GITS Q&A, Part 4: Mary Coleman (Pixar)
Today we continue with a week long exclusive interview with Mary Coleman, senior development executive at Pixar Animation Studios. In Part 4, we discuss setting, subculture, and Pixar’s instinct for character-driven stories:
SM: Here’s another thing. Each Pixar movie explores a unique setting and subculture. With Toy Story it’s toys, A Bug’s Life it’s bugs, The Incredibles superheroes, Finding Nemo aquatic life, Cars the whole automobile culture. How much does having that new setting with unique characters, social dynamics, and possible set pieces affect the decision-making process on what stories to develop and how to develop them?
MC: As far as which stories go forward, the heart of the story trumps the world. But as I mentioned John definitely wants to see a world that will be fun to animate. Then once we’ve chosen a world, in terms of how we develop it, the reason we do so much research is to make it authentic. Visually we’re obviously not going for photo-realism. We would never limit our medium that way. The idea that toys come to life and drop to the floor when people come into the room is an imaginative fantasy. But we try to be authentic to the point of view of the toy.
So in terms of conflict, that core Pixar team asked themselves ‘What are the worst things that can happen in a toy’s life?’ Being replaced. So the birthday party kicks off the conflict in TS1. Being left behind. So Woody toys with the immortality of a being behind glass in a toy museum in TS2. Your kid going off to college. So the toys try to escape their fate in TS3. That’s what we mean by authentic — asking what would a toy’s problem be? On the one hand, we definitely anthropomorphize all of our characters. On the other, we’re trying to stay true to their point of view of the world.
SM: Basically experiences authentic to the characters within that story universe as opposed to some sort of artificial construct laid on top of them.
MC: Yes, precisely. The dilemma for these toys is not that they’re low on cash and need to stage an elaborate jewel heist to get some. But they may stage an elaborate toy heist to get Woody back because he’s Andy’s toy and belongs in Andy’s room.
SM: It strikes me this is a reflection of how Pixar thinks differently than perhaps a Hollywood-based studio would. I ask a question about a movie’s setting and subculture and in Hollywood, they would likely start talking about set pieces or movie trailer moments. Those are important, helpful to provide the filmmakers material they can use to string together a plot. But when I asked you that question, you immediately went to character. So is it fair to say that this represents Pixar’s instinct, to find story through character?
MC: Yes. So when I talk to agents and managers about prospective writers, I lead by saying I need to read character-driven scripts. I don’t find what I’m looking for in high concept. What I need from a writer is emotionally dimensional characters.
SM: I know you have these two projects in the future, one set in the world of dinosaurs, the other inside the human brain. Was that a similar process to get to those?
MC: I suppose being inside the human brain is high concept, but because it’s Pete he started with characters. The characters he wants to explore come along with that environment.
I suppose this shouldn’t be much of a revelation to anyone who is a fan of Pixar movies, but it’s a good lesson to be reminded of how much of their approach to developing stories is grounded in the story’s characters. So for instance, we may look at a movie like Monsters Inc and think, “Wow, how much fun to see a world where monsters live and work,” but while the brain trust at Pixar is certainly cognizant of the possibilities that setting and subculture offers, at the end of the day the story only works because the filmmakers have drilled down into each of the characters and found what makes them work, both within the context of the narrative and in terms of their emotional resonance with viewers.
How does that translate in practical terms? How about this quote from Mary:
“When I talk to agents and managers about prospective writers, I lead by saying I need to read character-driven scripts. I don’t find what I’m looking for in high concept. What I need from a writer is emotionally dimensional characters.”
Character-driven scripts… emotionally dimensional characters. Those are key to Pixar’s success. And if you’re smart, to your success as a writer.
Tomorrow in Part 5: We talk about how Pixar uses a small story set against the backdrop of a big story.
For Part 1 of the interview, go here.
Part 2, go here.
Part 3, go here.
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