You're watching Pixar wrong: Monsters in the closet - Methods Unsound
Since Mike Wazowski and James P. Sullivan work nights at Monsters Inc., unfortunately they sleep during the day so you can't meet them at. How could Mike Wazowski and James P. “Sulley” Sullivan have met for the first time in college when there is a line in Monsters Inc about the. Monsters University is a American 3D computer-animated adventure comedy film Michael "Mike" Wazowski aspires to become a scarer – a monster who . The plot of Monsters University details Mike and Sulley's first meeting, but this.
He acts as a mentor to Sulley, holding great faith in him as a scarer. Jennifer Tilly as Celia Mae, a gorgon -like monster with one eye and tentacle-like legs.
Celia is the receptionist for Monsters, Inc. John Ratzenberger as Yeti  a. The Abominable Snowman,  a furry white monster who was banished to the Himalayas. Dan Gerson as Smitty and Needleman, two goofy monsters with cracking voices, who work as janitors and operate the Door Shredder when required. Bonnie Hunt as Ms. Flint, a female monster, who trains new monsters to scare children.
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.
'Monsters U': See the 4th-grade Mike/Sulley meeting that never happened
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. 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.
Monsters, Inc. - Wikipedia
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. Our recent history, both in the real world and in the fictional universes we create on screen, should shame us all when it comes to our treatment of the LGBT community.
As society became more progressive, queer cinema began to crop up in art house and backstreet cinemas in the late s and early s with titles such as: She becomes what could be considered the adopted child of a same sex couple.
They bicker like a couple, take care of each other like a couple and banter like a couple. To all intents and purposes they are a couple. From the beginning of the film the relationship between child and monster is a strange one. Often this paring has been used in film to suggest a rather sinister relationship; for example in Chitty Chitty Bang Bang the Child Catcher hunts down his prey forever leering after them, crooked and deformed.
The monster in Frankenstein mistakenly kills a little girl on the banks of the river without meaning to, ending her innocent life through misunderstanding and heavy handedness.
In almost every teen horror film, the slasher seeks to punish young women for their sexual experimentation. In every variation of the story, the monster and child are usually opposites.
As Elizabeth Freeman says: Playing with his tail she allows it to fall and hit the ground several times as she squeals with delight.
It is clear that Sully is the one who is frightened of the child, not the other way round. Sully understands that Boo has no part in his world and is in fact supposedly at odds with it. Any contact between the two worlds is dealt with severely. When a monster returns from a bedroom with even so much as a stray sock stuck to their fur, an elaborate decontamination unit descends upon him.
For the monsters, the world of children is terrifying to them as it suggests normative heterosexuality. The workplace of Monsters Inc can be read as a metaphor for the terrifying image of patriarchal, normative, heterosexual behaviour. A horrified Boo sees this and shrinks from this mediated version of Sully yelling at an animatronic child.
The scene shows us a tainted view of Sully; on the multiple monitors he is examined from every possible angle.
Sully is unable to take care of children because he is seen as monstrous, it matters not that no one has let him look after a child before, he must be bad at it because society deems that he will be through his representation in the media.
With this Randle and Waternoose force children to be scared; sucking screams out of them.