, I mean, I truly, a lot of the analysis comes like backwards, retrofit from hearing you explain things over the years. Like a wildly disproportionate amount of it comes from the way you have kind of open sourced your sense of story specifically.

Well, again, it keeps coming back to, I have a sixth grade education, and if I can get it, then I feel there's hope for anybody else to get it. So I kind of try to pass it on. That's about it. That's our podcast, but with like a second grade education. Thank you for doing this. Thanks, guys. Thank you. And looking forward to tonight. I'm excited. I've never seen the film on the screen since. Are you going to do it? Are you going to tough it out? Oh, yeah. All right.

It's not hard for me to watch. It's not far for me to watch any of my movies. I know why I made them and I know why I made the choices. And I don't usually regret the choices. I just some people are like, no, no, no. I'll never watch my stuff back. Like, yeah. I'm like that about the most, like, I can't watch Toy Story 5 again.

Sure. Because you just watch it like 5 billion times. Yeah. Literally one of our editors, uh, assistants kept track and I'd seen it 95 times. Oh my God. So, I mean, to be fair, I've seen some of your movies close to that many times. So maybe it's payback. Also, to be fair, I've seen it 91.

times. Like Nemo took me seven years before I was to go watch. Some of it's just because you just want to see it like, do I have even fighting chance of seeing it as a movie? Yeah, like with crash eyes. All of them are a yearbook. They're just a yearbook. Like I remember where I was when I shot that. I remember every choice. And when it's long enough of a time passing, you, it becomes fun memories. It's like opening up an old photo album and you're just like, oh yeah. And it triggers memories that you had forgotten about it. So it's very just great. That's just great. Yeah, that's lovely. But, like, just collecting all the photos that I'll go to know. Oh, yeah.

It was like, I found stuff I forgot I had, which was exciting. Are you in touch with anyone left on that? Oh, yeah. Samantha Morton and I just... And she's happened so she here. I gave her such kudos for Circe. Pretty incredible. It's probably the highlight of the movie.

And it's a great movie. And I'm so happy for her. It's like a whole other generation is learning how great she is. Absolutely. And friends DeFoe, I have. I haven't talked to him in a while, but he's a good New Yorker, pal. And we all loved working on that movie. And it was hard, but we enjoyed it until the day it came out.

And we all had plans, which I'll talk about tonight, about what we were going. I found the outlines for the other two. Yeah. And I'm like, oh, we really knew where we were going and what we were going to do. And so there's any, there's a lot of, not a lot, but the critique, some of the critiques about the first one are actually because we just knew where we were going with the second one and we weren't going to give away all the marbles or do what you would normally do in a standalone film. So, which, you know, is a naive mistake of ours to have done. But I'm excited to see it. I'm excited to see all the stuff you dug up.

Especially with an appreciative of crowd, I realize this may never happen again. I mean, sold out. Sold out right away. Right away. That's awesome. That's awesome. People excited. We are doing a second showing. Yeah. Sweet. Thanks, guys. Thank you. Thank you. So much, sir. Blank Check with Griffin and David is hosted by Griffin Newman and David Sims. Our executive producer is me, Ben Hossley. Our creative producer is Marie Barty Salinas,

and our associate producer is A.J. McKeon. This show is mixed and edited by A.J. McKeon and Alan Smithy. Research by J.J. Birch. Our theme song is by Lane Montgomery and the Great American novel, with additional music by Alex Mitchell. Artwork by Joe Bowen, Ollie Moss, and Pat Reynolds. Our production assistant is Minick, Special thanks to David Cho, Jordan Fish, and Nate Patterson for their production help.

Head over to Blankcheckpod.com for links to all of the real nerdy shit. Join our Patreon, Blank Check Special Features for exclusive franchise commentaries and bonus episodes. Follow us on social at Blank CheckPod. Subscribe to our weekly newsletter, Checkbook on Substack. This podcast is created and produced by Blank Check Productions.