Billy Crystal MONSTERS UNIVERSITY Interview | Collider
Monsters, Inc. is a American computer-animated buddy comedy film produced by Pixar Animation Studios and distributed by Walt Disney Pictures. Featuring the voices of John Goodman, Billy Crystal, Steve Buscemi, James The city of Monstropolis in the monster world is powered by energy from the screams of. Discover how Mike and Sulley first met at Monsters University. Despicable Me . didn't meet each other until MU goes against what was said in Monsters, Inc., but hey, Billy Crystal and John Goodman were excellent as the voices--perfect . Immersed in Movies: Talking 'Monsters U' with Billy Crystal and John In Monsters University, Pixar's oddest odd couple, Mike and Sulley, meet for the first time in college Billy Crystal and John Goodman recently reminisced about their I really missed doing him until John Lasseter came up to me at his.
It took about three years to make this. And it was hilarious! They value the story here. They value telling the right kind of story. This is a different movie. Was it easy to get back into character?
Monsters, Inc. - Wikipedia
Yeah, because I work with John [Goodman] together, in the studio. We just looked at the first movie for a little while. But, to place them in that time in their lives, we talked a little bit about it. We had storyboards, which showed us slightly thinner versions. We just approached it that way. Is there a trick to sounding younger and thinner? Boy, I wish there was because we could make a lot of money. No, it was just was more of an attitude, in what they wrote and how we hit the lines and a certain enthusiasm.
How easy was it to get back together with John Goodman and throw things off each other? Was it that way, from the very first time? Well, I went to work on the first day and his stuff had already been recorded.
Is he not here? So, falling back with John was like putting on a pair of old slippers. What kind of student were you in college?
I, I was always looking for something else to do, most of the time, until I got into the acting program. Then, I really found myself. But, that was true through high school, too. I knew what pretty much everything was. I could study last minute and get a solid grade. Nobody was who they were yet, you know?
Oliver was a little older, I think, and then he left quickly and went in the Army. He was a graduate student, but he handled all the production classes and all the history classes. He was a very intimidating young guy with hair to his shoulders, granny glasses and a big thick beard, making his first movie. He drove us, always. We had lousy equipment. We had these turret lens cameras. And he was always talking about telling the right story and where the camera should be, at that moment.
That was his big thing. The history of film was a great class with him because we watched movies and he would talk about them. Did you feel that way before this? Yes, I felt it when we made the first movie. I just fell in love with him. What I loved about coming back to him was that I got to play him at a special time in his life. I got to play him at 18, or so. And I totally relate to him. And then, when he handles disappointment, he handles it really well and he finds a way out.
I think that makes him an adult. How special were the lake scene and the cabin scene to do? I loved the funny, but when those moments happened, I was really very pleased.
I have to say that I was moved because they stopped feeling like animated characters to me. They really felt like real people, or real monsters, with hearts and souls. I felt very moved by the bonding of the friendship, and how Sulley helps Mike through that. I thought that was great. Part of why I also felt good was that, on the first movie, I pushed that we work together.
John and I threw aside the script, in that recording session, and we really got to act the scene out, close to each other. We were able to really act. Samuel Lord Black as George Sanderson, a chubby, oranged-furred monster with a sole horn on top of his head.
A running gag throughout the film involves George repeatedly making contact with human artifacts such as socks and the like which cling to his fur via staticprompting his scare coach to trigger "23—19" incidents with the CDA resulting in him mobbed, shaved bald, and sterilized. He is good friends with Pete "Claws" Ward. Phil Proctor as Charlie, George's assistant with sea-green skin and tendrils for limbs. Joe Ranft as Pete "Claws" Ward, a blue monster with razor-sharp claws and horrifying breath.
Development[ edit ] When production began in earnest on Monsters, Inc. The idea for Monsters, Inc. I knew monsters were coming out of my closet when I was a kid. So I said, 'Hey, let's do a film about monsters. Docter pitched the story to Disney with some initial artwork on February 4 that year. He and his story team left with some suggestions in hand and returned to pitch a refined version of the story on May Each monster represented a fear he had, and conquering those fears caused the monsters eventually to disappear.
Sulley's eventual sidekick, Mike Wazowski, had not yet been added. As the story continued to develop, the child varied in age and gender.
Billy Crystal discusses his chemistry with ‘Monsters University’ co-star John Goodman
He feels envious because another scarer, Ned who later became Randallis the company's top performer. Docter would later describe that the team "bent over backwards trying to create a story that still had monsters " while still solving the problem,  A key moment came when the team decided "Okay, he's the BEST scarer there.
He's the star quarterback" with Docter noting that before that moment "design after design, we really didn't know what he was about. The idea was later largely rejected, as it was thought that audiences would be distracted by the tentacles.
Sullivan was also planned to wear glasses throughout the film. However, the creators found it a dangerous idea because the eyes were a perfectly readable and clear way of expressing a character's personality; thus, the idea was rejected.
A term coined by Lasseter, a "story summit" was a crash exercise that would yield a finished story in only two days. Development artist Ricky Nierva drew a concept sketch of a rounded, one-eyed monster as a concept for the character, and everyone was generally receptive to it.
He considered it his first experience in writing a feature film. He explained, "I would sit with Pete [Docter] and David Silverman and we would talk about a scene and they would tell me what they were looking for. I would make some suggestions and then go off and write the sequence.
We'd get together again and review it and then hand it off to a story artist.
Here's where the collaborative process really kicked in. The board artist was not beholden to my work and could take liberties here and there. Sometimes, I would suggest an idea about making the joke work better visually. Once the scene moved on to animation, the animators would plus the material even further. He screen tested for the role and was interested, but when Pete Docter was unable to make contact with him, he took it as a "no".
Goodman interpreted the character to himself as the monster equivalent of a National Football League player. Animation[ edit ] The "door vault" scene is one of the film's most elaborate sets.
In Novemberearly in the production of Monsters, Inc. He faced a difficult challenge, however, in dealing with Sulley's sheer mass; traditionally, animators conveyed a figure's heaviness by giving it a slower, more belabored movement, but Kahrs was concerned that such an approach to a central character would give the film a "sluggish" feel. To help the animators with Sulley and other large monsters, Pixar arranged for Rodger Kram, a University of California, Berkeley expert on the locomotion of heavy mammals, to lecture on the subject.
From the standpoint of Pixar's engineers, the quest for fur posed several significant challenges; one was to figure out how to animate a large numbers of hairs — 2, of them on Sulley — in a reasonably efficient way,  and another was to make sure that the hairs cast shadows on other ones. Without self-shadowingeither fur or hair takes on an unrealistic flat-colored look e. Results were not satisfactory, as such objects caught and stretched out the fur due to the extreme amount of motion.
Another similar test was also unsuccessful, because, this time, the fur went through the objects.
Fizt allowed the fur to react in a more natural way. Every time when Sulley had to move, his fur automatically reacted to his movements, thus taking the effects of wind and gravity into account as well. The Fizt program also controlled the movement of Boo's clothes, which provided another "breakthrough".
First of all, Boo was animated shirtless; the Simulation department then used Fizt to apply the shirt over Boo's body, and every time she moved, her clothes also reacted to her movements in a more natural manner. To solve the problem of cloth-to-cloth collisions, Michael Kass, Pixar's senior scientist, was joined on Monsters, Inc.
The complexity of the shots in the film, including elaborate sets such as the door vault, required more computing power to render than any of Pixar's earlier efforts combined. The render farm in place for Monsters, Inc. 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. As of Mayit is the eighth-biggest fourth weekend ever for a film.
The Fellowship of the Ring for the weekend, it moved to first place on subsequent weekends due to exceptionally small decreases or even increases and dominated for six weeks at the box office.