He told CNN, “People wonder what the magic elixir of Pixar is. We shoot the movie four times! [Laughs] There’s no rocket science to it. It’s like saying, you’re a musician. You get to go and write a song, but you only get to touch the strings once on your guitar. Once. And then we take it away from you. As opposed to just going into your office and strumming until you get a great tune.
“To me, that’s just how art is formed. So, again, no huge epiphany – we just went, if I was alone and I wanted to make a movie, I’d like to be able to fall off my bike as many times as I have to until I get it right. So that’s the environment we make. There are economics involved, and it’s definitely more cumbersome than live action, so I couldn’t set up four reshoots, but damn, I’ll always ask for as many as I can get, because I don’t find any embarrassment in that.
“It’s like saying, you can all go and write a piece about what we talked about today, but you only get to write it once. You don’t get to change a word once it’s set down. And that’s how movies are made, and it’s fucked up.
“It should be that you should somehow be able to balance economics and let the artist be an artist, and not be afraid of failure or trial and error. You do it with takes – everybody gets 30 takes, 10 takes, five takes until we get it right. Why should I suddenly be omniscient and know that something will work, no matter how it’s written on the paper? It’s a different beast when it’s on the screen. Believe me, we know that at Pixar.
And now we know that over here at the Ranch.
And will be applying it to Morgue File. Until we’re sick to death of it, but have a much, much better book . . . and, if you haven’t read it yet, Check out the 22 Things I Learned at Pixar . . .