What type of animation is monsters inc

I did drawings, I painted, I would cut out stuff in paper and glue it. To me it was more like trying to get designs and stuff that would inspire people later on if they were to build it in the computer, which is a much more time-consuming and labour-intensive process.

So I spent my focus more on the concepts and physical designs. Geefwee: It was during these early stages of it, and — Pete Docter and a small group of us including Harley Jessup and Lou Romano and Ricky Nierva and Ralph Eggleston — we were throwing out all kinds of ideas. This is before there was a script or anything like that. We had kind of an idea but it kept growing and morphing into different things.

When there was some downtime I came up with this idea for the title sequence and I made little demos with black paper and coloured paper with little doors that you could actually physically open up in the paper and there would be a drawing or title stuff under the doors.

So I made this little concept of this door title sequence. Scans of a title sequence demo made by Geefwee Boedoe, featuring cut-out paper doors, credits lettering, and illustrations. But that was back when we were really wanting to push the film into a much more stylized look. The thought was that the whole film was going to be much more stylized and graphic! Even though it would still be computer animation, the visual style we were going for was going to be different.

Eventually that was sort of abandoned — that approach. And they went back to a more standard Pixar look, but I think Pete Docter, in some way, in the back of his head, still had the idea that maybe we could utilize some of that more graphic kind of styling with the title sequence.

But the film started out — without that title sequence — as kind of a false tone. In the test audiences they were seeing kids, young kids and such, shutting down and starting to imbue the film differently because the first impression was that it was gonna be this scary dark thing.

They were getting negative reviews of how the film was opening so Pete realized, Oh, this is the perfect chance. Geefwee: Yeah! That was a big part of the title sequence and what was important with it — to try to create that nicer tone. When I did the first take on the title sequence, we put in some temp jazz music.

I listened to that music a thousand times and just really tried to figure out: Oh, which ideas can I use that will actually work well with the music? That was kind of an intense thing. To my knowledge. And like, an upfront sequence too. So it was quite a commitment! A Pixar Film Monsters, Inc. A scarer named Georgie steps back through a door with a child's sock stuck on his back. Alarms are sounded on the scare floor -- he is "contaminated! Waternoose is not happy; the plant will be shut down for a half an hour.

Mike and Celia are having their date at Harryhauesen's, a sushi restaurant filled with monsters. Sulley interrupts their date to tell Mike about the child, but the toddler escapes from his bag. With one "Boo!

Boo has to use the bathroom, so Sulley stands outside the bathroom stall keeping guard. While in the bathroom stall, Boo sings. They then play hide and seek in the bathroom stalls. Mike finds them, but moments later, Randall enters. Thinking Boo is in the trash compacter, Sulley hurries down to the trash bin to save her. Sulley is horrified as he watches the trash being crushed and chopped up; he thinks Boo is in it.

She's actually in another part of the building, still disguised as a monster and playing with some monster kids. Finally, Sulley and Boo find her. Sulley, Mike, and Boo find Boo's door waiting on the scare floor while everyone is at lunch, just as Randall said. Mike opens Boo's door and walks into her dark bedroom to prove it is safe, but he is mistakenly trapped in a box by Randall, who thinks Mike is Boo.

Sulley and Boo hide while Randall makes off with Mike in the box. Back together, Sulley, Mike, and Boo try to escape from Randall. While on the run, Celeste joins the group briefly and Mike tells her about Randall's plot. They finally make it to the scare floor and again look for Boo's door. Sulley, Mike, and Boo are almost trapped by Mr. Waternoose and the CDA security force, but Mike sends them on a wild goose chase.

Sulley walks Boo through her door and returns the little girl to her room and bed, but Waternoose follows them into Boo's room. While Sulley and Waternoose fight in Boo's room, Waternoose reveals his plan to kidnap children and hook them up to the scream extractor. But the joke is on Waternoose. It's not really Boo's room, but the Monsters, Inc.

The CDA security forces take him away. Mike sneaks into a child's bedroom at night, but instead of scaring the little boy, Mike tries to make him laugh with lame jokes. As a last effort, Mike does an enormous burp, which makes the child laugh. It turns out that laughter produces ten times more energy for Monsters, Inc. Walt Disney once said that every child loves to be scared.

That's never been more true than with "Monsters, Inc. After you and your child finish watching it, don't forget to close your closet door. His favorite cartoon of all time is "Scooby Doo. Sign up for our Newsletter! Mobile Newsletter banner close. Mobile Newsletter chat close.

Mobile Newsletter chat dots. Mobile Newsletter chat avatar. The release of Monsters, Inc. The suit alleged the defendants had stolen her story There's a Boy in My Closet , which she had mailed out in October to a number of publishers, including Chronicle Books. The plaintiffs had requested a temporary injunction against the release of the film.

Judge Clarence Brimmer, Jr. He judged against the injunction, and the entire suit was thrown out on June 26 , Another lawsuit by Stanley Mouse alleged that the characters of Mike and Sulley were based on drawings he had tried to sell Hollywood in The film had a small drop-off of In its third weekend, the film experienced a larger decline of In its fourth weekend, however, there was an increase of 5.

The film is Pixar's eighth highest-grossing film worldwide and fifth in North America. For a time, the film went on to depose Toy Story 2 as the second highest-grossing animated film of all time, behind only The Lion King. The critical consensus was: "Clever, funny, and delightful to look at, Monsters, Inc. Charles Taylor from Salon. Roger Ebert, film critic from Chicago Sun-Times , who gave the film 3 out of 4 stars, called the film "cheerful, high-energy fun, and like the other Pixar movies, has a running supply of gags and references aimed at grownups.

One month after the movie's theatrical release on December 7, a version with alternative end credits was brought into theaters. As is common for Pixar movies, international versions differ in the contents. Many English inscriptions are either removed or replaced by more generic symbols, especially in Monstropolis and at the Scarefloor.

Additionally, an animation of Sulley telling Boo to go to sleep was changed for Non-English version, as in the US version, he holds up two fingers to illustrate "to" in "You - go - to - sleep". Some examples for alternative angles can be seen in the bonus material of the 2-Disc DVD and Blu-ray of the film. The film was re-released in theaters in 3-D on December 19, , and it featured the outtakes in 3-D during the credits just like the movie. The scene they ended up changing was the Harryhausen's scene.

Following Mike and Sulley getting Boo and fleeing, the scene was supposed to end with Harryhausen's getting blown up in a fireball explosion by the CDA. This was changed in the final film to a large plasma bubble encompassing the building.

A prequel, Monsters University was released on June 21, Set in Mike and Sulley's college years, it is about how the two became friends and got their job. A short was made by Pixar in named Mike's New Car , in which the two main characters have assorted misadventures with a car Mike has just bought. This film was not screened in theaters, but is included with all home video releases of Monsters, Inc. A manga version of Monsters, Inc.

A series of video games and a multi-platform video game were created, based on the film, such as a film adaptation, Monsters Inc. Feld Entertainment toured a Monsters, Inc. Video Games: Monsters, Inc. Disney Wiki Explore. Toy Story Monsters, Inc. Video Games. Explore Wikis Community Central. Register Don't have an account?

History Talk 3. It will be shown this way in some larger markets. He says, "Digital projection looks terrific! It's rock solid. It's so much better than watching film going through a projector. Film has a slight jumpiness to it and grain; it looks a little different.

Digital looks exactly as it does on the monitors here when we are doing the lighting reviews, the effects reviews and everything else. That is what the director wants to see. Check out this fur! New simulation software was developed to create the realistic movement of Sulley's blue rug of a coat. According to Glenn McQueen, supervising animator, the increase in computing power allows "you to get more visual complexity on the screen.

More stuff, more atmosphere, more characters, more clothing, more everything. McQueen is a big fan of their new simulation software.

It allowed the animators to spend more time on the performance of their characters. It was a terrific improvement. You have to spend a lot of time on it and if it is done correctly no one will ever look at it. It doesn't help the film develop the story or provide entertainment. Having a computer do that grunt work is a great improvement. Strangely, they preferred to animate one hair element by hand. The only human in the film is the little girl who invades the world of the monsters.

She has a ponytail. It was easy to animate by hand as the movements were similar to animating the antenna on ants, "something we all have had a lot of practice doing" thanks to A Bug's Life. The studio created a "tentacle package" in case they were going to animate a character with lots of arms or legs.

At one time Sully had 8 tentacles. McQueen said 8 tentacles would have been very difficult to animate within the production schedule planned for the film. It made getting the film done on time more realistic. The tentacle package was used on minor characters. Since there is little scientific evidence about what monsters look like, some of Pixar's creatures have multiple eyes, arms and legs.

Many of them are extras designed to be built quickly and then moved by the new system. They are quick and easy to pose. One monster that stood out from the others moves like a crab.

A zoologist was consulted about crab locomotion systems since it is quite different than the walk cycles most animators are used to drawing. McQueen said that none of the monsters were based on recognizable animals. Why should they be familiar looking when there are so many "tantalizing ideas" of what the characters could be. At these sessions they critique work currently in production.

Everyone is free to participate in these discussions. Another purpose of the dailies is to make sure everyone is animating the same character the same way.

Pixar does have lead animators who concentrate on getting great performances out of a character John Kahrs on Sulley, Andrew Gordon on Mike and Tasha Wedeen and Dave DeVan on Boo , but there are scenes that were animated by others. After dailies McQueen's day included meeting with individual animators, going over production schedules and working with the technical departments. The model and prop departments were building new props and characters right up to the end of the show.

The model department had to test their work constantly to make sure it functions properly before it is turned over to the animators. To keep the staff of Pixar up-to-date when new proprietary software is developed, they hold classes at Pixar University good old PU. The school also teaches the basics for new staff members and offers other classes when people are not working on a production.

McQueen says, "It behooves us to make sure everyone is as flexible as possible.