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(UPBEAT MUSIC PLAYING)
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Downloaded from
YTS.MX
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We're animation nerds
who love this medium.
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Official YIFY movies site:
YTS.MX
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If you can do it in live-action,
then we don't want to do it.
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So we would have to come up
with even crazier things.
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(QUACKS)
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We definitely had to make some big swings
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in order to arrive
at something that was uniquely ours.
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- (PANTING)
- (YELPS)
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(SCREAMING)
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Okay. This show is going to be weird.
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{\an8}WOMAN: Pete Docter, Meet the Pickles.
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At Pixar Animation Studios
we've done 27 feature films now,
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and they're all super hard.
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They're fun, but they always blow up
and then stuff happens
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and we have to scramble
to put it back together.
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We're used to that.
We understand the challenge.
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When long-form streaming
started coming up,
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we were like,
"Woah. This looks really intriguing."
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All of the conventions and things
that we've gotten used to
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are out the window.
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How do we make something
that is broken up into smaller bites,
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continue to grab people
from one week to the next.
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It probably uses
completely new technology.
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There are probably all sorts of problems
we have no idea how to solve.
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So, let's do it.
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COACH DAN: Come on, look alive!
Game day, folks!
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Win or Lose is our first long-form series.
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It's an eight-episode series
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where we follow a coed
middle school softball team
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in the week leading up
to their championship game.
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We're making roughly eight episodes,
18 minutes each.
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You're talking about 145-or-so minutes.
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So it's longer
than one of our feature films.
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MAX SACHAR:
That's a lot of animation to produce.
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And in a shorter amount of time.
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Most of our films, 90 minutes,
take about five years to make.
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If you do the math, 145 minutes
would take about eight years.
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Well, we told these guys, "You got four."
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Challenge accepted. Here we go.
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We are a smaller show than most,
and so we have to do more with less.
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LALLY: In terms of ambition,
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I don't know if any of us knew
what we were signing up for.
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YATES: One of the big things we wanted
to have was an ensemble cast.
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You can't do that in a film.
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You can't spend
as much time with each character.
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CARRIE HOBSON:
A multi-protagonist story.
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Streaming is the perfect format for that.
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LALLY: This show doesn't have
one main character
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that we can put all of our people behind.
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We have eight that are on equal footing
in terms of their importance.
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You are all winners.
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Each episode is following
a different main character.
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And we get to work our way up
to that game, through the perspective
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and through the lens
of a completely different character.
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- Say "Pickles."
- Pickles!
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You get a chance to walk
in someone else's shoes for a week
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and see what the problem is in their life
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and then experience that
through animation.
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Each character has what
we're calling their own animation device.
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And this is almost like a personified
glimpse of their emotions.
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SWEATY: Practice, practice.
Come on, you can do it.
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For Laurie, softball brings more stress
'cause she's trying to impress her dad.
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Laurie's story, her problem being anxiety.
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How we feeling? I'm feeling goodish-bad.
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How do you move past that,
and how do you shake that off?
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Her confidence is not there.
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And, of course, there's the pressure
of her dad being the coach of the team.
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The coach inflates up to a huge blimp.
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FRANK: Strike two!
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MARK C. HARRIS:
Van is a very hard-working mom.
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Van's mommy magic,
which is all rainbows and sparkles.
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YATES: She's bringing color with her
to this dull environment.
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She's the person
that comes into the office
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and she brightens everyone's day.
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Guess what?
It's Rochelle's playoff game today!
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Rochelle is the catcher.
It's a tough position to play.
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Rochelle, the world comes apart
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and floats
whenever she feels stressed out.
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{\an8}HARRIS: We have Frank's armor.
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He's the umpire
and he has to make the calls.
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And some people
don't agree with his calls.
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And so, in order to deal with that,
he's built this armored shield.
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Yuwen, who's the macho pitcher
on the team,
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his main animation device is that you go
inside his little paper craft heart.
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Please like me.
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Ira is this character that sees the world
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through his toilet paper periscope.
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We have Ira's 2D animation world,
which slots
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into the 3D world
through his kaleidoscope.
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Another character we have
is our character, Kai,
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who's the new kid in town
trying to find where she belongs.
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Kai, the flying and the sinking.
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Flying when she feels like
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she's really helping people
and feeling really successful,
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to when she shuts down,
she sinks below the ground
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into a sunken place.
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It's great fun to try to figure out
a new idea for every single episode.
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The cool thing about this show
is that, because it's about perspective,
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sometimes I would grow
more attached to one character
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and Michael grow more
attached to the other.
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YATES: You do have a point on the exit.
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He's almost coming in
like he's the savior here.
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It helped make the episode stronger
because we'd be arguing
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from that different
character's perspective.
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I'm not quite getting
the idea of the gut punch
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to motivate his arms being flung forward.
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And taking both of our points of view
and mashing 'em together,
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always constantly bettering
each other's work as we go.
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I never worked with two directors
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who also carry
the equal footing on the show,
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and just seeing both
Yates and Carrie merge
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and it becomes
the overall voice of the show,
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it was just very beautiful to watch.
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SACHAR: Carrie and Michael
were story artists at Pixar for a while,
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and for a little bit there,
they were office mates.
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And so we would talk a lot.
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Always pitching ideas back and forth,
showing each other our scenes.
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And one thing we noticed
was we would often have
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different impressions of the same event.
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We always talked about it.
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Like, why are our perceptions
of this different?
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We'd always be analyzing
how we each had a different interpretation
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of how a meeting went.
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YATES: One of us was like,
"That was terrible."
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And the other was like, "No, it was fine.
What are you talking about?" (LAUGHS)
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The spirit of that idea
gave birth to the idea
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of Win or Lose and how we all
experience things differently.
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YATES: We'd start meeting up after hours.
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We would go to like local coffee shops
and just brainstorm different things.
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Sometimes we would improv dialogue
as well as a way of writing,
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- just like start to become the character.
- No!
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HOBSON: Michael is always drawing.
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YATES: Yeah, I draw all the time.
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HOBSON:
He's got a sketchbook that's brilliant.
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YATES: I carry sketchbooks
with me everywhere.
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HOBSON: Full of just constantly,
like, riffing on who these characters are.
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What it looks like when they act,
what their design is.
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YATES: And a lot of times,
it was just us
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talking about like our own families,
life experiences,
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like Vanessa, who's, like, the single mom.
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And that was something that was
really interesting to me,
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to tell a story of a single mom
'cause my mom was a single mom.
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My sister is a single mom.
Like Rochelle, for example.
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This is me at this age.
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When I was in middle school, I used to,
like, always try to make money.
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I think I just wanted to buy video games.
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The first initial pitch was like,
you go to the school classroom,
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and then each episode
you follow a different kid home
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and you see what their home life is like.
That's what the episode would be.
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Then Carrie, who played softball as a kid,
was like, "What if it's a softball team?"
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There's different personalities,
and it was cool,
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the girls that I played with
weren't who I was going to school with.
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I played softball growing up,
and it's just such a unique environment.
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And the sport itself...
Okay, I love it.
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(WOMAN WHOOPING)
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HOBSON: Because it has
this great metaphor for life.
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You're playing this game...
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WOMAN: Run, Carrie, run!
MAN: Go! Go! Go!
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HOBSON: ...that there's a lot of time
where you can think
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and you can think on your mistakes.
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And so you really have to learn to move on
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if you make a mistake,
and focus on the next play.
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(CHEERING)
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WOMAN: Homerun for Grandpa!
Yeah! (CHEERING)
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Win or Lose has a lot
of what we call "perspective views."
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And that is like animation fun.
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Anxiety, what does that feel like?
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Make that into a character.
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It seems straightforward,
but it's really, really difficult.
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Laurie, the voice of her anxiety
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is a creature that grows
through her entire episode.
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Let's just replay
all the mistakes you made today.
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MOYER: And it says all the worst thoughts
we all have in our head about ourselves.
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That's some deep trauma.
You wanna unpack that?
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We should unpack that now.
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And we did many iterations trying to find
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what's the right level
of derpiness for this thing?
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How does it evolve
over the course of her episode?
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So, in the beginning, Laurie's anxiety
is small and insignificant,
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and then grows and grows and grows.
And what does that turn into?
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You want it to be fun.
You don't want it to be gross,
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like various mud monsters or poo,
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frankly... (CHUCKLES)
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came up a lot.
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Excusez-moi?
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KLOCEK: And then Lou and I said, okay,
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we need to have a bigger idea
about what this is.
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And we came up with the idea
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that Laurie's challenge
is between faith and doubt.
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I have faith,
but sometimes, the doubt creeps in.
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And the faith is faith in her father.
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But she's wracked with doubt.
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And so, we said,
"Let's use that metaphor."
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So we used faith
as, like, the Holy Spirit,
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as a metaphor,
and doubt would have been the snake.
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And so, if you look in the final form
of the blob monster,
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it's actually just coiled up around her
like a giant snake.
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We all know, like, Laurie was sort of
based on Carrie in some way.
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She says she's not Laurie,
but she's Laurie in the show.
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There's a few similarities
between Laurie and I.
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My dad was my coach.
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My dad, he's just, like, such a good dad
and such a good coach
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and I really struggled with softball.
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I'm not the most coordinated.
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WOMAN: Way to go, way to go!
(WHOOPING)
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And I always felt like
I was letting him down,
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and I think I was letting him down.
(CHUCKLES)
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I learned so much
from that time in my life.
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WOMAN: Go, Carrie! (WHOOPS)
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HOBSON: It's just so formative,
like, being on a team.
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I do really relate to Laurie.
I do really relate to
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that pressure of, like,
I'm just looking for approval here,
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like, I hate this sport.
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- Are you having fun?
- Loads. (RETCHES)
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SACHAR: I liked sports
a little bit more than Laurie did,
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but I still performed
with quite a bit of anxiety.
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One of my first coaches was my mom.
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So I actually know what it's like
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to have, you know,
your parent there on the sideline,
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maybe critiquing you a little bit more
than they're critiquing the other players.
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That's always fun, and then going home
and talking about it over dinner,
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all the mistakes you made.
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That's what we're trying to do,
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is seep up this sense of being a human
and the specificity of what that is
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and connect that to the storytelling.
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I do see myself probably the most in Ira.
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I'm gonna make a fun world for myself.
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The Ira episode. When I was a kid,
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I had these older friends that I shouldn't
have been hanging out with.
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I'm not sure why they hung out with me,
they were way older. (LAUGHS)
233
00:10:50,691 --> 00:10:55,029
But it was such a big learning
and maturing phase for me.
234
00:10:55,112 --> 00:11:00,242
MOYER: For Ira's episode, we wanted
to make it that he had this real,
235
00:11:00,326 --> 00:11:03,162
like, little kid fantasy universe.
236
00:11:03,245 --> 00:11:04,789
It just seemed like 2D
237
00:11:04,872 --> 00:11:07,792
was a really exciting opportunity
to be able to do that.
238
00:11:07,875 --> 00:11:10,294
Whatever you can think of, you can draw.
239
00:11:10,378 --> 00:11:12,129
And I think 2D gave us the flexibility
240
00:11:12,213 --> 00:11:17,510
to be able to really just embrace
the imagination of a little child.
241
00:11:17,593 --> 00:11:22,556
We had Ira interacting with Cheryl,
who is the snack lady.
242
00:11:22,640 --> 00:11:25,559
When Ira looks at Cheryl
through his scope,
243
00:11:25,643 --> 00:11:28,187
you have to match up the 2D
with the 3D in the same shot,
244
00:11:28,270 --> 00:11:29,980
which also presented some challenges.
245
00:11:30,064 --> 00:11:31,857
FEDOROV:
Really interesting questions came up,
246
00:11:31,941 --> 00:11:35,152
like should the 2D element drop a shadow
in the 3D world?
247
00:11:35,236 --> 00:11:38,447
When a character
is having a perspective moment,
248
00:11:38,531 --> 00:11:40,282
how does that affect the physical world?
249
00:11:40,366 --> 00:11:42,618
Is this something that everyone can see?
250
00:11:42,702 --> 00:11:44,412
Is it something only he can see?
251
00:11:44,495 --> 00:11:46,205
FEDOROV:
Should this thing that's not real,
252
00:11:46,288 --> 00:11:49,083
that's part of his imagination,
affect the world around him?
253
00:11:49,166 --> 00:11:50,334
We decided, no,
254
00:11:50,418 --> 00:11:52,878
because it's something
that is only visible to Ira.
255
00:11:52,962 --> 00:11:55,256
It doesn't make sense
that it's casting a shadow.
256
00:11:55,339 --> 00:11:56,757
It should just be affecting him.
257
00:11:57,174 --> 00:11:58,175
(GROWLS)
258
00:11:58,259 --> 00:11:59,760
(VIDEO GAME BEEPING)
259
00:11:59,844 --> 00:12:02,596
One of the most exciting parts
about this show
260
00:12:02,680 --> 00:12:08,352
is that Carrie and Yates draw from
so many things out in the world.
261
00:12:09,019 --> 00:12:10,855
- (ALL GASP)
- (LAUGHS)
262
00:12:10,938 --> 00:12:14,275
You watch TikTok and YouTube
and you just watch all these things.
263
00:12:14,358 --> 00:12:17,278
It's like, it's inspiring,
and that gets infused into our show.
264
00:12:17,361 --> 00:12:19,196
- That's my favorite part.
- Pure gold, right?
265
00:12:19,280 --> 00:12:21,574
One of the props
that we deal with a lot on this show
266
00:12:21,657 --> 00:12:23,868
just comes from the modern age,
which is the phone.
267
00:12:23,951 --> 00:12:24,952
Every kid has a phone.
268
00:12:25,035 --> 00:12:28,038
And there's a lot of beats
and jokes and whatnot
269
00:12:28,122 --> 00:12:30,916
that come through watching
what happens on the phone.
270
00:12:31,000 --> 00:12:34,587
You won't just see a character
on their phone, but go in with them.
271
00:12:34,670 --> 00:12:37,381
YATES: Like what texting feels like,
what dating apps feel like.
272
00:12:37,465 --> 00:12:41,260
And then even when you're a mother
looking into your daughter's phone,
273
00:12:41,343 --> 00:12:42,678
what that feels like.
274
00:12:42,762 --> 00:12:45,556
Which is different than
when the daughter is in her phone.
275
00:12:45,639 --> 00:12:48,559
And even talking to strangers online.
What that feels like.
276
00:12:48,642 --> 00:12:50,478
It just kept evolving as we went.
277
00:12:50,561 --> 00:12:54,023
Could we actually do something
where we go in and it actually feels like
278
00:12:54,106 --> 00:12:55,816
there's this whole other world in there,
279
00:12:55,900 --> 00:12:58,652
where you become an avatar
and it's more like a video game.
280
00:12:58,736 --> 00:13:00,946
It's a little bit more engaging
and relatable.
281
00:13:01,030 --> 00:13:04,325
We tried to make it a unique experience
to each one instead of,
282
00:13:04,408 --> 00:13:07,077
"Oh, this is what
everyone's digital life is like."
283
00:13:07,161 --> 00:13:09,955
Because, like the show as a whole,
284
00:13:10,039 --> 00:13:13,542
it's their own perspective of what
the digital world will feel like.
285
00:13:13,626 --> 00:13:15,920
SACHAR: Lou actually came up
with this really cool
286
00:13:16,003 --> 00:13:19,715
8-bit animation style
for a video game that Ira is playing.
287
00:13:19,799 --> 00:13:22,384
Almost like an homage
to old-school video games.
288
00:13:22,468 --> 00:13:23,886
(VIDEO GAME BEEPING)
289
00:13:23,969 --> 00:13:28,015
In Frank's case, he was on a dating app,
running around, battling off people
290
00:13:28,098 --> 00:13:30,017
- who want to match with him.
- FRANK: Not you.
291
00:13:30,100 --> 00:13:33,062
Sometimes, when I watch the show,
when we get to that dating stuff,
292
00:13:33,145 --> 00:13:34,772
I'm like, "Yeah, we also made that."
(LAUGHS)
293
00:13:34,855 --> 00:13:37,233
There's just so many things.
I can't even keep track of it anymore.
294
00:13:37,316 --> 00:13:38,526
(LAUGHS)
295
00:13:38,609 --> 00:13:40,986
Frank hits a little
too close to home for me.
296
00:13:41,737 --> 00:13:43,113
LALLY: I'm much more of a Frank guy.
297
00:13:43,197 --> 00:13:45,032
Give me a sweater vest
any day of the week.
298
00:13:45,115 --> 00:13:48,077
The fact that each episode
follows a different character
299
00:13:48,160 --> 00:13:51,497
allows you to do these explorations of,
300
00:13:51,580 --> 00:13:53,833
"Okay, how does that character
see the world?"
301
00:13:53,916 --> 00:13:56,252
There isn't one reality.
302
00:13:56,335 --> 00:14:00,005
There isn't one way of thinking
about the world or seeing situations.
303
00:14:00,089 --> 00:14:02,716
What's unique to that perspective on life
304
00:14:02,800 --> 00:14:05,761
and what are they feeling,
and how do we show that feeling?
305
00:14:05,845 --> 00:14:09,640
BOYD: For instance, Frank,
he has to defend himself
306
00:14:09,723 --> 00:14:13,310
from the slings and arrows
of the crowd yelling insults at him.
307
00:14:13,394 --> 00:14:16,397
- So what did those insults look like?
- (BOOING)
308
00:14:16,480 --> 00:14:18,190
And it would just be all hands on deck.
309
00:14:18,274 --> 00:14:21,318
Every department,
throwing in ideas to try to figure out
310
00:14:21,402 --> 00:14:22,987
what's the best way to achieve that?
311
00:14:23,070 --> 00:14:25,531
What does it actually mean
for the armor to come on?
312
00:14:25,614 --> 00:14:27,825
And how does it come on?
Does it come on at once?
313
00:14:27,908 --> 00:14:30,661
Does it just appear?
And is there a glowing effect?
314
00:14:30,744 --> 00:14:33,038
You start seeing the stuff
that Art is producing,
315
00:14:33,122 --> 00:14:36,250
and suddenly it doesn't become
this abstract hypothetical.
316
00:14:36,333 --> 00:14:38,127
It's no longer you just thinking,
317
00:14:38,210 --> 00:14:41,338
"Frank putting on his armor
is just a really loose drawing I did."
318
00:14:41,422 --> 00:14:44,133
Suddenly it feels like,
"This is what it's gonna be."
319
00:14:44,216 --> 00:14:45,593
It becomes really inspiring
320
00:14:45,676 --> 00:14:48,512
'cause you're no longer
trying to conjure something.
321
00:14:48,596 --> 00:14:50,264
You're trying to channel something.
322
00:14:50,347 --> 00:14:52,182
You're seeing
the characters as characters.
323
00:14:52,808 --> 00:14:54,143
Strike!
324
00:14:54,226 --> 00:14:57,438
We really wanted to keep the audience
325
00:14:57,521 --> 00:15:00,024
in tune emotionally
with where this character was
326
00:15:00,107 --> 00:15:01,734
and never break their train of thought.
327
00:15:04,528 --> 00:15:07,197
So, from the very beginning,
Carrie and Yates are very clear
328
00:15:07,281 --> 00:15:10,075
that they want very cool transitions.
329
00:15:10,159 --> 00:15:14,622
Not just transitioning between scenes,
but it's also how sets can transform.
330
00:15:14,705 --> 00:15:17,833
One of the first ones we did
was Frank in the classroom,
331
00:15:17,917 --> 00:15:20,502
calling back to his memory
with his ex-girlfriend.
332
00:15:22,880 --> 00:15:25,382
He's in the classroom,
sitting at his desk,
333
00:15:25,466 --> 00:15:29,303
thinking about this memory
in a different physical space.
334
00:15:29,386 --> 00:15:33,307
I am always inspired by a live stage show,
335
00:15:33,390 --> 00:15:35,100
how right in front of your eyes
336
00:15:35,184 --> 00:15:38,228
they can move different pieces
of the sets.
337
00:15:38,312 --> 00:15:41,065
I always loved that idea
of seeing something
338
00:15:41,148 --> 00:15:42,816
that changes in front of your eyes.
339
00:15:42,900 --> 00:15:45,069
And just give them
just enough time to slow down
340
00:15:45,152 --> 00:15:48,530
and the camera swung around
to match his thoughts.
341
00:15:48,614 --> 00:15:50,783
It's all about timing and the staging.
342
00:15:51,408 --> 00:15:52,660
I proposed that,
343
00:15:52,743 --> 00:15:56,330
"How about we try to do
all the transitions in camera?"
344
00:15:56,413 --> 00:15:59,833
When Frank goes into his memory,
we built two sets together.
345
00:15:59,917 --> 00:16:02,711
We built the school sets
and the apartment sets.
346
00:16:02,795 --> 00:16:04,630
And we merged them together,
347
00:16:04,713 --> 00:16:07,758
so that when the camera's looking one way
it's the school,
348
00:16:07,841 --> 00:16:11,637
and a very simple camera movement,
becomes his apartment.
349
00:16:11,720 --> 00:16:15,599
So we can just shift between memory
and real life seamlessly.
350
00:16:15,683 --> 00:16:19,687
So we have to break the set
in order to make that work.
351
00:16:19,770 --> 00:16:23,273
And it's just those little things
about filmmaking that I love.
352
00:16:23,357 --> 00:16:24,566
That's cinematic.
353
00:16:24,650 --> 00:16:27,236
And emotionally,
that's what the shot needs.
354
00:16:27,319 --> 00:16:28,570
"...removed his heavy helmet."
355
00:16:30,990 --> 00:16:34,410
LIU: I think the one who I can relate
to the most, it might have been Yuwen
356
00:16:34,493 --> 00:16:37,413
because deflecting emotional feelings
357
00:16:37,496 --> 00:16:41,250
and like leaning more into
playing off as a joke.
358
00:16:41,333 --> 00:16:43,502
In the Yuwen episode, when he's pitching,
359
00:16:43,585 --> 00:16:45,838
and it's the way
that this character feels.
360
00:16:45,921 --> 00:16:48,882
Here comes the Yuwen Special!
361
00:16:50,718 --> 00:16:53,721
We had to make sure that any motion we did
362
00:16:53,804 --> 00:16:58,767
sold the mechanics of the softball action,
which is very important to Carrie.
363
00:16:58,851 --> 00:17:01,520
Carrie initially was really wanting Yuwen,
364
00:17:01,603 --> 00:17:04,773
in his pitch, to be really specific
and not too stylized,
365
00:17:04,857 --> 00:17:07,609
'cause we wanted to say that,
"He was a powerful, strong pitcher."
366
00:17:07,693 --> 00:17:11,155
Then we had an animator that said,
"I'm just gonna try a double windmill."
367
00:17:13,741 --> 00:17:15,367
We showed it to Carrie, and she said,
368
00:17:15,451 --> 00:17:17,244
"You proved me wrong. Let's go that way."
369
00:17:17,327 --> 00:17:19,204
"Are you not entertained"?
370
00:17:19,997 --> 00:17:22,833
Something super important
to Michael and I was,
371
00:17:22,916 --> 00:17:24,710
we wanted a very stylized show.
372
00:17:25,544 --> 00:17:27,838
It's okay to be cartoony.
373
00:17:27,921 --> 00:17:29,923
It's okay to push the expressions.
374
00:17:30,007 --> 00:17:32,217
Embracing that it's a caricature of life.
375
00:17:32,301 --> 00:17:35,679
We wanted to hit really big expressions
throughout the show.
376
00:17:35,763 --> 00:17:37,723
Super big mouths, cutout mouths.
377
00:17:37,806 --> 00:17:40,642
Perhaps for an expression
on someone like Yuwen,
378
00:17:40,726 --> 00:17:44,063
remove the nose
and make the mouth extremely large.
379
00:17:44,146 --> 00:17:46,440
He's a very boisterous, loud character.
380
00:17:46,523 --> 00:17:50,110
We saw all these storyboards
and they were crazy,
381
00:17:50,194 --> 00:17:53,322
and we were like,
"Well, is this even possible?"
382
00:17:53,405 --> 00:17:58,243
And these are all things that are
very hard for us to do in characters.
383
00:17:58,327 --> 00:18:01,288
Because we build our characters
like a real person,
384
00:18:01,371 --> 00:18:03,999
where the mouth is in one spot
and the eyes are in one spot
385
00:18:04,083 --> 00:18:07,961
and you expect those
to stick in the same places.
386
00:18:08,045 --> 00:18:10,172
What if we could
Mr. Potato Head characters
387
00:18:10,255 --> 00:18:12,800
where we take the ears or nose
or mouth from any character
388
00:18:12,883 --> 00:18:13,884
and reassemble them?
389
00:18:13,967 --> 00:18:15,511
Oh, that just breaks my brain.
390
00:18:15,594 --> 00:18:19,098
There was a new process
that we created on this show specifically,
391
00:18:19,181 --> 00:18:23,936
which internally we're calling DFF,
or Detached Facial Features.
392
00:18:24,019 --> 00:18:27,439
And what that means is that
the mouth, the nose, the ears
393
00:18:27,523 --> 00:18:28,857
are all separate pieces.
394
00:18:28,941 --> 00:18:31,527
And you can slide those things around
395
00:18:31,610 --> 00:18:35,864
and position them in weird places
to get very specific performance choices.
396
00:18:35,948 --> 00:18:39,785
MOYER: There was a great test
that animator Rob Russ did,
397
00:18:39,868 --> 00:18:42,913
really, in some of the very first DFF,
398
00:18:42,996 --> 00:18:44,832
where he took it, and he, like,
399
00:18:44,915 --> 00:18:47,417
did "The quick brown fox"
as a lip-sync thing.
400
00:18:47,501 --> 00:18:51,380
The quick brown fox
jumped over the lazy dog.
401
00:18:51,463 --> 00:18:55,592
MOYER: And just the mouth slides
across the face.
402
00:18:55,676 --> 00:18:58,303
And it took a ton of work
403
00:18:58,387 --> 00:19:01,890
to figure out how to then
blend the pieces back on.
404
00:19:01,974 --> 00:19:04,935
You no longer have one surface
that you're actually shading.
405
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.
406
00:19:09,314 --> 00:19:10,607
That's very tricky. (LAUGHS)
407
00:19:10,691 --> 00:19:13,068
LYKKEGAARD: Ana and I,
we went through a lot of tests.
408
00:19:13,152 --> 00:19:14,820
We tried to break it as much as possible.
409
00:19:14,903 --> 00:19:17,030
LACAZE: We put freckles in areas
where we knew that
410
00:19:17,114 --> 00:19:19,032
the mouth was going to move around.
411
00:19:19,116 --> 00:19:21,243
LYKKEGAARD: Take the mouth,
run it over the blush area.
412
00:19:21,326 --> 00:19:22,327
What happens with that?
413
00:19:22,411 --> 00:19:24,371
LACAZE: Or we put a character
that had a beard
414
00:19:24,454 --> 00:19:28,041
and see what happens
when we have this mouth slide around.
415
00:19:28,125 --> 00:19:30,794
CHANG: Once we get into full production,
we're gonna have to balance
416
00:19:30,878 --> 00:19:33,213
both the shading issues
and the rigging issues.
417
00:19:33,297 --> 00:19:35,382
KLOCEK: There's still some challenges
with DFF.
418
00:19:35,465 --> 00:19:38,927
In the end, I mean, it required
a lot of hand work to come in
419
00:19:39,011 --> 00:19:41,513
and fix stuff that was broken in DFF.
420
00:19:41,597 --> 00:19:44,975
And yet, it unlocked spontaneity
and joy of the animators
421
00:19:45,058 --> 00:19:46,643
to do stuff that they've never done.
422
00:19:46,727 --> 00:19:49,521
There's a freedom that you get
as an animator with a character
423
00:19:49,605 --> 00:19:52,524
that's designed in such a stylistic way.
424
00:19:52,608 --> 00:19:54,568
You can push different expressions
425
00:19:54,651 --> 00:19:57,362
{\an8}in ways that you can't
with a realistic character.
426
00:19:57,446 --> 00:19:59,990
Just seeing what you can do
when you give the animators
427
00:20:00,073 --> 00:20:02,826
the tools to go out there and play,
it's really exciting.
428
00:20:05,495 --> 00:20:07,873
HAMOU-LHADJ:
Because this is a wholly original story,
429
00:20:07,956 --> 00:20:10,626
that gives you
a lot of freedom and flexibility
430
00:20:10,709 --> 00:20:14,421
to invent a style and a look
bespoke to your story.
431
00:20:14,504 --> 00:20:18,675
Initially, the design of the world
was to be, every episode is different,
432
00:20:18,759 --> 00:20:20,677
because it's from everyone's perspective.
433
00:20:20,761 --> 00:20:24,181
And as I started to do artwork
and we had lots of conversations about it,
434
00:20:24,264 --> 00:20:26,516
we realized that's just
going to be disjointed.
435
00:20:26,600 --> 00:20:29,311
What we need is
what we call "a default world."
436
00:20:29,394 --> 00:20:31,563
It's much more caricatured
than our natural world.
437
00:20:31,647 --> 00:20:35,734
But it is a world that everyone
can agree on design-wise.
438
00:20:35,817 --> 00:20:39,071
It also means that we want
the tactile quality of it to be soft.
439
00:20:39,154 --> 00:20:42,407
You look at their hair,
the grass and the trees,
440
00:20:42,491 --> 00:20:44,826
it all has this tactile softness.
441
00:20:45,744 --> 00:20:49,373
The hair is actually done with fuzz,
the same treatment that we would use on,
442
00:20:49,456 --> 00:20:50,916
like, a character's sweater
443
00:20:50,999 --> 00:20:53,752
on a feature. We were like,
"What if we modeled the hair
444
00:20:53,835 --> 00:20:56,588
"and used fuzz to get that
hair-like detail?"
445
00:20:56,672 --> 00:21:00,384
We wanted to make it look like
a felted fuzzy thing,
446
00:21:00,467 --> 00:21:03,762
but it was very nebulous
what that was gonna look like.
447
00:21:03,845 --> 00:21:06,390
So we went back and forth a lot between
448
00:21:06,473 --> 00:21:09,434
just finding the style
of what this weird piece
449
00:21:09,518 --> 00:21:11,270
of stylistic hair was going to look like.
450
00:21:11,353 --> 00:21:13,939
KLOCEK: But we used it as an opportunity
to try something different
451
00:21:14,022 --> 00:21:17,651
and said every time we have a challenge,
we're gonna make an opportunity
452
00:21:17,734 --> 00:21:19,319
to make a design choice.
453
00:21:19,403 --> 00:21:23,573
So we made a really crazy design choice
to simplify all the vegetation and trees.
454
00:21:26,451 --> 00:21:30,956
We ended up using a very similar
technology from what the fuzz
455
00:21:31,039 --> 00:21:34,710
and from the hair technology
was to create vegetation
456
00:21:34,793 --> 00:21:38,380
and control the leaves
and make it feel like vegetation,
457
00:21:38,463 --> 00:21:42,968
but not necessarily have all the detail
that you would see in nature. (LAUGHS)
458
00:21:43,051 --> 00:21:45,178
SACHAR: Let's give it a cartoony,
fluffy look.
459
00:21:45,262 --> 00:21:48,348
It still reads as a tree,
but that's all you need.
460
00:21:48,432 --> 00:21:54,104
The trees got described
as artichokes or corn dogs a lot.
461
00:21:54,187 --> 00:21:57,107
It evolved from there
to where it became a game of,
462
00:21:57,190 --> 00:21:59,359
"Can you figure out
what food this looks like?" (LAUGHS)
463
00:21:59,443 --> 00:22:02,654
LALLY: The trees look like corn on the cob
or like heads of lettuce.
464
00:22:02,738 --> 00:22:03,947
So do people's hairstyles.
465
00:22:04,031 --> 00:22:08,035
We have characters, for example,
who have, like curly fry hair.
466
00:22:08,118 --> 00:22:09,619
MOYER: There's cotton candy hair.
467
00:22:09,703 --> 00:22:12,331
KLOCEK: Frank's hair, we talked about
cinnamon rolls.
468
00:22:12,414 --> 00:22:15,083
And every time
we'd come to a question of,
469
00:22:15,167 --> 00:22:16,877
"What does this feel like or look like?"
470
00:22:16,960 --> 00:22:18,420
Someone'd go, "Spaghetti."
471
00:22:18,503 --> 00:22:20,005
LALLY: Chris had this idea.
472
00:22:20,088 --> 00:22:23,383
"What if we just put, like,
a piece of bacon on her face?"
473
00:22:23,467 --> 00:22:26,261
Not real bacon, like a piece of hair
that looked like bacon.
474
00:22:26,345 --> 00:22:28,347
MUNIER: Maybe fuzzy?
LALLY: Like a fuzzy piece of bacon.
475
00:22:28,430 --> 00:22:30,432
We must have just been a very hungry crew.
476
00:22:30,515 --> 00:22:32,184
Maybe I'm not feeding them enough.
477
00:22:32,267 --> 00:22:33,560
SACHAR: It's the simple, cute foods.
478
00:22:33,643 --> 00:22:36,021
I don't know where it came from,
but it's funny.
479
00:22:36,104 --> 00:22:39,316
Always looking for something
that was playful
480
00:22:39,399 --> 00:22:42,903
and maybe a little bit more
on the junk food side of things.
481
00:22:42,986 --> 00:22:45,781
YATES: It's all like
softball field foods. (LAUGHS)
482
00:22:45,864 --> 00:22:48,909
Anything you can buy at the snack shack
is in the world.
483
00:22:48,992 --> 00:22:50,786
The world is built from that. (LAUGHS)
484
00:22:52,037 --> 00:22:54,956
The sports are sort of the thing
that connects everyone.
485
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.
486
00:22:58,710 --> 00:23:00,504
HOBSON: Sprinkle in that softball
487
00:23:00,587 --> 00:23:01,797
- just enough...
- Out!
488
00:23:01,880 --> 00:23:04,132
...to make some unique flavor to the show.
489
00:23:04,216 --> 00:23:06,551
But not enough
that it becomes the sole focus.
490
00:23:06,635 --> 00:23:08,637
Because this is just
a character-driven show,
491
00:23:08,720 --> 00:23:11,264
and that should always remain
at the core of it all.
492
00:23:11,848 --> 00:23:15,143
Softball is the vehicle
of them just trying to find
493
00:23:15,227 --> 00:23:17,145
their sense of community,
their sense of love.
494
00:23:17,229 --> 00:23:21,400
This is not a show
that should only be for sports people...
495
00:23:22,692 --> 00:23:23,693
We tried.
496
00:23:23,777 --> 00:23:26,696
...and it is not a show
made by only sports people.
497
00:23:26,780 --> 00:23:30,575
Because we're a bunch of artists,
and even though I played softball,
498
00:23:30,659 --> 00:23:32,577
I was not the most coordinated.
499
00:23:32,661 --> 00:23:35,205
We definitely have a good mix
of those who love sports
500
00:23:35,288 --> 00:23:36,957
and grew up playing sports.
501
00:23:37,040 --> 00:23:41,044
And then we have some folks who
would never set foot on a sports field.
502
00:23:41,128 --> 00:23:44,714
LAW: There are those kids that, like,
have that raw passion or that raw energy
503
00:23:44,798 --> 00:23:46,758
of, "I am getting so much out of this."
504
00:23:46,842 --> 00:23:48,760
And then there's the other kids
that are just like,
505
00:23:48,844 --> 00:23:50,387
"My dad signed me up." (CHUCKLES)
506
00:23:50,470 --> 00:23:51,888
COACH DAN: We will need a catcher.
507
00:23:52,722 --> 00:23:54,558
- Terrence.
- Oh, no.
508
00:23:54,641 --> 00:23:59,229
Obviously, you got a lot
of the getting-picked-last as a kid.
509
00:23:59,312 --> 00:24:02,399
I played Little League
when I was super, super little,
510
00:24:02,482 --> 00:24:04,985
but my only memory is, like,
playing in dirt,
511
00:24:05,068 --> 00:24:07,529
playing with worms,
pulling grass out in the outfield.
512
00:24:07,612 --> 00:24:08,905
LIU: I came onto the show
513
00:24:08,989 --> 00:24:11,324
with no knowledge
about softball whatsoever. (LAUGHS)
514
00:24:11,408 --> 00:24:14,536
I can now say,
"Oh, this person is on first base,"
515
00:24:14,619 --> 00:24:16,538
and I feel very proud of that.
516
00:24:16,621 --> 00:24:22,711
I know that they have innings
and not touchdowns.
517
00:24:22,794 --> 00:24:26,798
(LAUGHS) That's basically all I know
about baseball.
518
00:24:26,882 --> 00:24:29,009
WOMAN: It's not baseball, though.
It's softball.
519
00:24:29,092 --> 00:24:30,969
It is not baseball. It is softball.
520
00:24:35,182 --> 00:24:39,311
Most of our time is spent thinking
about the internal life of characters.
521
00:24:39,394 --> 00:24:42,397
It's not just making a character,
it's making this character.
522
00:24:43,565 --> 00:24:46,276
And what we end up doing
is we look at ourselves.
523
00:24:46,359 --> 00:24:49,321
Each character is a version
of me and Carrie together.
524
00:24:49,404 --> 00:24:51,990
And that's what makes
our characters so rich,
525
00:24:52,073 --> 00:24:54,409
hopefully, is that they come
from real places.
526
00:24:54,493 --> 00:24:56,077
These are characters that you end up
527
00:24:56,161 --> 00:25:00,415
really, truly, deeply caring about
and identifying with.
528
00:25:00,499 --> 00:25:01,541
I relate to all of them.
529
00:25:01,625 --> 00:25:04,878
I feel like every character's struggle
is something that's universal.
530
00:25:04,961 --> 00:25:06,755
Wanting the approval of your parent.
531
00:25:06,838 --> 00:25:07,839
Am I good enough?
532
00:25:07,923 --> 00:25:09,174
LAW: Wanting friends.
533
00:25:09,257 --> 00:25:11,468
- Bleacher Creatures for life!
- Quack, quack!
534
00:25:11,551 --> 00:25:13,011
LAW: Wanting to find love.
535
00:25:13,094 --> 00:25:14,763
- I love to cook.
- Me, too.
536
00:25:14,846 --> 00:25:17,390
I'm hoping that people
see themselves in everybody.
537
00:25:17,474 --> 00:25:21,353
I certainly see a little bit of things
that I respond to in everyone.
538
00:25:21,436 --> 00:25:25,065
That tapestry of experience
and perspective is,
539
00:25:25,148 --> 00:25:26,983
I think, what's so beautiful
about the show.
540
00:25:27,067 --> 00:25:28,401
That's it, buddy.
541
00:25:28,485 --> 00:25:30,320
Hey, good to see everybody.
542
00:25:31,821 --> 00:25:33,740
KLOCEK: While there was
technical challenges,
543
00:25:33,823 --> 00:25:36,201
I think on this show,
more than any show I've been on,
544
00:25:36,284 --> 00:25:39,454
everyone was not only up
for the challenge, but pushed it
545
00:25:39,538 --> 00:25:41,039
every opportunity they had.
546
00:25:41,122 --> 00:25:44,417
LALLY: Making a series like this
is certainly very much like
547
00:25:44,501 --> 00:25:46,294
being on a team like the Pickles,
548
00:25:46,378 --> 00:25:48,547
and everybody has
their strengths and weaknesses,
549
00:25:48,630 --> 00:25:51,550
and we just come together
and try to support each other
550
00:25:51,633 --> 00:25:53,426
and fill in each other's blind spots.
551
00:25:53,510 --> 00:25:56,137
LIN: I truly believe that
making a movie is a team sport.
552
00:25:56,221 --> 00:26:00,141
Because you have to understand
your teammates, what their roles are.
553
00:26:00,225 --> 00:26:03,019
When they pass you something,
you know what to do with it.
554
00:26:03,103 --> 00:26:06,147
And you have to pass it
to the right person afterwards.
555
00:26:06,231 --> 00:26:08,900
A sports team
and a film crew is very similar
556
00:26:08,984 --> 00:26:11,444
in the sense that
if I don't pull my weight,
557
00:26:11,528 --> 00:26:14,239
then I'm gonna drag everything down.
It's the same pressure.
558
00:26:14,322 --> 00:26:16,533
Either you hit the ball or you don't.
559
00:26:16,616 --> 00:26:19,369
But you have to keep going no matter what.
560
00:26:19,452 --> 00:26:20,495
You can't just stop.
561
00:26:20,579 --> 00:26:24,916
All of that is in service of this idea
that we have our own perspective.
562
00:26:25,000 --> 00:26:27,335
And that everyone around us,
563
00:26:27,419 --> 00:26:30,255
no matter what it seems
like they're doing,
564
00:26:30,338 --> 00:26:33,633
is living that same experience
in their own way.
565
00:26:33,717 --> 00:26:36,553
Win or lose, they come together as a team.
566
00:26:36,636 --> 00:26:40,098
I feel like that's been
the story of our show as well.
567
00:26:40,181 --> 00:26:45,061
Everyone on your crew becomes a partner
in shepherding this little baby.
568
00:26:45,145 --> 00:26:47,230
We're all its parents.
569
00:26:49,316 --> 00:26:50,942
- (ALL WHOOPING)
- (WHISTLING)
570
00:26:54,446 --> 00:26:55,572
LIU: It's legit now.
571
00:26:56,573 --> 00:26:58,533
Everything's become serious now.
572
00:26:58,617 --> 00:26:59,618
Quiet on set.
573
00:26:59,701 --> 00:27:01,077
I'm sorry. Is that my job?
574
00:27:01,161 --> 00:27:03,622
- MAN: Thank you, Carrie.
- Okay. (CHUCKLES)
575
00:27:03,705 --> 00:27:05,707
Don't look directly
at the camera and like...
576
00:27:05,790 --> 00:27:08,376
Yeah, I had a great time working on this.
577
00:27:08,460 --> 00:27:10,045
(CHUCKLES)
578
00:27:10,128 --> 00:27:11,630
My piece is still in place, though?
579
00:27:12,422 --> 00:27:14,341
- WOMAN: Yes. (LAUGHS)
- Okay.
580
00:27:14,424 --> 00:27:17,177
We try to have a base set of...
581
00:27:17,260 --> 00:27:18,553
(AIRPLANE WHIRRING)
582
00:27:18,637 --> 00:27:20,305
The airplane. Okay.
583
00:27:20,388 --> 00:27:21,431
(AIRPLANE WHIRRING)
584
00:27:21,514 --> 00:27:23,767
Is it a helicopter? (LAUGHS)
585
00:27:23,850 --> 00:27:25,518
- WOMAN: Airplane.
- Okay.
586
00:27:25,602 --> 00:27:27,729
- This is gonna happen all day.
- Okay.
587
00:27:27,812 --> 00:27:30,106
Any time he throws a pitch,
there's this motion trail
588
00:27:30,190 --> 00:27:32,025
that comes off in the back
of the softball.
589
00:27:32,108 --> 00:27:33,109
- (DOG BARKS)
- Dog.
590
00:27:33,610 --> 00:27:34,944
(DOG BARKING)
591
00:27:35,028 --> 00:27:37,197
He's just a bouncing toupee.
592
00:27:37,280 --> 00:27:39,532
(AIRPLANE WHIRRING)
593
00:27:39,616 --> 00:27:41,242
(LAUGHS)
594
00:27:41,326 --> 00:27:43,244
Some of the first times
we were returning to doing...
595
00:27:43,328 --> 00:27:44,954
- (BIRDS SCREECHING)
- Bird.
596
00:27:45,497 --> 00:27:47,248
- (DOG BARKING)
- (LAUGHS)
597
00:27:47,332 --> 00:27:48,375
More dogs.
598
00:27:48,458 --> 00:27:50,043
(SIRENS WAILING)
599
00:27:50,126 --> 00:27:51,461
Oh. Okay.
600
00:27:53,129 --> 00:27:55,465
Firetruck. Oh, no, hope someone is okay.
601
00:27:55,548 --> 00:27:57,008
It's a new sound every time.
602
00:27:57,092 --> 00:27:58,218
- (CHUCKLES)
- (DOG BARKS)
603
00:27:58,301 --> 00:28:02,305
Wow. How many of these
do you get a day? Or an hour?
604
00:28:02,389 --> 00:28:06,851
It's not trains, it's sirens,
it's planes, it's civilization.
605
00:28:06,935 --> 00:28:09,437
- Say "Pickles."
- Pickles!
606
00:28:09,521 --> 00:28:10,605
(CAMERA SHUTTER CLICKS)