WEBVTT FILE 1 00:00:02.000 --> 00:00:07.000 Downloaded from YTS.MX 2 00:00:04.004 --> 00:00:07.507 We're animation nerds who love this medium. 3 00:00:08.000 --> 00:00:13.000 Official YIFY movies site: YTS.MX 4 00:00:10.051 --> 00:00:12.762 If you can do it in live-action, then we don't want to do it. 5 00:00:12.846 --> 00:00:15.140 So we would have to come up with even crazier things. 6 00:00:18.268 --> 00:00:20.645 We definitely had to make some big swings 7 00:00:21.104 --> 00:00:24.149 in order to arrive at something that was uniquely ours. 8 00:00:28.319 --> 00:00:30.530 Okay. This show is going to be weird. 9 00:00:34.284 --> 00:00:36.411 line:5% -Pete Docter, Meet the Pickles. 10 00:00:36.494 --> 00:00:40.540 At Pixar Animation Studios we've done 27 feature films now, 11 00:00:40.623 --> 00:00:42.083 and they're all super hard. 12 00:00:42.167 --> 00:00:44.878 They're fun, but they always blow up and then stuff happens 13 00:00:44.961 --> 00:00:47.338 and we have to scramble to put it back together. 14 00:00:47.422 --> 00:00:50.216 We're used to that. We understand the challenge. 15 00:00:50.842 --> 00:00:53.470 When long-form streaming started coming up, 16 00:00:53.553 --> 00:00:56.347 we were like, "Woah. This looks really intriguing." 17 00:00:56.431 --> 00:00:59.809 All of the conventions and things that we've gotten used to 18 00:00:59.893 --> 00:01:01.436 are out the window. 19 00:01:01.978 --> 00:01:06.441 How do we make something that is broken up into smaller bites, 20 00:01:06.524 --> 00:01:08.985 continue to grab people from one week to the next. 21 00:01:09.069 --> 00:01:11.780 It probably uses completely new technology. 22 00:01:11.863 --> 00:01:15.742 There are probably all sorts of problems we have no idea how to solve. 23 00:01:17.160 --> 00:01:18.203 So, let's do it. 24 00:01:18.286 --> 00:01:20.246 Come on, look alive! Game day, folks! 25 00:01:20.330 --> 00:01:23.208 Win or Lose is our first long-form series. 26 00:01:23.291 --> 00:01:24.959 It's an eight-episode series 27 00:01:25.043 --> 00:01:28.546 where we follow a coed middle school softball team 28 00:01:28.630 --> 00:01:31.091 in the week leading up to their championship game. 29 00:01:31.174 --> 00:01:34.010 We're making roughly eight episodes, 18 minutes each. 30 00:01:34.094 --> 00:01:36.262 You're talking about 145-or-so minutes. 31 00:01:36.346 --> 00:01:38.181 So it's longer than one of our feature films. 32 00:01:38.264 --> 00:01:40.308 That's a lot of animation to produce. 33 00:01:40.391 --> 00:01:42.102 And in a shorter amount of time. 34 00:01:42.185 --> 00:01:46.231 Most of our films, 90 minutes, take about five years to make. 35 00:01:46.314 --> 00:01:51.194 If you do the math, 145 minutes would take about eight years. 36 00:01:51.945 --> 00:01:54.531 Well, we told these guys, "You got four." 37 00:01:54.614 --> 00:01:56.366 Challenge accepted. Here we go. 38 00:01:56.449 --> 00:02:00.662 We are a smaller show than most, and so we have to do more with less. 39 00:02:00.745 --> 00:02:02.080 In terms of ambition, 40 00:02:02.163 --> 00:02:04.624 I don't know if any of us knew what we were signing up for. 41 00:02:04.707 --> 00:02:07.669 One of the big things we wanted to have was an ensemble cast. 42 00:02:07.752 --> 00:02:08.962 You can't do that in a film. 43 00:02:09.045 --> 00:02:11.464 You can't spend as much time with each character. 44 00:02:11.548 --> 00:02:13.133 A multi-protagonist story. 45 00:02:13.216 --> 00:02:15.343 Streaming is the perfect format for that. 46 00:02:15.426 --> 00:02:17.679 This show doesn't have one main character 47 00:02:17.762 --> 00:02:19.430 that we can put all of our people behind. 48 00:02:19.514 --> 00:02:22.684 We have eight that are on equal footing in terms of their importance. 49 00:02:22.767 --> 00:02:24.185 You are all winners. 50 00:02:24.269 --> 00:02:27.730 Each episode is following a different main character. 51 00:02:27.814 --> 00:02:31.651 And we get to work our way up to that game, through the perspective 52 00:02:31.734 --> 00:02:34.154 and through the lens of a completely different character. 53 00:02:34.237 --> 00:02:36.156 - Say "Pickles." - Pickles! 54 00:02:36.239 --> 00:02:38.992 You get a chance to walk in someone else's shoes for a week 55 00:02:39.075 --> 00:02:41.369 and see what the problem is in their life 56 00:02:41.452 --> 00:02:43.580 and then experience that through animation. 57 00:02:43.663 --> 00:02:46.916 Each character has what we're calling their own animation device. 58 00:02:47.000 --> 00:02:51.754 And this is almost like a personified glimpse of their emotions. 59 00:02:51.838 --> 00:02:53.798 Practice, practice. Come on, you can do it. 60 00:02:53.882 --> 00:02:57.802 For Laurie, softball brings more stress 'cause she's trying to impress her dad. 61 00:02:57.886 --> 00:03:00.638 Laurie's story, her problem being anxiety. 62 00:03:00.722 --> 00:03:02.891 How we feeling? I'm feeling goodish-bad. 63 00:03:02.974 --> 00:03:05.852 How do you move past that, and how do you shake that off? 64 00:03:05.935 --> 00:03:07.604 Her confidence is not there. 65 00:03:07.687 --> 00:03:11.524 And, of course, there's the pressure of her dad being the coach of the team. 66 00:03:11.608 --> 00:03:15.153 The coach inflates up to a huge blimp. 67 00:03:16.321 --> 00:03:17.572 Strike two! 68 00:03:17.655 --> 00:03:19.949 Van is a very hard-working mom. 69 00:03:20.033 --> 00:03:23.786 Van's mommy magic, which is all rainbows and sparkles. 70 00:03:23.870 --> 00:03:26.831 She's bringing color with her to this dull environment. 71 00:03:26.915 --> 00:03:28.917 She's the person that comes into the office 72 00:03:29.000 --> 00:03:30.376 and she brightens everyone's day. 73 00:03:30.460 --> 00:03:32.754 Guess what? It's Rochelle's playoff game today! 74 00:03:32.837 --> 00:03:35.715 Rochelle is the catcher. It's a tough position to play. 75 00:03:35.798 --> 00:03:38.968 Rochelle, the world comes apart 76 00:03:39.052 --> 00:03:42.680 and floats whenever she feels stressed out. 77 00:03:42.764 --> 00:03:44.891 line:5% -We have Frank's armor. 78 00:03:44.974 --> 00:03:47.477 He's the umpire and he has to make the calls. 79 00:03:47.560 --> 00:03:49.395 And some people don't agree with his calls. 80 00:03:49.479 --> 00:03:52.815 And so, in order to deal with that, he's built this armored shield. 81 00:03:52.899 --> 00:03:54.984 Yuwen, who's the macho pitcher on the team, 82 00:03:55.068 --> 00:03:59.113 his main animation device is that you go inside his little paper craft heart. 83 00:03:59.197 --> 00:04:00.531 Please like me. 84 00:04:00.615 --> 00:04:02.951 Ira is this character that sees the world 85 00:04:03.034 --> 00:04:05.495 through his toilet paper periscope. 86 00:04:05.578 --> 00:04:09.874 We have Ira's 2D animation world, which slots 87 00:04:09.958 --> 00:04:12.335 into the 3D world through his kaleidoscope. 88 00:04:12.418 --> 00:04:15.004 Another character we have is our character, Kai, 89 00:04:15.088 --> 00:04:17.632 who's the new kid in town trying to find where she belongs. 90 00:04:17.715 --> 00:04:20.051 Kai, the flying and the sinking. 91 00:04:20.134 --> 00:04:21.719 Flying when she feels like 92 00:04:21.803 --> 00:04:25.181 she's really helping people and feeling really successful, 93 00:04:25.265 --> 00:04:28.851 to when she shuts down, she sinks below the ground 94 00:04:28.935 --> 00:04:31.229 into a sunken place. 95 00:04:31.312 --> 00:04:35.775 It's great fun to try to figure out a new idea for every single episode. 96 00:04:35.858 --> 00:04:39.195 The cool thing about this show is that, because it's about perspective, 97 00:04:39.279 --> 00:04:41.656 sometimes I would grow more attached to one character 98 00:04:41.739 --> 00:04:44.033 and Michael grow more attached to the other. 99 00:04:44.117 --> 00:04:45.660 You do have a point on the exit. 100 00:04:45.743 --> 00:04:48.329 He's almost coming in like he's the savior here. 101 00:04:48.413 --> 00:04:52.083 It helped make the episode stronger because we'd be arguing 102 00:04:52.166 --> 00:04:54.085 from that different character's perspective. 103 00:04:54.168 --> 00:04:56.546 I'm not quite getting the idea of the gut punch 104 00:04:56.629 --> 00:04:59.549 to motivate his arms being flung forward. 105 00:04:59.632 --> 00:05:02.927 And taking both of our points of view and mashing 'em together, 106 00:05:03.011 --> 00:05:05.930 always constantly bettering each other's work as we go. 107 00:05:07.348 --> 00:05:09.517 I never worked with two directors 108 00:05:09.600 --> 00:05:12.145 who also carry the equal footing on the show, 109 00:05:12.228 --> 00:05:14.439 and just seeing both Yates and Carrie merge 110 00:05:14.522 --> 00:05:16.858 and it becomes the overall voice of the show, 111 00:05:16.941 --> 00:05:18.401 it was just very beautiful to watch. 112 00:05:18.484 --> 00:05:21.779 Carrie and Michael were story artists at Pixar for a while, 113 00:05:21.863 --> 00:05:24.699 and for a little bit there, they were office mates. 114 00:05:24.782 --> 00:05:26.034 And so we would talk a lot. 115 00:05:26.117 --> 00:05:29.203 Always pitching ideas back and forth, showing each other our scenes. 116 00:05:29.287 --> 00:05:32.332 And one thing we noticed was we would often have 117 00:05:32.415 --> 00:05:34.125 different impressions of the same event. 118 00:05:34.208 --> 00:05:35.293 We always talked about it. 119 00:05:35.376 --> 00:05:38.379 Like, why are our perceptions of this different? 120 00:05:38.463 --> 00:05:42.216 We'd always be analyzing how we each had a different interpretation 121 00:05:42.300 --> 00:05:44.135 of how a meeting went. 122 00:05:44.218 --> 00:05:46.179 One of us was like, "That was terrible." 123 00:05:46.262 --> 00:05:50.183 And the other was like, "No, it was fine. What are you talking about?" 124 00:05:50.725 --> 00:05:54.687 The spirit of that idea gave birth to the idea 125 00:05:54.771 --> 00:05:57.523 of Win or Lose and how we all experience things differently. 126 00:05:59.650 --> 00:06:01.736 We'd start meeting up after hours. 127 00:06:01.819 --> 00:06:05.990 We would go to like local coffee shops and just brainstorm different things. 128 00:06:06.074 --> 00:06:09.202 Sometimes we would improv dialogue as well as a way of writing, 129 00:06:09.285 --> 00:06:11.871 - just like start to become the character. - No! 130 00:06:11.954 --> 00:06:13.581 Michael is always drawing. 131 00:06:13.664 --> 00:06:15.124 Yeah, I draw all the time. 132 00:06:15.208 --> 00:06:17.543 He's got a sketchbook that's brilliant. 133 00:06:17.627 --> 00:06:19.879 I carry sketchbooks with me everywhere. 134 00:06:19.962 --> 00:06:23.883 Full of just constantly, like, riffing on who these characters are. 135 00:06:23.966 --> 00:06:26.552 What it looks like when they act, what their design is. 136 00:06:26.636 --> 00:06:28.513 And a lot of times, it was just us 137 00:06:28.596 --> 00:06:31.516 talking about like our own families, life experiences, 138 00:06:31.599 --> 00:06:33.643 like Vanessa, who's, like, the single mom. 139 00:06:33.726 --> 00:06:36.437 And that was something that was really interesting to me, 140 00:06:36.521 --> 00:06:39.482 to tell a story of a single mom 'cause my mom was a single mom. 141 00:06:39.565 --> 00:06:42.985 My sister is a single mom. Like Rochelle, for example. 142 00:06:43.069 --> 00:06:44.904 This is me at this age. 143 00:06:44.987 --> 00:06:48.741 When I was in middle school, I used to, like, always try to make money. 144 00:06:48.825 --> 00:06:51.077 I think I just wanted to buy video games. 145 00:06:51.160 --> 00:06:54.705 The first initial pitch was like, you go to the school classroom, 146 00:06:54.789 --> 00:06:57.083 and then each episode you follow a different kid home 147 00:06:57.166 --> 00:07:00.711 and you see what their home life is like. That's what the episode would be. 148 00:07:00.795 --> 00:07:04.924 Then Carrie, who played softball as a kid, was like, "What if it's a softball team?" 149 00:07:05.007 --> 00:07:07.093 There's different personalities, and it was cool, 150 00:07:07.176 --> 00:07:10.596 the girls that I played with weren't who I was going to school with. 151 00:07:10.680 --> 00:07:13.850 I played softball growing up, and it's just such a unique environment. 152 00:07:13.933 --> 00:07:15.893 And the sport itself... Okay, I love it. 153 00:07:18.604 --> 00:07:22.108 Because it has this great metaphor for life. 154 00:07:22.191 --> 00:07:23.568 You're playing this game... 155 00:07:23.651 --> 00:07:25.945 -Run, Carrie, run! -Go! Go! Go! 156 00:07:26.028 --> 00:07:28.239 ...that there's a lot of time where you can think 157 00:07:28.322 --> 00:07:29.907 and you can think on your mistakes. 158 00:07:29.991 --> 00:07:32.118 And so you really have to learn to move on 159 00:07:32.201 --> 00:07:34.454 if you make a mistake, and focus on the next play. 160 00:07:37.331 --> 00:07:40.877 Homerun for Grandpa! Yeah! 161 00:07:40.960 --> 00:07:45.214 Win or Lose has a lot of what we call "perspective views." 162 00:07:45.298 --> 00:07:46.883 And that is like animation fun. 163 00:07:47.550 --> 00:07:49.260 Anxiety, what does that feel like? 164 00:07:50.178 --> 00:07:51.721 Make that into a character. 165 00:07:51.804 --> 00:07:54.765 It seems straightforward, but it's really, really difficult. 166 00:07:54.849 --> 00:07:57.602 Laurie, the voice of her anxiety 167 00:07:57.685 --> 00:08:02.064 is a creature that grows through her entire episode. 168 00:08:02.148 --> 00:08:05.109 Let's just replay all the mistakes you made today. 169 00:08:05.193 --> 00:08:10.364 And it says all the worst thoughts we all have in our head about ourselves. 170 00:08:10.448 --> 00:08:12.742 That's some deep trauma. You wanna unpack that? 171 00:08:12.825 --> 00:08:13.951 We should unpack that now. 172 00:08:14.035 --> 00:08:16.370 And we did many iterations trying to find 173 00:08:17.038 --> 00:08:20.124 what's the right level of derpiness for this thing? 174 00:08:20.208 --> 00:08:22.793 How does it evolve over the course of her episode? 175 00:08:22.877 --> 00:08:27.173 So, in the beginning, Laurie's anxiety is small and insignificant, 176 00:08:27.256 --> 00:08:30.676 and then grows and grows and grows. And what does that turn into? 177 00:08:30.760 --> 00:08:33.012 You want it to be fun. You don't want it to be gross, 178 00:08:33.095 --> 00:08:35.640 like various mud monsters or poo, 179 00:08:35.723 --> 00:08:37.225 frankly... 180 00:08:37.934 --> 00:08:39.101 came up a lot. 181 00:08:39.185 --> 00:08:40.186 Excusez-moi? 182 00:08:40.269 --> 00:08:42.396 And then Lou and I said, okay, 183 00:08:42.480 --> 00:08:45.024 we need to have a bigger idea about what this is. 184 00:08:45.107 --> 00:08:46.817 And we came up with the idea 185 00:08:46.901 --> 00:08:50.071 that Laurie's challenge is between faith and doubt. 186 00:08:50.154 --> 00:08:54.242 I have faith, but sometimes, the doubt creeps in. 187 00:08:54.325 --> 00:08:56.160 And the faith is faith in her father. 188 00:08:58.162 --> 00:08:59.789 But she's wracked with doubt. 189 00:08:59.872 --> 00:09:02.083 And so, we said, "Let's use that metaphor." 190 00:09:02.166 --> 00:09:05.503 So we used faith as, like, the Holy Spirit, 191 00:09:05.586 --> 00:09:08.172 as a metaphor, and doubt would have been the snake. 192 00:09:08.256 --> 00:09:11.342 And so, if you look in the final form of the blob monster, 193 00:09:11.425 --> 00:09:14.095 it's actually just coiled up around her like a giant snake. 194 00:09:14.178 --> 00:09:17.306 We all know, like, Laurie was sort of based on Carrie in some way. 195 00:09:17.390 --> 00:09:20.184 She says she's not Laurie, but she's Laurie in the show. 196 00:09:20.268 --> 00:09:22.687 There's a few similarities between Laurie and I. 197 00:09:23.688 --> 00:09:25.606 My dad was my coach. 198 00:09:25.690 --> 00:09:29.777 My dad, he's just, like, such a good dad and such a good coach 199 00:09:29.860 --> 00:09:33.197 and I really struggled with softball. 200 00:09:33.281 --> 00:09:35.157 I'm not the most coordinated. 201 00:09:35.241 --> 00:09:38.035 Way to go, way to go! 202 00:09:38.119 --> 00:09:40.663 And I always felt like I was letting him down, 203 00:09:40.746 --> 00:09:43.374 and I think I was letting him down. 204 00:09:43.457 --> 00:09:46.043 I learned so much from that time in my life. 205 00:09:46.711 --> 00:09:48.671 Go, Carrie! 206 00:09:49.380 --> 00:09:52.300 It's just so formative, like, being on a team. 207 00:09:55.303 --> 00:09:58.514 I do really relate to Laurie. I do really relate to 208 00:09:58.598 --> 00:10:01.267 that pressure of, like, I'm just looking for approval here, 209 00:10:01.350 --> 00:10:03.477 like, I hate this sport. 210 00:10:03.561 --> 00:10:06.022 - Are you having fun? - Loads. 211 00:10:06.105 --> 00:10:08.608 I liked sports a little bit more than Laurie did, 212 00:10:08.691 --> 00:10:11.360 but I still performed with quite a bit of anxiety. 213 00:10:11.444 --> 00:10:13.195 One of my first coaches was my mom. 214 00:10:13.279 --> 00:10:15.364 So I actually know what it's like 215 00:10:15.448 --> 00:10:18.159 to have, you know, your parent there on the sideline, 216 00:10:18.242 --> 00:10:22.121 maybe critiquing you a little bit more than they're critiquing the other players. 217 00:10:22.204 --> 00:10:25.458 That's always fun, and then going home and talking about it over dinner, 218 00:10:25.541 --> 00:10:26.917 all the mistakes you made. 219 00:10:27.001 --> 00:10:28.294 That's what we're trying to do, 220 00:10:28.377 --> 00:10:33.215 is seep up this sense of being a human and the specificity of what that is 221 00:10:33.299 --> 00:10:35.968 and connect that to the storytelling. 222 00:10:36.052 --> 00:10:38.220 I do see myself probably the most in Ira. 223 00:10:38.929 --> 00:10:42.058 I'm gonna make a fun world for myself. 224 00:10:42.141 --> 00:10:44.268 The Ira episode. When I was a kid, 225 00:10:44.352 --> 00:10:47.521 I had these older friends that I shouldn't have been hanging out with. 226 00:10:47.605 --> 00:10:50.608 I'm not sure why they hung out with me, they were way older. 227 00:10:50.691 --> 00:10:55.029 But it was such a big learning and maturing phase for me. 228 00:10:55.112 --> 00:11:00.242 MOYER: For Ira's episode, we wanted to make it that he had this real, 229 00:11:00.326 --> 00:11:03.162 like, little kid fantasy universe. 230 00:11:03.245 --> 00:11:04.789 It just seemed like 2D 231 00:11:04.872 --> 00:11:07.792 was a really exciting opportunity to be able to do that. 232 00:11:07.875 --> 00:11:10.294 Whatever you can think of, you can draw. 233 00:11:10.378 --> 00:11:12.129 And I think 2D gave us the flexibility 234 00:11:12.213 --> 00:11:17.510 to be able to really just embrace the imagination of a little child. 235 00:11:17.593 --> 00:11:22.556 We had Ira interacting with Cheryl, who is the snack lady. 236 00:11:22.640 --> 00:11:25.559 When Ira looks at Cheryl through his scope, 237 00:11:25.643 --> 00:11:28.187 you have to match up the 2D with the 3D in the same shot, 238 00:11:28.270 --> 00:11:29.980 which also presented some challenges. 239 00:11:30.064 --> 00:11:31.857 Really interesting questions came up, 240 00:11:31.941 --> 00:11:35.152 like should the 2D element drop a shadow in the 3D world? 241 00:11:35.236 --> 00:11:38.447 When a character is having a perspective moment, 242 00:11:38.531 --> 00:11:40.282 how does that affect the physical world? 243 00:11:40.366 --> 00:11:42.618 Is this something that everyone can see? 244 00:11:42.702 --> 00:11:44.412 Is it something only he can see? 245 00:11:44.495 --> 00:11:46.205 Should this thing that's not real, 246 00:11:46.288 --> 00:11:49.083 that's part of his imagination, affect the world around him? 247 00:11:49.166 --> 00:11:50.334 We decided, no, 248 00:11:50.418 --> 00:11:52.878 because it's something that is only visible to Ira. 249 00:11:52.962 --> 00:11:55.256 It doesn't make sense that it's casting a shadow. 250 00:11:55.339 --> 00:11:56.757 It should just be affecting him. 251 00:11:59.844 --> 00:12:02.596 One of the most exciting parts about this show 252 00:12:02.680 --> 00:12:08.352 is that Carrie and Yates draw from so many things out in the world. 253 00:12:10.938 --> 00:12:14.275 You watch TikTok and YouTube and you just watch all these things. 254 00:12:14.358 --> 00:12:17.278 It's like, it's inspiring, and that gets infused into our show. 255 00:12:17.361 --> 00:12:19.196 - That's my favorite part. - Pure gold, right? 256 00:12:19.280 --> 00:12:21.574 One of the props that we deal with a lot on this show 257 00:12:21.657 --> 00:12:23.868 just comes from the modern age, which is the phone. 258 00:12:23.951 --> 00:12:24.952 Every kid has a phone. 259 00:12:25.035 --> 00:12:28.038 And there's a lot of beats and jokes and whatnot 260 00:12:28.122 --> 00:12:30.916 that come through watching what happens on the phone. 261 00:12:31.000 --> 00:12:34.587 You won't just see a character on their phone, but go in with them. 262 00:12:34.670 --> 00:12:37.381 Like what texting feels like, what dating apps feel like. 263 00:12:37.465 --> 00:12:41.260 And then even when you're a mother looking into your daughter's phone, 264 00:12:41.343 --> 00:12:42.678 what that feels like. 265 00:12:42.762 --> 00:12:45.556 Which is different than when the daughter is in her phone. 266 00:12:45.639 --> 00:12:48.559 And even talking to strangers online. What that feels like. 267 00:12:48.642 --> 00:12:50.478 It just kept evolving as we went. 268 00:12:50.561 --> 00:12:54.023 Could we actually do something where we go in and it actually feels like 269 00:12:54.106 --> 00:12:55.816 there's this whole other world in there, 270 00:12:55.900 --> 00:12:58.652 where you become an avatar and it's more like a video game. 271 00:12:58.736 --> 00:13:00.946 It's a little bit more engaging and relatable. 272 00:13:01.030 --> 00:13:04.325 We tried to make it a unique experience to each one instead of, 273 00:13:04.408 --> 00:13:07.077 "Oh, this is what everyone's digital life is like." 274 00:13:07.161 --> 00:13:09.955 Because, like the show as a whole, 275 00:13:10.039 --> 00:13:13.542 it's their own perspective of what the digital world will feel like. 276 00:13:13.626 --> 00:13:15.920 Lou actually came up with this really cool 277 00:13:16.003 --> 00:13:19.715 8-bit animation style for a video game that Ira is playing. 278 00:13:19.799 --> 00:13:22.384 Almost like an homage to old-school video games. 279 00:13:23.969 --> 00:13:28.015 In Frank's case, he was on a dating app, running around, battling off people 280 00:13:28.098 --> 00:13:30.017 - who want to match with him. -Not you. 281 00:13:30.100 --> 00:13:33.062 Sometimes, when I watch the show, when we get to that dating stuff, 282 00:13:33.145 --> 00:13:34.772 I'm like, "Yeah, we also made that." 283 00:13:34.855 --> 00:13:37.233 There's just so many things. I can't even keep track of it anymore. 284 00:13:38.609 --> 00:13:40.986 Frank hits a little too close to home for me. 285 00:13:41.737 --> 00:13:43.113 I'm much more of a Frank guy. 286 00:13:43.197 --> 00:13:45.032 Give me a sweater vest any day of the week. 287 00:13:45.115 --> 00:13:48.077 The fact that each episode follows a different character 288 00:13:48.160 --> 00:13:51.497 allows you to do these explorations of, 289 00:13:51.580 --> 00:13:53.833 "Okay, how does that character see the world?" 290 00:13:53.916 --> 00:13:56.252 There isn't one reality. 291 00:13:56.335 --> 00:14:00.005 There isn't one way of thinking about the world or seeing situations. 292 00:14:00.089 --> 00:14:02.716 What's unique to that perspective on life 293 00:14:02.800 --> 00:14:05.761 and what are they feeling, and how do we show that feeling? 294 00:14:05.845 --> 00:14:09.640 For instance, Frank, he has to defend himself 295 00:14:09.723 --> 00:14:13.310 from the slings and arrows of the crowd yelling insults at him. 296 00:14:13.394 --> 00:14:16.397 - So what did those insults look like? - 297 00:14:16.480 --> 00:14:18.190 And it would just be all hands on deck. 298 00:14:18.274 --> 00:14:21.318 Every department, throwing in ideas to try to figure out 299 00:14:21.402 --> 00:14:22.987 what's the best way to achieve that? 300 00:14:23.070 --> 00:14:25.531 What does it actually mean for the armor to come on? 301 00:14:25.614 --> 00:14:27.825 And how does it come on? Does it come on at once? 302 00:14:27.908 --> 00:14:30.661 Does it just appear? And is there a glowing effect? 303 00:14:30.744 --> 00:14:33.038 You start seeing the stuff that Art is producing, 304 00:14:33.122 --> 00:14:36.250 and suddenly it doesn't become this abstract hypothetical. 305 00:14:36.333 --> 00:14:38.127 It's no longer you just thinking, 306 00:14:38.210 --> 00:14:41.338 "Frank putting on his armor is just a really loose drawing I did." 307 00:14:41.422 --> 00:14:44.133 Suddenly it feels like, "This is what it's gonna be." 308 00:14:44.216 --> 00:14:45.593 It becomes really inspiring 309 00:14:45.676 --> 00:14:48.512 'cause you're no longer trying to conjure something. 310 00:14:48.596 --> 00:14:50.264 You're trying to channel something. 311 00:14:50.347 --> 00:14:52.182 You're seeing the characters as characters. 312 00:14:52.808 --> 00:14:54.143 Strike! 313 00:14:54.226 --> 00:14:57.438 We really wanted to keep the audience 314 00:14:57.521 --> 00:15:00.024 in tune emotionally with where this character was 315 00:15:00.107 --> 00:15:01.734 and never break their train of thought. 316 00:15:04.528 --> 00:15:07.197 So, from the very beginning, Carrie and Yates are very clear 317 00:15:07.281 --> 00:15:10.075 that they want very cool transitions. 318 00:15:10.159 --> 00:15:14.622 Not just transitioning between scenes, but it's also how sets can transform. 319 00:15:14.705 --> 00:15:17.833 One of the first ones we did was Frank in the classroom, 320 00:15:17.917 --> 00:15:20.502 calling back to his memory with his ex-girlfriend. 321 00:15:22.880 --> 00:15:25.382 He's in the classroom, sitting at his desk, 322 00:15:25.466 --> 00:15:29.303 thinking about this memory in a different physical space. 323 00:15:29.386 --> 00:15:33.307 I am always inspired by a live stage show, 324 00:15:33.390 --> 00:15:35.100 how right in front of your eyes 325 00:15:35.184 --> 00:15:38.228 they can move different pieces of the sets. 326 00:15:38.312 --> 00:15:41.065 I always loved that idea of seeing something 327 00:15:41.148 --> 00:15:42.816 that changes in front of your eyes. 328 00:15:42.900 --> 00:15:45.069 And just give them just enough time to slow down 329 00:15:45.152 --> 00:15:48.530 and the camera swung around to match his thoughts. 330 00:15:48.614 --> 00:15:50.783 It's all about timing and the staging. 331 00:15:51.408 --> 00:15:52.660 I proposed that, 332 00:15:52.743 --> 00:15:56.330 "How about we try to do all the transitions in camera?" 333 00:15:56.413 --> 00:15:59.833 When Frank goes into his memory, we built two sets together. 334 00:15:59.917 --> 00:16:02.711 We built the school sets and the apartment sets. 335 00:16:02.795 --> 00:16:04.630 And we merged them together, 336 00:16:04.713 --> 00:16:07.758 so that when the camera's looking one way it's the school, 337 00:16:07.841 --> 00:16:11.637 and a very simple camera movement, becomes his apartment. 338 00:16:11.720 --> 00:16:15.599 So we can just shift between memory and real life seamlessly. 339 00:16:15.683 --> 00:16:19.687 So we have to break the set in order to make that work. 340 00:16:19.770 --> 00:16:23.273 And it's just those little things about filmmaking that I love. 341 00:16:23.357 --> 00:16:24.566 That's cinematic. 342 00:16:24.650 --> 00:16:27.236 And emotionally, that's what the shot needs. 343 00:16:27.319 --> 00:16:28.570 "...removed his heavy helmet." 344 00:16:30.990 --> 00:16:34.410 I think the one who I can relate to the most, it might have been Yuwen 345 00:16:34.493 --> 00:16:37.413 because deflecting emotional feelings 346 00:16:37.496 --> 00:16:41.250 and like leaning more into playing off as a joke. 347 00:16:41.333 --> 00:16:43.502 In the Yuwen episode, when he's pitching, 348 00:16:43.585 --> 00:16:45.838 and it's the way that this character feels. 349 00:16:45.921 --> 00:16:48.882 Here comes the Yuwen Special! 350 00:16:50.718 --> 00:16:53.721 We had to make sure that any motion we did 351 00:16:53.804 --> 00:16:58.767 sold the mechanics of the softball action, which is very important to Carrie. 352 00:16:58.851 --> 00:17:01.520 Carrie initially was really wanting Yuwen, 353 00:17:01.603 --> 00:17:04.773 in his pitch, to be really specific and not too stylized, 354 00:17:04.857 --> 00:17:07.609 'cause we wanted to say that, "He was a powerful, strong pitcher." 355 00:17:07.693 --> 00:17:11.155 Then we had an animator that said, "I'm just gonna try a double windmill." 356 00:17:13.741 --> 00:17:15.367 We showed it to Carrie, and she said, 357 00:17:15.451 --> 00:17:17.244 "You proved me wrong. Let's go that way." 358 00:17:17.327 --> 00:17:19.204 "Are you not entertained"? 359 00:17:19.997 --> 00:17:22.833 Something super important to Michael and I was, 360 00:17:22.916 --> 00:17:24.710 we wanted a very stylized show. 361 00:17:25.544 --> 00:17:27.838 It's okay to be cartoony. 362 00:17:27.921 --> 00:17:29.923 It's okay to push the expressions. 363 00:17:30.007 --> 00:17:32.217 Embracing that it's a caricature of life. 364 00:17:32.301 --> 00:17:35.679 We wanted to hit really big expressions throughout the show. 365 00:17:35.763 --> 00:17:37.723 Super big mouths, cutout mouths. 366 00:17:37.806 --> 00:17:40.642 Perhaps for an expression on someone like Yuwen, 367 00:17:40.726 --> 00:17:44.063 remove the nose and make the mouth extremely large. 368 00:17:44.146 --> 00:17:46.440 He's a very boisterous, loud character. 369 00:17:46.523 --> 00:17:50.110 We saw all these storyboards and they were crazy, 370 00:17:50.194 --> 00:17:53.322 and we were like, "Well, is this even possible?" 371 00:17:53.405 --> 00:17:58.243 And these are all things that are very hard for us to do in characters. 372 00:17:58.327 --> 00:18:01.288 Because we build our characters like a real person, 373 00:18:01.371 --> 00:18:03.999 where the mouth is in one spot and the eyes are in one spot 374 00:18:04.083 --> 00:18:07.961 and you expect those to stick in the same places. 375 00:18:08.045 --> 00:18:10.172 What if we could Mr. Potato Head characters 376 00:18:10.255 --> 00:18:12.800 where we take the ears or nose or mouth from any character 377 00:18:12.883 --> 00:18:13.884 and reassemble them? 378 00:18:13.967 --> 00:18:15.511 Oh, that just breaks my brain. 379 00:18:15.594 --> 00:18:19.098 There was a new process that we created on this show specifically, 380 00:18:19.181 --> 00:18:23.936 which internally we're calling DFF, or Detached Facial Features. 381 00:18:24.019 --> 00:18:27.439 And what that means is that the mouth, the nose, the ears 382 00:18:27.523 --> 00:18:28.857 are all separate pieces. 383 00:18:28.941 --> 00:18:31.527 And you can slide those things around 384 00:18:31.610 --> 00:18:35.864 and position them in weird places to get very specific performance choices. 385 00:18:35.948 --> 00:18:39.785 There was a great test that animator Rob Russ did, 386 00:18:39.868 --> 00:18:42.913 really, in some of the very first DFF, 387 00:18:42.996 --> 00:18:44.832 where he took it, and he, like, 388 00:18:44.915 --> 00:18:47.417 did "The quick brown fox" as a lip-sync thing. 389 00:18:47.501 --> 00:18:51.380 The quick brown fox jumped over the lazy dog. 390 00:18:51.463 --> 00:18:55.592 And just the mouth slides across the face. 391 00:18:55.676 --> 00:18:58.303 And it took a ton of work 392 00:18:58.387 --> 00:19:01.890 to figure out how to then blend the pieces back on. 393 00:19:01.974 --> 00:19:04.935 You no longer have one surface that you're actually shading. 394 00:19:05.018 --> 00:19:09.231 You have multiple parts that you need to make them look as if they were all one. 395 00:19:09.314 --> 00:19:10.607 That's very tricky. 396 00:19:10.691 --> 00:19:13.068 Ana and I, we went through a lot of tests. 397 00:19:13.152 --> 00:19:14.820 We tried to break it as much as possible. 398 00:19:14.903 --> 00:19:17.030 We put freckles in areas where we knew that 399 00:19:17.114 --> 00:19:19.032 the mouth was going to move around. 400 00:19:19.116 --> 00:19:21.243 Take the mouth, run it over the blush area. 401 00:19:21.326 --> 00:19:22.327 What happens with that? 402 00:19:22.411 --> 00:19:24.371 Or we put a character that had a beard 403 00:19:24.454 --> 00:19:28.041 and see what happens when we have this mouth slide around. 404 00:19:28.125 --> 00:19:30.794 Once we get into full production, we're gonna have to balance 405 00:19:30.878 --> 00:19:33.213 both the shading issues and the rigging issues. 406 00:19:33.297 --> 00:19:35.382 There's still some challenges with DFF. 407 00:19:35.465 --> 00:19:38.927 In the end, I mean, it required a lot of hand work to come in 408 00:19:39.011 --> 00:19:41.513 and fix stuff that was broken in DFF. 409 00:19:41.597 --> 00:19:44.975 And yet, it unlocked spontaneity and joy of the animators 410 00:19:45.058 --> 00:19:46.643 to do stuff that they've never done. 411 00:19:46.727 --> 00:19:49.521 There's a freedom that you get as an animator with a character 412 00:19:49.605 --> 00:19:52.524 that's designed in such a stylistic way. 413 00:19:52.608 --> 00:19:54.568 You can push different expressions 414 00:19:54.651 --> 00:19:57.362 line:5% in ways that you can't with a realistic character. 415 00:19:57.446 --> 00:19:59.990 Just seeing what you can do when you give the animators 416 00:20:00.073 --> 00:20:02.826 the tools to go out there and play, it's really exciting. 417 00:20:05.495 --> 00:20:07.873 Because this is a wholly original story, 418 00:20:07.956 --> 00:20:10.626 that gives you a lot of freedom and flexibility 419 00:20:10.709 --> 00:20:14.421 to invent a style and a look bespoke to your story. 420 00:20:14.504 --> 00:20:18.675 Initially, the design of the world was to be, every episode is different, 421 00:20:18.759 --> 00:20:20.677 because it's from everyone's perspective. 422 00:20:20.761 --> 00:20:24.181 And as I started to do artwork and we had lots of conversations about it, 423 00:20:24.264 --> 00:20:26.516 we realized that's just going to be disjointed. 424 00:20:26.600 --> 00:20:29.311 What we need is what we call "a default world." 425 00:20:29.394 --> 00:20:31.563 It's much more caricatured than our natural world. 426 00:20:31.647 --> 00:20:35.734 But it is a world that everyone can agree on design-wise. 427 00:20:35.817 --> 00:20:39.071 It also means that we want the tactile quality of it to be soft. 428 00:20:39.154 --> 00:20:42.407 You look at their hair, the grass and the trees, 429 00:20:42.491 --> 00:20:44.826 it all has this tactile softness. 430 00:20:45.744 --> 00:20:49.373 The hair is actually done with fuzz, the same treatment that we would use on, 431 00:20:49.456 --> 00:20:50.916 like, a character's sweater 432 00:20:50.999 --> 00:20:53.752 on a feature. We were like, "What if we modeled the hair 433 00:20:53.835 --> 00:20:56.588 "and used fuzz to get that hair-like detail?" 434 00:20:56.672 --> 00:21:00.384 We wanted to make it look like a felted fuzzy thing, 435 00:21:00.467 --> 00:21:03.762 but it was very nebulous what that was gonna look like. 436 00:21:03.845 --> 00:21:06.390 So we went back and forth a lot between 437 00:21:06.473 --> 00:21:09.434 just finding the style of what this weird piece 438 00:21:09.518 --> 00:21:11.270 of stylistic hair was going to look like. 439 00:21:11.353 --> 00:21:13.939 But we used it as an opportunity to try something different 440 00:21:14.022 --> 00:21:17.651 and said every time we have a challenge, we're gonna make an opportunity 441 00:21:17.734 --> 00:21:19.319 to make a design choice. 442 00:21:19.403 --> 00:21:23.573 So we made a really crazy design choice to simplify all the vegetation and trees. 443 00:21:26.451 --> 00:21:30.956 We ended up using a very similar technology from what the fuzz 444 00:21:31.039 --> 00:21:34.710 and from the hair technology was to create vegetation 445 00:21:34.793 --> 00:21:38.380 and control the leaves and make it feel like vegetation, 446 00:21:38.463 --> 00:21:42.968 but not necessarily have all the detail that you would see in nature. 447 00:21:43.051 --> 00:21:45.178 Let's give it a cartoony, fluffy look. 448 00:21:45.262 --> 00:21:48.348 It still reads as a tree, but that's all you need. 449 00:21:48.432 --> 00:21:54.104 The trees got described as artichokes or corn dogs a lot. 450 00:21:54.187 --> 00:21:57.107 It evolved from there to where it became a game of, 451 00:21:57.190 --> 00:21:59.359 "Can you figure out what food this looks like?" 452 00:21:59.443 --> 00:22:02.654 The trees look like corn on the cob or like heads of lettuce. 453 00:22:02.738 --> 00:22:03.947 So do people's hairstyles. 454 00:22:04.031 --> 00:22:08.035 We have characters, for example, who have, like curly fry hair. 455 00:22:08.118 --> 00:22:09.619 There's cotton candy hair. 456 00:22:09.703 --> 00:22:12.331 Frank's hair, we talked about cinnamon rolls. 457 00:22:12.414 --> 00:22:15.083 And every time we'd come to a question of, 458 00:22:15.167 --> 00:22:16.877 "What does this feel like or look like?" 459 00:22:16.960 --> 00:22:18.420 Someone'd go, "Spaghetti." 460 00:22:18.503 --> 00:22:20.005 Chris had this idea. 461 00:22:20.088 --> 00:22:23.383 "What if we just put, like, a piece of bacon on her face?" 462 00:22:23.467 --> 00:22:26.261 Not real bacon, like a piece of hair that looked like bacon. 463 00:22:26.345 --> 00:22:28.347 -Maybe fuzzy? -Like a fuzzy piece of bacon. 464 00:22:28.430 --> 00:22:30.432 We must have just been a very hungry crew. 465 00:22:30.515 --> 00:22:32.184 Maybe I'm not feeding them enough. 466 00:22:32.267 --> 00:22:33.560 It's the simple, cute foods. 467 00:22:33.643 --> 00:22:36.021 I don't know where it came from, but it's funny. 468 00:22:36.104 --> 00:22:39.316 Always looking for something that was playful 469 00:22:39.399 --> 00:22:42.903 and maybe a little bit more on the junk food side of things. 470 00:22:42.986 --> 00:22:45.781 It's all like softball field foods. 471 00:22:45.864 --> 00:22:48.909 Anything you can buy at the snack shack is in the world. 472 00:22:48.992 --> 00:22:50.786 The world is built from that. 473 00:22:52.037 --> 00:22:54.956 The sports are sort of the thing that connects everyone. 474 00:22:55.040 --> 00:22:58.627 We never wanted it to be a sports show. It's more of a show about life. 475 00:22:58.710 --> 00:23:00.504 Sprinkle in that softball 476 00:23:00.587 --> 00:23:01.797 - just enough... - Out! 477 00:23:01.880 --> 00:23:04.132 ...to make some unique flavor to the show. 478 00:23:04.216 --> 00:23:06.551 But not enough that it becomes the sole focus. 479 00:23:06.635 --> 00:23:08.637 Because this is just a character-driven show, 480 00:23:08.720 --> 00:23:11.264 and that should always remain at the core of it all. 481 00:23:11.848 --> 00:23:15.143 Softball is the vehicle of them just trying to find 482 00:23:15.227 --> 00:23:17.145 their sense of community, their sense of love. 483 00:23:17.229 --> 00:23:21.400 This is not a show that should only be for sports people... 484 00:23:22.692 --> 00:23:23.693 We tried. 485 00:23:23.777 --> 00:23:26.696 ...and it is not a show made by only sports people. 486 00:23:26.780 --> 00:23:30.575 Because we're a bunch of artists, and even though I played softball, 487 00:23:30.659 --> 00:23:32.577 I was not the most coordinated. 488 00:23:32.661 --> 00:23:35.205 We definitely have a good mix of those who love sports 489 00:23:35.288 --> 00:23:36.957 and grew up playing sports. 490 00:23:37.040 --> 00:23:41.044 And then we have some folks who would never set foot on a sports field. 491 00:23:41.128 --> 00:23:44.714 There are those kids that, like, have that raw passion or that raw energy 492 00:23:44.798 --> 00:23:46.758 of, "I am getting so much out of this." 493 00:23:46.842 --> 00:23:48.760 And then there's the other kids that are just like, 494 00:23:48.844 --> 00:23:50.387 "My dad signed me up." 495 00:23:50.470 --> 00:23:51.888 We will need a catcher. 496 00:23:52.722 --> 00:23:54.558 - Terrence. - Oh, no. 497 00:23:54.641 --> 00:23:59.229 Obviously, you got a lot of the getting-picked-last as a kid. 498 00:23:59.312 --> 00:24:02.399 I played Little League when I was super, super little, 499 00:24:02.482 --> 00:24:04.985 but my only memory is, like, playing in dirt, 500 00:24:05.068 --> 00:24:07.529 playing with worms, pulling grass out in the outfield. 501 00:24:07.612 --> 00:24:08.905 I came onto the show 502 00:24:08.989 --> 00:24:11.324 with no knowledge about softball whatsoever. 503 00:24:11.408 --> 00:24:14.536 I can now say, "Oh, this person is on first base," 504 00:24:14.619 --> 00:24:16.538 and I feel very proud of that. 505 00:24:16.621 --> 00:24:22.711 I know that they have innings and not touchdowns. 506 00:24:22.794 --> 00:24:26.798 That's basically all I know about baseball. 507 00:24:26.882 --> 00:24:29.009 It's not baseball, though. It's softball. 508 00:24:29.092 --> 00:24:30.969 It is not baseball. It is softball. 509 00:24:35.182 --> 00:24:39.311 Most of our time is spent thinking about the internal life of characters. 510 00:24:39.394 --> 00:24:42.397 It's not just making a character, it's making this character. 511 00:24:43.565 --> 00:24:46.276 And what we end up doing is we look at ourselves. 512 00:24:46.359 --> 00:24:49.321 Each character is a version of me and Carrie together. 513 00:24:49.404 --> 00:24:51.990 And that's what makes our characters so rich, 514 00:24:52.073 --> 00:24:54.409 hopefully, is that they come from real places. 515 00:24:54.493 --> 00:24:56.077 These are characters that you end up 516 00:24:56.161 --> 00:25:00.415 really, truly, deeply caring about and identifying with. 517 00:25:00.499 --> 00:25:01.541 I relate to all of them. 518 00:25:01.625 --> 00:25:04.878 I feel like every character's struggle is something that's universal. 519 00:25:04.961 --> 00:25:06.755 Wanting the approval of your parent. 520 00:25:06.838 --> 00:25:07.839 Am I good enough? 521 00:25:07.923 --> 00:25:09.174 Wanting friends. 522 00:25:09.257 --> 00:25:11.468 - Bleacher Creatures for life! - Quack, quack! 523 00:25:11.551 --> 00:25:13.011 Wanting to find love. 524 00:25:13.094 --> 00:25:14.763 - I love to cook. - Me, too. 525 00:25:14.846 --> 00:25:17.390 I'm hoping that people see themselves in everybody. 526 00:25:17.474 --> 00:25:21.353 I certainly see a little bit of things that I respond to in everyone. 527 00:25:21.436 --> 00:25:25.065 That tapestry of experience and perspective is, 528 00:25:25.148 --> 00:25:26.983 I think, what's so beautiful about the show. 529 00:25:27.067 --> 00:25:28.401 That's it, buddy. 530 00:25:28.485 --> 00:25:30.320 Hey, good to see everybody. 531 00:25:31.821 --> 00:25:33.740 While there was technical challenges, 532 00:25:33.823 --> 00:25:36.201 I think on this show, more than any show I've been on, 533 00:25:36.284 --> 00:25:39.454 everyone was not only up for the challenge, but pushed it 534 00:25:39.538 --> 00:25:41.039 every opportunity they had. 535 00:25:41.122 --> 00:25:44.417 Making a series like this is certainly very much like 536 00:25:44.501 --> 00:25:46.294 being on a team like the Pickles, 537 00:25:46.378 --> 00:25:48.547 and everybody has their strengths and weaknesses, 538 00:25:48.630 --> 00:25:51.550 and we just come together and try to support each other 539 00:25:51.633 --> 00:25:53.426 and fill in each other's blind spots. 540 00:25:53.510 --> 00:25:56.137 I truly believe that making a movie is a team sport. 541 00:25:56.221 --> 00:26:00.141 Because you have to understand your teammates, what their roles are. 542 00:26:00.225 --> 00:26:03.019 When they pass you something, you know what to do with it. 543 00:26:03.103 --> 00:26:06.147 And you have to pass it to the right person afterwards. 544 00:26:06.231 --> 00:26:08.900 A sports team and a film crew is very similar 545 00:26:08.984 --> 00:26:11.444 in the sense that if I don't pull my weight, 546 00:26:11.528 --> 00:26:14.239 then I'm gonna drag everything down. It's the same pressure. 547 00:26:14.322 --> 00:26:16.533 Either you hit the ball or you don't. 548 00:26:16.616 --> 00:26:19.369 But you have to keep going no matter what. 549 00:26:19.452 --> 00:26:20.495 You can't just stop. 550 00:26:20.579 --> 00:26:24.916 All of that is in service of this idea that we have our own perspective. 551 00:26:25.000 --> 00:26:27.335 And that everyone around us, 552 00:26:27.419 --> 00:26:30.255 no matter what it seems like they're doing, 553 00:26:30.338 --> 00:26:33.633 is living that same experience in their own way. 554 00:26:33.717 --> 00:26:36.553 Win or lose, they come together as a team. 555 00:26:36.636 --> 00:26:40.098 I feel like that's been the story of our show as well. 556 00:26:40.181 --> 00:26:45.061 Everyone on your crew becomes a partner in shepherding this little baby. 557 00:26:45.145 --> 00:26:47.230 We're all its parents. 558 00:26:54.446 --> 00:26:55.572 It's legit now. 559 00:26:56.573 --> 00:26:58.533 Everything's become serious now. 560 00:26:58.617 --> 00:26:59.618 Quiet on set. 561 00:26:59.701 --> 00:27:01.077 I'm sorry. Is that my job? 562 00:27:01.161 --> 00:27:03.622 -Thank you, Carrie. - Okay. 563 00:27:03.705 --> 00:27:05.707 Don't look directly at the camera and like... 564 00:27:05.790 --> 00:27:08.376 Yeah, I had a great time working on this. 565 00:27:10.128 --> 00:27:11.630 My piece is still in place, though? 566 00:27:12.422 --> 00:27:14.341 -Yes. - Okay. 567 00:27:14.424 --> 00:27:17.177 We try to have a base set of... 568 00:27:18.637 --> 00:27:20.305 The airplane. Okay. 569 00:27:21.514 --> 00:27:23.767 Is it a helicopter? 570 00:27:23.850 --> 00:27:25.518 -Airplane. - Okay. 571 00:27:25.602 --> 00:27:27.729 - This is gonna happen all day. - Okay. 572 00:27:27.812 --> 00:27:30.106 Any time he throws a pitch, there's this motion trail 573 00:27:30.190 --> 00:27:32.025 that comes off in the back of the softball. 574 00:27:32.108 --> 00:27:33.109 Dog. 575 00:27:35.028 --> 00:27:37.197 He's just a bouncing toupee. 576 00:27:41.326 --> 00:27:43.244 Some of the first times we were returning to doing... 577 00:27:43.328 --> 00:27:44.954 Bird. 578 00:27:47.332 --> 00:27:48.375 More dogs. 579 00:27:50.126 --> 00:27:51.461 Oh. Okay. 580 00:27:53.129 --> 00:27:55.465 Firetruck. Oh, no, hope someone is okay. 581 00:27:55.548 --> 00:27:57.008 It's a new sound every time. 582 00:27:58.301 --> 00:28:02.305 Wow. How many of these do you get a day? Or an hour? 583 00:28:02.389 --> 00:28:06.851 It's not trains, it's sirens, it's planes, it's civilization. 584 00:28:06.935 --> 00:28:09.437 - Say "Pickles." - Pickles!