Date of the podcast: 2015 / 02 / 03
Podcast link via bancroftbros.libsyn.com
Ok so this is only a one mic accuracy for now but I already cleaned up a large section about character design starting around the 30 minutes mark as it is very relevant to a current discussion on generic character design.
In this instance I don't agree with Tom Bancroft that Pixar designs are generic. Maybe it was badly formulated as later in the conversation he explains that Pixar shapes are too simplistic but I would argue that this is what makes Pixar designs so strong, maybe to the exception of female characters if we really want to be critical but overall, even female characters have a strong design sense to them compared to other studios.
Show notes:
Transcript:
Tony Bancroft 0:02
taught by a pro presents the Bancroft brothers animation podcast sponsored by Stuart Inc books the best online rare bookstore for artists in the world. If you've seen any of the recent Pixar art of books, then you know Daniel Lopez myrtos. He is a master character designer and environmental concept artist that has been at Pixar Animation for about eight years. The Bancroft brothers interview Daniel to dig into the subject of character design and what it takes to bring the heat at one of the best Animation Studios in the world. And now, here's the Bancroft brothers. Hey everybody, and welcome back to the Bancroft brothers animation podcast. Wow. Oh, Tom, how to do the yell this time. Okay. Yeah, this is Tony Bancroft and Tom Bancroft. Hey, everybody, and we are happy to be back with you guys. We got a really cool interview to bring with you today. A really good friend a really good guy. But before we get to that, Tom, anything new that you want to report to the animation society that's listening? Dang. Well, I
Tom Bancroft 1:06
don't know. But this episode is brought to you by our new sponsor, the excellent Stuart Inc. Books. Thank you for stewarding for joining us.
Daniel Lopez Munoz 1:16
Let's do this. Let's
Tom Bancroft 1:17
get into this because we got somebody sitting here waiting to talk. Okay. Yeah, let's do it. Yeah. Today is our special character design podcast where we're going to talk a little bit about characters on something that's near and dear to my heart. And who we have today is Pixar character designer, Danielle Lopez munez. He's a Spanish board concept and visual development artist. And he lives in Northern California works at Pixar, and has worked on Ice Age, also robots over at Blue Sky, and then also worked with me at Big Idea productions for a while and veggietales. So let's introduce him. Hey, come
Daniel Lopez Munoz 1:50
on in Dan. Hey, guys. Hi, Tom. Tony. Hey, Well, great. Nice to join you guys. It's a real pleasure for me actually.
Tom Bancroft 1:59
Oh, it's great having you and if we could see the video of you and you're good looking haven't changed a bit and then together I work very
Tony Bancroft 2:08
hard at that. How do we turn bald and you have so much hair?
Daniel Lopez Munoz 2:11
That's That's no it's it's a three CD. Yeah, his his receding? I did. I try not to pay too much attention.
Tony Bancroft 2:19
Daniel, it looks like you are sitting cosily in your office at Pixar after hours during this interview. Is that right? You're a Pixar right now.
Daniel Lopez Munoz 2:27
Yep, this is my office.
Tom Bancroft 2:29
Is it after hours? are you stealing time from from last?
Daniel Lopez Munoz 2:32
Well, in this days, and I might get in trouble for this. But these days work. For me. It's a little slower, because productions are not quite engaged that you know, so I leave around 435
Tony Bancroft 2:46
depending on Oh, it's really it's really like lunchtime, right? You take a three hour lunch? And then you leave Yeah. exam on I know how exactly. Tony's been there.
Daniel Lopez Munoz 2:56
How could not.
Tom Bancroft 2:58
Tony just cause that Hunchback of Notre DOM, that's what he called it.
Tony Bancroft 3:01
Actually, I had that scheduled Lion King. I'm not gonna lie. Literally for six months on the beginning of Lion King. They were still working on story. And all of us animators. We had gotten done with the film previous we were just sitting around our office. And literally, we just had to check in with our production manager once in the morning. They didn't care what happened next. We would take we would go see a movie at lunchtime. play pool and then we take early. I mean, we got a full page. I missed that full page. I
Daniel Lopez Munoz 3:31
got to cry. Sometimes I feel it. I could have checked myself. Yeah, right. Yeah.
Tony Bancroft 3:39
Well, you're responsible you're responsible guy and you know what? I try the Pixar dollar. So we understand. You know,
Tom Bancroft 3:46
it's the hard part with that is when the wife finds out that really you don't have to be there. Wait, you went saw movie today? I've been home with these kids all day. Are you like oh, yeah, baby. I had to say to five had some stuff going on. Oh, playing a video game.
Daniel Lopez Munoz 4:02
Well, good. She works. She works. The kids are actually at the preschool at the moment. Okay, we cried. I mean, she tried staying home for a while but she needed work. Yeah, let's let's talk art.
Tony Bancroft 4:14
I can't I'm chomping at the bit to know more about you, Daniel, and about how you got into it. So you, you grew up in Spain. And here you are at Pixar. How did that happen for you? How did you start? What school did you go to in Spain? What is your first portfolio look like? Give us a little bit about the the humble beginnings and how you got into it all.
Daniel Lopez Munoz 4:34
I'll try to you know, summarise it could be a long story, but I was I was actually born in Colombia. Okay. When I was a baby, I think I was a year old. We moved to Spain, my mother's from Spain. My dad's Colombian rascal. Remember those years finally because you know those who are the years when I was two to six years old. So it was a fun time. It was a changing time for Spain to Tater ship hut, ended in Spain went into a period of transition. I remember the first time I am conscious of loving animation was watching cartoons that came from Japan. Actually, it wasn't so much Disney, although there were Disney films that came to Europe to Spain. But there was so much that Japan was doing to try to market to European audiences. A lot of the stories they told were European wholesale. And that's what I remember watching and loving when I was a kid Heidi of the Alps, and oh, yes, story of Marco, which is actually my, my boys, my little boys name. Oh, that's funny. It's just kind of in memory of that. And then a lot of robot animation, as in the sea, and so on. So that's that's how the the fire got started. And I had a neighbour at the time that was older than me, Drew really well. He's actually an architect now in the south of Spain. But he drew amazing man, I remember sitting down with him drawing alongside and I think that sort of sparked the idea and me that, Oh, well, I could get better at this sort of thing. It's kind of an inspiration at the time. I can't say that I had many mentors in my life. But when I've had them, they've been really important to me. Yeah. Which I think may be common to a lot of people. Yeah, but it was, I mean, animation. Back Back then in Spain, and then later in Colombia, where we moved after I was six years old. animation was the sort of thing that people did on television to live in audiences. They were, you know, like a talk show host. That's what was known as animation. Spain club. Yeah. Like not not hand drawn. animation. It was like I was Pete like, people, people. Oh, that's what they're called over there is if you're an animator, you anime people. You know, the term use, at least in Colombia. When I started thinking about going into studying animation. Yeah,
Tony Bancroft 7:07
yeah. You said you tell your family like you tell your mom, I want to be an animator. I want to be a talk show host.
Daniel Lopez Munoz 7:12
No, they knew they knew what it was. Because I had been drawing since I was a kid. And I liked watching animation. So they knew that it was other faults. Family members, for example. Wait, what? Yeah,
Unknown Speaker 7:26
you want to be a comedian.
Daniel Lopez Munoz 7:27
I obviously, this this was in Columbia. Now. graduating from high school, I had the option of studying architecture, which I am actually very passionate about even today for animation, which I wasn't going to find in Colombia at that time, because there's no no, there was no industry. And certainly there were no schools taught. So what I, the way I sold it to my dad, first I had to sell it to my mom. But you know, moms, they always want what's in your heart. So she understood, she tells me it was a little harder to convince my dad, she actually talked before I talked about but my idea at the time, was that I would study animation in this states or in Japan, actually. And I'll get back to that. Oh, wow. And then and that would be sort of my my hobby, of course. Like we have the money to pay for tickler you. But anyway, that would be my hobby. And then I would do this serious career VR. But the more the idea sort of grew in our heads, the more I felt like it was the right thing. At the time when I was making this decision, you guys would probably be see and work with the resurgence of this thing.
Tony Bancroft 8:38
Yeah, we tried is call us old. Yeah, we are old. It's okay. You
Daniel Lopez Munoz 8:43
know, you were just luckier than iOS at the time. So this was this was around before Little Mermaid and then beating the beast. And so yeah, so it was kind of a crazy idea. Because and you guys probably know it firsthand. It was not as easy to make a living back in the 80s. In animation. Yeah, yeah, certainly not what it is today. There's a lot of people making good livings out of it. But back then, I just, it was more of a passion really, than a conscious thought. I was lucky that it became what it became. Thanks in part to you guys. Frankly.
Tom Bancroft 9:23
You're welcome.
Tony Bancroft 9:26
Just put the check in the mail.
Daniel Lopez Munoz 9:28
Yeah, exactly.
So then I started writing to and this was before the internet, of course, I started writing to a lot of embassies, looking for schools of animation in Japan, which was a crazy idea. Oh, my goodness, I did love I vote. I had always loved me attack in certain types of Japanese animation, and then also wrote letters to American schools. I didn't know anything at all about how the industry operated or what schools were the Better to get into certainly didn't know anything about colours and so on. So so I thought I wrote all Japan responded with something to the sand. I don't think you want to study animation in Japan, it was, I wish I had the letter with me. It was like, you don't really know what you're talking about. Yeah. And you know what, I feel thankful and I don't mean to diminish the the industry there. But it's very hard to make a living as in Japan, it really is. Yeah. Unless you're, you know, a director. So but it's very comfortable for a lot of people and a lot of different disciplines in America versus Japan. So the schools wrote back at the time, I enrolled in graphic design in Colombia to start doing something. And at the same time I was, I started shooting a my own little animated project with a video camera, just to prove to myself really, if if at the end of that, I would be as interested in the whole process. Yeah, as I was before. And so that is they have started shooting is how much footage I came up with, it's about an hour, what mind you mind you, it's seven frames per second. And I had to be quick with a finger because this is a video camera, there was no film camera I could get ahold of. So there's a lot of still shots and pans and so on. But there is a good 20 maybe three minutes of actual choppy animation, nothing to to show outside of the family. But it's still a lot, but it was a lot of fun to do. And it fueled the fire even more. And so the school I went to was in Chicago, and the primary reason I went to it is first my level of English wasn't up to par with CalArts, they required a certain a certain number that you had to score on the TOEFL test, which is the English proficiency tests that for instance, have to take. I was about it 15 points below or something like that. Now, in hindsight, in hindsight, frankly, I would have I would have picked up the phone. Okay, come on, come on. Really. We can work something out, let me know, you know, but you know, as a young student, you kind of look elsewhere. I actually had like that cool in Chicago had a very detailed syllabus of the classes and the detail what, what they were about and all that. So then the price was right. Was it Columbia, Columbia College in Chicago? Yeah. Okay.
Tony Bancroft 12:41
Yeah,
Tom Bancroft 12:42
we have mutual friends that work there. Top
Daniel Lopez Munoz 12:45
currently. Well, no, but Well, I
Tom Bancroft 12:47
think Steve leaper Oh, yeah, currently
Daniel Lopez Munoz 12:49
Well, yeah, I mean, we we we work with Steve. Yeah. And we use contrast as well. Well, yeah. Luis,
Tom Bancroft 12:56
was he there when you were?
Daniel Lopez Munoz 12:58
He he know he started teaching after I graduate. Okay. Steve actually did teach me.
Tom Bancroft 13:06
Steve leaper, everybody.
Tony Bancroft 13:07
Yeah, he was an instructor there. Yeah, it
Daniel Lopez Munoz 13:09
wasn't a very excellent one. Actually. Yeah, one of the ones who really cared about the students.
Tom Bancroft 13:15
Well, that's kind of getting to where we met because we met big idea productions in Chicago. In 2000, when I left Disney to go to work there work on the first feature film, Jonah.
Daniel Lopez Munoz 13:27
Yeah, and I had been a big idea for the past three or four years prior to your arrival.
Tom Bancroft 13:32
Yeah, cuz you were actually one of their first
Daniel Lopez Munoz 13:34
I was number 13. does good or bad.
Tom Bancroft 13:42
Well, you stuck it out there for quite a while. Yeah,
Daniel Lopez Munoz 13:45
it was, you know, it was it was fun. It was I still remember the group of people and our thirst for what we were doing. Yeah, I remember it fondly.
Tom Bancroft 13:55
Yeah, bring it to me. They were like great people. They're just wonderful people with good hearts, you know, that just wanting to do something good. And, and then the and also also wanted to grow in their ability to
Tony Bancroft 14:06
Yeah, that was your first professional job. Right? That was your first professional gig.
Daniel Lopez Munoz 14:10
My first lengthy professional gag, yeah, okay. So you know, as a foreign student, you can't legally work outside of the school that you attend. So for for money, I was able to work as a teaching assistant there to you know, support some of the expenses I had, my family helped me a lot with it. But then after after college, you go through all the iterations of visas that you can think of. And and so for the first year I was doing, I guess, you'd call them odd jobs, little projects here and there, whether it be some traditional animation, some stop motion, some TV commercials, some psats you know, whatever, whatever I could get my hands on to kind of build some experience or reputation in the Chicago area. Then further, the way I got into big idea was through Chris Olson who was sort of pills, right, and man at the time, he was teaching a computer class, Columbia. And so that's how that's how I got pewter animation or just it was. Yeah, it was it was the first computer animation being taught there as I recall. Okay,
Tom Bancroft 15:18
I remember hearing Chris Olsen's name a lot he had left before, right there. Right. Right. Right before, right. And so, but I knew a lot of people that, you know, knew him like you did? Well, that that kind of brings us up into and so you were at big idea for how many years total?
Daniel Lopez Munoz 15:35
I think putting it together because I then I moved to Los Angeles in 2001. I believe 2000. It was it was not too long after you're right. Like a year. Yeah. Yeah. It's
Tom Bancroft 15:47
like I scared you off.
Daniel Lopez Munoz 15:50
There was no, Tom, after Tom landed with his awesome skills, there was no real pushy right out. Now, as a side note, it was really it was such a great thing, you know, and she kind of got to have people like you and Michael Spooner and sort of influence and just learning from you guys. Just seeing your work was was really great. Because there was there was barely anybody with your experience over there at that time.
Tony Bancroft 16:18
Yeah, yeah. You and Michael, Tom and Michael had experience coming from Disney going to big idea. But for you, you were coming into big ideas, one of your first career choices for first time in the industry. So I could see how that would be. You know, Tom and Michael spinner guys like that, that had the experience to be influential.
Daniel Lopez Munoz 16:35
It was great
Tony Bancroft 16:36
was there other influences that you were getting at that time to help push and boost your portfolio of work before you went on to say blue sky,
Daniel Lopez Munoz 16:44
I tell you the things that I learned from in terms of design, because I I still was wrestling with animation, or visual development or design for animation. And I sort of made the switch doing my big idea here because of the computer because animation is now being done in 3d. And you have to marry this curve, this system of curves, and you have to pull handles on. And I'm not I'm not saying that. It's all like that. Yeah, I like a lot of animators like it, because they can focus more on performance and not so much enjoying whatever. But I don't like that. So I miss drawing too much. So I stayed on the side of the side. And Michael was extremely influential in in, in in myself improving my design skills. And he lent me and I'm sure many others his time and condition. Really, I think one of the most incredible mentors have had in my life has been Michael is very generous with his design advice and his advice in general. You kind of reported that Michael Spooner. Yeah, I mean, I did but kind of didn't. Independent. Yeah, yeah. I'm sure you guys worked out some contrast in that I'm joking. I don't know, Michael. I think he I mean, it was it was it was a big deal, frankly, for students Chicago, even though you know, big idea was pretty reputable among the Christian life audiences. But it was so great to get you guys. Michael came in. I think he was the the Vice President of design or something. He was going to be influential in all things to do with design. And from what I recall, you were gonna partner with him some capacity and focus on character design for for the studio. Yeah, sort of across the board. That there we go.
Tom Bancroft 18:32
Yeah, did not work out the way we all wanted it to. But yeah, and I know Michael would say the same thing. But I remember he said that one of the big thing, one big reasons he came to big idea was to be a training manager, kind of artistic Training Manager. Yeah. And he wanted at least, you know, 20, or half of his job to be that. And so that's why he had so much time with you guys. Because that was one of his passions that Phil was saying the owner Fisher was saying, Yeah, we want that. We want that. And then of course, you know, deadlines came. Yeah, a lot of that went away, unfortunately. Yeah.
Daniel Lopez Munoz 19:04
That's what happens when you have that the experience that that Michael had is you're so good at what you do that you can't just import right classes you you have to do so yeah, it may have been sold differently. I don't know. I mean, that was sort of like you guys talk to Phil and it was whatever scope you look at it from for me and for so many other people that were there. It was fabulous to have you guys and I'm the type of person that learns better from observing others or Yeah, it was a there was a lot of that and Michael had a flat files filled with photocopies of Yeah, I think he had all the work he had ever done for Disney Warner Brothers and like everything and even DreamWorks, DreamWorks Yeah,
Tony Bancroft 19:52
what a great library of knowledge. Right?
Daniel Lopez Munoz 19:55
I remember you know, when I was getting into the industry and learning the craft of animation or even design just going over the books that Disney would put out and making up and yeah, and sort of seeing how the different processes of design work like yeah, from when we know here's model packets to just conceptual design to just character design set this time. And for me, that was an amazing resource. Now it's everywhere. I mean, you've gone on the internet and I know
Tony Bancroft 20:27
thousand images. Daniel, speaking of art books, I am a huge collector of those I know a lot of the listeners that we have out there right now are huge collectors of the art of book. I fell in love with your work, because I didn't work with you like Tom did a big idea. So the first time I saw your work was in the robots art of take us back to now your big idea. Were you hired as a character designer or in the layout department because you were very influential. Yeah, robots. You mean blues? You mean blue sky? Blue Sky? I'm sorry. Blue Sky.
Daniel Lopez Munoz 20:56
Yeah, that's, I thought that's what you meant. No, I was I was hired as the, I guess they call it visual development artists. But it was mainly to work on set design. Yeah. At the time they had. Peter does have actually, yeah, a lot of their films. And Greg also had a lot of influence in that. So they were they were pretty well covered there for robots, because I didn't come right at the beginning. So a lot of the characters have been already established. You know, I'm sure if we'd had been earlier, perhaps I would have had a crack at some of that. Because a lot of the guys I ended up just doing focusing on on the sets. I did actually do some concepts. But But I focus on set design on robots. Yeah.
Tom Bancroft 21:39
And they're beautiful, I think, isn't that yeah, it was
Daniel Lopez Munoz 21:42
interesting, because it was so so intricate, the the production design that they hoped for. Yeah. And we did so much detail and a lot of robot thing. I think by the time I hit the production, life, budgets and time and all that sort of shorten the scope. Yeah. And you had to make do with what you had. But so i don't i you know, in hindsight, I don't think it was as successful as the, the idea for it. Yeah, it was conceived to be I mean, the work that you see in the book from Greg and Mike dice, just beautiful. And you, thank you. It's very nice to one of the nice things about working at a big SR like this is that they do take, he's taking care of making sure that we can do everything. I mean, obviously, sometimes you run out of time, but but I find from my experience at Pixar, it's been it's been very, very wonderful in that, in that sense, able to do that.
Tom Bancroft 22:45
Well, let me cut in here, because we never really gave your filmography. So let's see if you worked on 2321 penguins at big idea. That was an offshoot of the veggietales Yeah,
Daniel Lopez Munoz 22:54
that was fun. You and You worked on its own as well.
Tom Bancroft 22:58
I did a little bit. Yeah, kind of came in late on that. And then you also worked on the Jonah veggietales movie. And then you were off to blue sky and did robots and Ice Ice Age meltdown. And then at least from what I see on your IMDb, it looks like then you were onto up over at Pixar. Yep. And then brave there. Is there something missing there? Because it seems like brave was 2012 I know.
Daniel Lopez Munoz 23:24
Totally my thumbs. Yeah. Leaving at 430 I after brave I collaborated on with Enrico katsaros his shortland Luna. Okay, and you know, shorts have the misfortune of not being public. Yes.
Tony Bancroft 23:41
Yeah, it'll show up on IMDB, which is the internet right resume.
Daniel Lopez Munoz 23:46
But so that was a short. You know, shorts are fun and can do a lot.
Tony Bancroft 23:52
How long? Were you on that short? laluna How long did it last for you?
Daniel Lopez Munoz 23:55
It I think I focus on characters for him. So it must have been five months, something like that. It wasn't very long, okay. But there was a break. And after that, I actually started on Monsters University. And at the time, we had a different director. So they grabbed me to production this time, that picture as I assembled the team and spend maybe about four months before he actually replace the director in that picture.
Tony Bancroft 24:22
That happens that happens and this happens all the time.
Daniel Lopez Munoz 24:25
So I found myself a little bit out of place and maybe not sinking in with within with innovation. In hindsight, you know, I probably should have stuck at a I was it was the first time I did production design plays like Pixar. It's kind of a big deal. That's a real big deal. And and so I didn't feel I had what I needed at the time and and so in the end, I say, you know, maybe it's better if I step away from this now rather than there. It was a bit of it was a bit disruptive, but but I think in hindsight still They was the right thing to do. I don't I don't know if my my heart was into the whole college thing to give it the right, the right point of view that it needed. And, you know, Pixar was kind enough to connect fine. Because he would say, bless them. No, I mean, that's the thing you you can, I mean, I try to listen to my heart. And I've been fortunate enough that it's been okay for the most part. And then a year later came The Good Dinosaur, and the director at the time pinned me down to do production, the same firm, I still felt that perhaps I wasn't ready for it, but and we talked about it and I started on the project. And I did some design work for him before I committed to it and it felt very comfortable. And the project was the way was conceived at first was wonderful is a lot of fun, and kind of a new take a great perspective on it. And so I said, Yeah, let's do this and assembled another team and we got going on that. So that's what I've been doing for the past what I had been doing for the past three and a half years until the whole thing collapsed last year. Yeah, you guys probably heard on
Tony Bancroft 26:18
I think I'll say it because I know you don't want to Bob Peterson who was a long time had a story over at Pixar got the opportunity to to direct The Good Dinosaur and so that's who you're talking about. Bob was the first director on and you were going to be production designer with them. And as of this recording today, it was announced that Peter stone has taken over as the new director on The Good Dinosaur so we can officially say it because it's on the internet.
Daniel Lopez Munoz 26:45
I think it's been on there for a while. So yeah,
Tony Bancroft 26:47
yeah, cartoon brew just reported about it today. So yeah,
Unknown Speaker 26:52
are you alright,
Tom Bancroft 26:53
so you back on it then?
Daniel Lopez Munoz 26:54
No, I actually they assembled a whole new team. We were we were sort of on hiatus for what seemed like an eternity six months. Wow. So I get busy with work in development. That's where I'm at. Right now in the new building.
Tony Bancroft 27:08
When we back up for a minute. I didn't know Pixar had a new building. Did you guys is there an offshoot building now for development it
Daniel Lopez Munoz 27:15
it was conceived to be the house for the story department and a big portion of the art department and development as well as house recording studio. Very nice. And he was completed I believe two or three years ago.
Tony Bancroft 27:29
Is it connected to the old building the old studio or somewhere else
Daniel Lopez Munoz 27:32
in the campus in the same campus but it's fine to secure Yes, there used to be a soccer volleyball. Yeah, right behind a soccer field. Took the place the only take the socket
Tony Bancroft 27:44
down now what what are the European artists gonna do?
Daniel Lopez Munoz 27:48
They move the soccer field up and it's a little smaller than regularly.
Oh,
it's not like we have professional places.
Unknown Speaker 27:56
It's the postal there.
Daniel Lopez Munoz 27:59
Is this sort of stuff on the internet? Because they don't really like to publicise. Yeah, the pool still there. And yeah, it's all water. And it's I think it's heated. I actually could be Honestly, I don't use a lot of incredible things that they have here for the amenities, amenities
Tom Bancroft 28:17
ever you leave, you're gonna miss it, you better do it.
Daniel Lopez Munoz 28:20
That's why I don't want to do it. So I don't miss it.
Good thinking
Tom Bancroft 28:27
you should give half your paycheck to me to for that same reason.
Tony Bancroft 28:31
I want to get used to it right? Well, man, this
Tom Bancroft 28:34
has been incredible. I mean, what we're hearing is, you know, we have a lot of people that email both me and Tony. And I'm sure you get the same kind of emails about people that say I want to do what you do. I want to be a character designer at Disney or Pixar or an animator and in your case, you know, a character designer, can you tell us a little bit about sort of what the day to day is like, as a character designer? And, and to second at Pixar? Is it very specific? This guy's a character designer and this person does environments? Or are you able to do
Daniel Lopez Munoz 29:03
both? You know, I've been surprised for how much that is the case. Sometimes, yeah. I don't know if I should say this but but you know, going back to The Good Dinosaur and the new the new version of The Good Dinosaur that's ongoing right now they change the story. So it's going to be very heavily focused on or there were going to be a lot of set work to be done. So they were actually thinking of getting production designer that was a little more focused on that and characters. And so the studio had the thought to me a little misguided that that I was a character centric production designer. Ah, okay.
Tony Bancroft 29:47
So you got to kind of pigeon holed a little bit. Yeah.
Daniel Lopez Munoz 29:49
So it happens in big cities. But But you know, to the fence, I'm playing both sides of the jury here
Tom Bancroft 29:57
well, and to be fair, you're really great. And both sides, you're graded, incredible both. So
Daniel Lopez Munoz 30:03
I hadn't done set design beginning to enter the picture here, I started off as a character designer, which was a huge blessing, it was a wonderful and then moved on to a brave still working to character work and then and Rico's short laluna, still with characters and, and so that was going to be my first and we did a lot of I mean, there's three years plus worth of my team's work, you know, in there. And as you guys know, if it's not working, just scrap it, and you put it on the shelf and you forget about it. When you're when you are a creative person in who seeks excellence in storytelling, then that's, that's okay. And it's one great thing that Pixar has sort of had an influence on me is, is to not take the everyday work personal, you know, there's there's the work and it's sort of outside of yourself. Yeah. And the idea and the ideas that come to your mind, it's very sort of outside of yourself. And it's not part of your ego. Yeah. And so that that's been that's very helpful here at Pixar. And a lot of people operate that way. So wonderful philosophy, because when you can unmute yourself from your work and and then you'll find the best solution because the best solution may not be with you. So you had asked me Tony about the day to day as character designer, and kind of as a segue of what I just said is you basically you sit with a director, and he has an idea of what he wants for the characters who sometimes look like a lot of the focus on Pixar is, what the characters feel like or what their arc is going to be in the story what their life is about. And so there's a lot of focus on story on everything that we do, even when we're doing production design to the smallest detail. If it's a car or leaf or a tree or house, it all has to revolve around your central character. There is a sense out of that. And so I feel like I'm preaching to the choir, because you guys know there's so much better than I but but that's a day to day,
Tony Bancroft 32:04
it's great for our listeners, because they are so interested in the day to day of what does a character designer do? How do I become one? What's involved? You know, how much input do you get from the director? Yeah, how much time? Are you in meetings? Do you sit around drawing all day? Or is it kind of a lot of both you I think you hit all of what the experience is about.
Daniel Lopez Munoz 32:24
Sometimes you get a lot of great description from the director, if he has a very clear vision of who the character is. To give you an example for up he had a very clear idea from Carlos because he doctor had been tossing around in his head for a long time. So he knew exactly what Paul was about. When we came to design months, the villain in the story, it was a new sort of character in the in the story that had sort of evolved when I arrived at Pixar, because the original story didn't have months in it. And he wasn't very clear about how he wanted to project that character of the story. And I guess for your listeners, what very useful. One of the things I've learned here that's very useful is whichever character you design, whether it's a principal, your principal character, or the supporting characters, it's all about what it says about that principal character.
Unknown Speaker 33:18
Yeah.
Daniel Lopez Munoz 33:18
So the thing that Pete and the other story folks were struggling with with months is that they didn't know which part of Carl's story they wanted necessarily to tell with him. Yeah, that there were points at which months was getting kind of away from them a little bit, and becoming almost more important in terms of capturing Jada's interest than Carl.
Tony Bancroft 33:42
He was big, it was very broad, right. And he was a bigger character who was becoming
Daniel Lopez Munoz 33:45
extremely interesting. And Franken just very multifaceted villain, a person who had had once a glorious sort of career and glorious life and was a good person and adventure. And somehow it all twisted away, he was becoming extremely interesting. At some point, there was this sort of fountain of youth that which, which he found on the on the eggs of the bird that that's sort of central to their conflict, and it kind of bring him back in time. So you have this character that would age back. And so it gets really complex. Yeah. And so it really had to answer the question of this is what would happen if Carl didn't open his heart to accept the new adventures in his in his life after his wife but yeah, that was kind of once I think once he found that that kernel then everything revolved around and in the character just work right. Yeah, I remember what I remember working on for a year and for your Listen, what's important there is I mean, a year sounds like a very long time to work on a single character, but it's not that you know, we were putting out horrible drawings. Okay, somewhere. What But it's more that he hadn't quite detailed his story as to what his role was going to be that would support current product.
Tony Bancroft 35:07
Yeah. And I think a lot of listeners probably wouldn't understand that. Well, first of all, what you just said, which is, Pixar just makes some drawings that you're not always satisfied with. That's, that's always a surprise for people to hear. And then second, how things change and story really changes what you do day to day, you'll probably get a memo or a call from the director. Hey, now we're thinking this and all of a sudden, you got to change directions. You've been working six months on, you know, the character being this way. And now Yeah, oh, story changed their, their mind. And now they're going this way. And it changes what you did in the last six months, right?
Daniel Lopez Munoz 35:39
Yeah, thankfully. I mean, the productions here, clearly, when it comes to a director and department are very small teams. So oftentimes, you hear directly from from the horse's mouth from the director. But normally, you hear from the production designer, and it was Ricky, but we have when things are in production, you end up having at least two meetings a week with a director where he reviews your work, or kicks you off on a new idea or another direction to go or not, a lot of time would go by before you have to kind of go back and take a different direction. You are, of course subjugate to turn since story. And at the time, the the story department and the art department were very near each other. So we would hear things as they happen. And Ronnie del Carmen was the head of story on so we had a good relationship. He he you know, it's funny, he in fact, the way I came to Pixar was through a jerk, Jeremy Vickery, if you remember, yeah, he worked with us at big idea. And he had come to do lighting here at Pixar. That's right. And I had given him a portfolio at some point. And years later, turns out, Ronnie, Ronnie had kept it in his office and tried to shove her so he was kind of an advocate for me. And so I still remember that. So So over the years,
Tony Bancroft 37:04
multiple years, yeah, portfolio, and he kept going back to it, right,
Daniel Lopez Munoz 37:08
yeah. So going back to the day to day, sometimes you get a very good description, sometimes you get sort of the gist of what the director is after. And I find this to be the most fun, because then you get to put more of your own thinking into it. And you can come up with like a backstory. In the case of Muntz, going back to that example, there was sort of little that was known about him. And so you could actually go off on a limb and kind of create a whole backstory for the character and pitch that to the director. And, you know, sometimes that goes very badly. And sometimes it goes very well. Sometimes there's little details that he likes from what you do. So it's kind of both ways. Sometimes it's very clear. And sometimes it's vague, but it's all because of where things are in story.
Tom Bancroft 37:53
Yeah. Now, can I ask you kind of and this is from the viewers perspective, or their listeners perspective, because again, they're they're asking all these questions about how do I get into as a character designer? What are the numbers as far as how many character designers are on a given film? And I know, there's overlap. I mean, like, some will come and go. But I mean, at one time, are you are you the only guy at one point? Or is there a couple people at least
Daniel Lopez Munoz 38:17
there? It varies, it's often good. Normally, this way you have two, to complement each other. That's kind of often been the case at least in the (...) price that sometimes you have one and principal character designer and then some supporting character designers when things heat up. On Up it was Albert and I, who were the character designers, and of course, Ricky being the production designer. He's also a character designer here in his own right to your question of how many how many total in a Pixar character designers there are? Well, yeah, both
Tom Bancroft 38:50
total within the whole company, and then per pay.
Daniel Lopez Munoz 38:53
Yeah, you know, it's funny, we, we always say that we're looking for character designers, because that is that is a hard thing to come by particular Pixar, because there are some studios, there's a lot of studios that actually will hire designers just to get that emotional sort of sketch out of them, but then not partake in the production of the character in the computer. Right. And the difficulty I think, with Pixar is that as designers in general we're in some ways required to to be able to navigate both to be able to come up with the ideas as well as be able to communicate those to the technical department and work with them throughout the month the month to to achieve the final product. So
Tom Bancroft 39:40
it sounds like what you're saying is sort of there's a second phase to character design. Yes Are where there's a whole nother part of that later in the production where Okay, now we have the drawings that we like the directors approved the concept art, and now you're gonna follow it through and really start doing more technical drawings of how the house is gonna move. Yeah, and
Daniel Lopez Munoz 39:59
then That typically that typically goes for the character designers that are attached to the picture.
Tony Bancroft 40:05
Okay, okay.
Daniel Lopez Munoz 40:07
There are there are floating character designers, Tom Gately, whom you guys know, yeah, he's great at designing. I shouldn't say that. He prefers that he prefers to. And frankly, we prefer him to stay as a designer, because then there's other artists who can take the work and work with the technical teams
Tom Bancroft 40:29
on Yeah, refine it. Yeah.
Daniel Lopez Munoz 40:31
I'm not saying he hasn't done it. But you know, he, he thrives at designing more than he's like a big picture. Yeah. Like so. Yeah, shoot out a lot of sketches. And in the past, Pixar used to actually hire freelance character designers like Peter deSeve, or Carter Carter Goodrich, yes. Carter Goodrich, to give us sort of a first introduction into the possibilities. He did that for Brave and amazing work as always. Yeah, we haven't quite done that a lot, as much as we used to, because we have more characters designers in house now. Yeah. And actually, you know, enjoyed the fact that it goes up.(...)
Tom Bancroft 41:08
Well, and let's back
up a little bit, I'm gonna go out on a limb and this was before your days at Pixar. But when I look at character design, in general, not the animation of Pixar, because they're, they've had great animation from day one. They've had a great story, but when I just look at that studio as a, as a character design studio early on, I would not say they were known for being great at character design. Like I look at Toy Story. And I know there's people out there, they're gonna fight me. I look at Toy Story. I look at Bug's Life, I look at even Finding Nemo,
Tony Bancroft 41:42
Preach on brother.
Tom Bancroft 41:43
And and they're kind of average, you know?
Daniel Lopez Munoz 41:46
Uhhh sassy!
Tom Bancroft 41:46
I know that. That was bad. That was bad. But
Daniel Lopez Munoz 41:50
I'm sweating over here. Because?
Tony Bancroft 41:53
Tom can say it because he doesn't work for any studio. I could say that too. We're all independent here. You can't say that though. You can only nod your head silent.
Tom Bancroft 42:04
Constantly, while
Daniel Lopez Munoz 42:07
but there's a question though
And yeah, get to the question.
Tom Bancroft 42:10
I actually have kind of, I'm working into a statement, I suppose. But I guess I see that with people like yourself coming in, I can really get an appreciation and you could start seeing it with The Incredibles. And some of those films that started progressively getting better and more rich in the character designs as Brave, as Up,
where the characters really the style and the look and feel of them? Well, I think Pixar is still very good about going like with Monsters Inc. Well, let's keep a very simple because that'll communicate the easiest, they don't get too complex with their character designs. And I think that's a good thing. And that's been there from day one. So that's a positive. Yeah, but I could see that as the draughtsmanship of some of the artists coming in like yourself has grown. We are getting a more rich character designs, and the film's the texture of the films is now getting more equal to the animation in the story. So I guess I'm working this into a compliment to you and to a lot of the characters are there as you've grown as a team to see that. And that's just from my point of view, but I mean, do you have any reaction to that? I mean, do you see that at all, or ...
Daniel Lopez Munoz 43:20
Thank you for your compliment.
But I, you know, I will say, I mean, I've felt what you felt throughout different stages of my career and seeing how audiences received the work that Pixar does, and seeing how other work is done out there. When it comes to designing for films, animated or otherwise, I've come to the conclusion that Pixar is very good at not overloading the design aspect of the picture. So that what the director is trying to tell the story comes across without all the bells and whistles that write that other that other production design work we do. You know, I'm thinking not really of animation, but science fiction pictures in recent years are so elaborate, that you just get lost, you get sidetracked and you you're following some greenfire over here that has nothing to do with what the characters are talking about or trying to move forward.
Tom Bancroft 44:20
Wait, wasn't that Brave? No.
Unknown Speaker 44:23
No, I I would say that no, but I'm not gonna say the name. But But yeah, and that's perhaps why why there is a critique coming to Pixar (...) the public took picture of not being as not having designs as pushed as other studios may be doing Right, right. You know, frankly, at the studio at Pixar, we all would love to be able to do all those other things. And there are times when we have tried it. And even in the times past before my time when you look at the work that designers were doing here at Pixar is pretty amazing. Work. Yeah, in defence of you know what we were talking about earlier, I think what has improved greatly is I very much. And I'm not wanting to be contrary to you, Tom. But I very much respect the point of view that those designers that that put together Toy Story and Nemo did come up with what the difference is today, I think, to maybe take some important stuff of me is that the computer has gotten better at representing the design work. Yeah, because in the days of Toy Story, it was actually very hard to do organic surfaces. Yeah, in fact, had been the first time they were somewhat successful with that, because prior to that was Tin toy and Tin toy he had a baby that was sort of wrinkled paper? Really? Yeah. So a lot of the a lot of the improvements have been on on the technical side, because, you know, when I look at the work that was done before me, it's really quite refreshing. You know, it's almost as good as anything people could do today. At times, I would argue better because they are focused solely on emotion and not having to worry about how the computer is going to do this or that. Yeah,
Tony Bancroft 46:09
I love what you're saying, Daniel, I mean, I think what I see at Pixar, too which I see it, all the different studios, you can really say that the design sensibility comes from one, the director that's put over the project, and to the project itself, and the ability that that director has to pull on a certain team. Yeah, because we both know that directors have a lot of say, maybe not all of a say, but certainly most of the say in who that team is going to be who he makes as the production designer, and yeah, character designers and who he pulls in. So if he's available, if those designers are available that he wants for his team, it really affects the look of the picture. And then on top of it, the that director himself, I remember you were talking about Pete Docter, on up and I know, Tom and I went to school with Pete Docter, and his sensibilities always been very simple, he loves, Yeah, and I could see his shape philosophy really coming across in the look of those characters that are more boxy or more rounder, more simplistic shapes, which is how he draws and he Yeah, he was influenced by Calvin and Hobbes, you know, very simplistic design sensibility. And when you say that, that's a big part of it for you, too, as a character designer is taking what the director's vision is for the philosophy of the design,
Daniel Lopez Munoz 47:24
I think that is the key to the freedom that you may or may not enjoy, as a designer on any picture, right, is to have a director who has the backbone, frankly, to really put his voice on the work. And so you, you, you may have directors like like Pete who has a very strong sense of design, and he's been able to get away with with a lot of great new directions and designs, or Brad Bird with Incredibles was sort of a new Yeah, take on what I guess people out there call the Pixar style. Yeah. But you know, sometimes you get directors who are more focused on story and not so much (...) wanna influence every aspect of the picture. So it lands on the designers to do so. But, you know, the, the overlord of everything that we do here, obviously, is John and John has, John Lasseter has an aesthetic. And so you know, people may criticise the way Pixar pictures look, but it has certainly established something that audiences really love, you know, and so that when they go to see a picture of a Pixar film, they get a certain kind of, look. And you know, even as designs here we go back and forth, whether that's a good thing or a bad thing, I've reconciled as it is a very good thing. You know, it is I mean, he, amongst others built this place. And so he deserves to say on all this, but at the same time, just to finish that thought he is he you know when when you if you can convince him with an argument that he can get behind and you can do whatever, that's cool. That's what I mean by by a director who, a director has a real backbone to be able to back his ideas and fight for them. It's very important.
Tom Bancroft 49:12
Let's take a step back even further than that and talk about the management which is Lasseter. And now obviously, he started out as a director, they're an animator, but his philosophy and that and now I'm trying to apply him to character design like we're talking about. He loves toys, right? Look at all the Pixar films. They look like toys, right? They look like they were made to be toy.
Tony Bancroft 49:32
Yeah, there's kind of "big eye, round eye" kind of look right, soft shapes.
Tom Bancroft 49:37
Yeah. Soft shapes. Yeah. Do you see that? At least during the times the years that Lasseter was more really running the ship is, in the trenches, in the trenches and directing and things like that. Do you think that that shaped the Pixar character design style? Was that sort of that love of of toys from Lasseter?
Daniel Lopez Munoz 49:56
Yeah I am, I'm sure I mean, there's many facets to him, but I I think that gives him the the childlike mind to be able to influence story and designs on because I don't know, there is a way in which I don't want to call him a child, but he has, he has a very, he knows how to speak to that audience as well as grown ups, but he knows how to criticise your work so that it's easier to digest by an audience. So and that may have something to do with toys and those collections. I mean, a lot of the toys that that he has, and a lot of toys that have been on the market have been there since the 19, I would say the 30s to the 70s. And so that's a period of design in animation that is quite unique in terms of I want to say uncomplicated design Yeah, so you know that may have an influence, I certainly Pete Docter, I think comes from that period like you know the work that Mary Blair was doing you guys um you know him very well right and so there is a lot of that influencing the look of the characters at Pixar and you know some some audiences that this there's even you know people here in different departments that that at times would love to get their hands and do a very detailed creature yeah and and and sometimes we do if the story calls for it. Mor'du it's a very highly detailed creature. I think one of the most detailed that we've done and it's probably very realistic too, but it was only in service of story
Tom Bancroft 51:30
when I look at the Pixar films The two films that really and again strictly on the character design standpoint, Brave and Incredibles really stick out yeah as this this next tier up yeah what I would call more of a Walt Disney kind of a design sense yeah and like cuz you can look at Brave and you can look at Tangled and go okay those those almost look like they're the same world
Tony Bancroft 51:53
almost your options at least the same are offshoots of that same
Tom Bancroft 51:56
style that Cory Loftis feel to it, but yeah, but then you go back to Wall-E and you know Finding Nemo yeah Monsters Inc. those all have that
you know more what I would call the Pixar house style sure you know Sure. And and I don't mean that in a negative in any way. No, and
Daniel Lopez Munoz 52:16
you know, obviously there's gonna be you know, your Picasso or Sorolla, you're gonna have the signature style to your work and so but you know, it's still I mean, there's critics and there's lovers
Tom Bancroft 52:28
just to go one step further. Do
you think that that with Brave and with Incredibles it was the influence of people from outside of Pixar? Like Brenda Chapman came in with Brave and then Brad Bird with Incredibles?
Daniel Lopez Munoz 52:39
Oh, yeah, sure. It's only gonna be and I go back to this, it's always gonna be how strong is that director visually? Yeah, to drive the look of a picture and how good are they are navigating the complicated waters of you know, convincing the studio to go in that direction? Because that's another amazing skill to have.
Unknown Speaker 53:00
It is. Well, it's risky. I mean, what you're talking about is I totally get it Daniel. It's it's risky for any studio to kind of go well, this is something new How about we try this and but there's always that you're gonna have executives. And I'm not just saying it's all John Lasseter, but even above him and below him that are going to be going well, this is different. Do we like it? Because it's different? Or is it scary, different, good
Tom Bancroft 53:22
or bad?
Daniel Lopez Munoz 53:23
Right? I you know, I can I can tell you that for for John. And I, you know, I just have this feeling about it. I thought about it many times. But I do believe that if you have the right argument, and you're able to speak it to John that he will, you know, if it's serving the the story you're telling, then he will go in that direction. That's good. It's it's those times when you're not certain that you know, things things just kind of derail. Yeah. And so again, it's incredibly important. Everything really revolves around that director and how amazingly well rounded and tough and,
Tony Bancroft 54:04
and communication, communicative they are, right? Yeah.
Daniel Lopez Munoz 54:07
Yeah. Yeah. The, you know, the thing that with communication media, you can interpret in many ways, but it's, some people have that skill to communicate to John and communicate to a technical person. Yeah. You know, and be understood by both and they're very different languages. And some people have that some people have it more to communicate with John but not so much for the technical side. Some people have more to offer to technical. So it's, it's tough. And, and it's something you have to sustain as a director for three plus years. Yeah,
it's really hard.
I mean, just having done the smaller job of those that is production design, you have, I mean, you have to find energy from god knows where when things are going array to pump your team up, even if you don't believe that we're in a good shape. It's very, very, very hard. Yeah. I admire the people who do those jobs as well as they do. Yeah. It's a very, very, I think that's that's the hardest job that I've done. Not drawing not coming up with ideas. Maybe Yeah.
Tony Bancroft 55:15
Managing. That is a big part of the animation process that people take for granted when you get into it. But you learn along the way that it's so much about how are you? Are you good as an influencer? Are you good at communicating? How do you communicate? How do you inspire
Tom Bancroft 55:30
Oh Tony, did you write a book or something?
Tony Bancroft 55:33
There's actually a book out by Focal Press often at Tony Bancroft called "Directing for animation". We'll talk about that later, though. Hey, Daniel, before we lose you because I want to be sensitive to your time. And this has been wonderful. I told you that Tom and I have a Facebook page called the Bancroft brothers on that Facebook page. I asked everybody earlier before we started, hey, if there's any fans of Daniel Lopez Nunez and Pixar character design, ask some questions to Pixar character designer, and we got a tonne, I want to throw out just two, we only have a little bit of time here. Joshua Jordan asks, What is the hardest part of the design process for you? So and I'm going to throw in what is the the funnest part two? So what is the hardest part? And what is the funnest part in the design process?
Daniel Lopez Munoz 56:19
The hardest part is, I think it comes down to being able to communicate successfully with your team and the people that follow. I think that's the hardest thing because again, it's a it's a lengthy process. And you have to have the right sort of things to say at the right moment for that designer or that technical artist to be able to move a step forward. I know it has nothing to do with design. But it is I think one of the hardest thing when you work in a studio environment or you work as a team, the most fun, I think it's really at the beginning, when you're giving sort of a white canvas. And the director puts kind of a concept into your head, just a couple of words, that sort of there's there's an image that explodes in your, in your mind of what it could be, and it looks fantastic in your head. And now you have to start kind of getting it out. It's fun. It's fun. And I'll say this, and this is something that Pixar is very well known for. And I know that John talks about this the public all the time, but it's so true. I know it sounds talking about it again, but the research, this not only incredibly important, and I didn't know how important really until I got into working here at Pixar, and not so much this gathering research but living, being in the place. Yeah, it's so important. It's so much fun. I love that because you're learning something new that you didn't know before, whether it's science or you know, a new a new place in the in the planet. And what I'll say about the importance of actually living it is that there's two great elements that come out of it something you couldn't find him in the internet, the little details that make the makeup of your life important. You know the little it's like relationships, the little things about your wife that nobody cares about, but you, the little things that show up when you actually go to the place that you're researching. The things that nobody else notices are the things that we end up putting in the movies that perhaps the audience doesn't readily know it, but they feel it this they're so awesome. And so it makes
Tony Bancroft 58:31
it real. Yeah, it gives a depth Right.
Daniel Lopez Munoz 58:33
Yeah. And the other element of that is that it really helps solidify the team that I remember for the previous version of The Good Dinosaur, we actually escalated a snowy mountain. And that was an amazing experience. I would not in any wild dream would have ventured into a snowy mountain. But it was it was cool. It was to you know, to sort of survive that with with your team.
Tom Bancroft 58:59
It's funny that just picture a bunch of, you know, artists try to tell Yeah,
Daniel Lopez Munoz 59:05
yeah, yeah, I made it. Yeah. I don't know how but I made it. Alright, one more question.
Tony Bancroft 59:12
I got one from Corbin Armstrong. Yes. And he's done his research on you. He says when he must be a big fan of Daniel. Daniel was nominated for an Annie Award for character design for the film Up. How did he feel when he was nominated? Oh, I remember that.
Unknown Speaker 59:28
Uh, well,
Daniel Lopez Munoz 59:29
how did I feel? You know, it's
it's strange because the characters you know, once the movie comes out something that was yours or ours is smaller team. It really kind of ceases to be yours. And all that to say that when the nomination came, I mean, of course I you know, I felt very humbled by it because it had been essentially my first feature length character work and they were ours that had been doing it for much longer time that was nominated me. Did you win it? No, I didn't. I didn't. I'm glad I didn't because I didn't know. It's, it's okay. I don't you know, I mean people feel different about awards and make this social thing. So yeah, I'll say this. I'm glad I I didn't get because it keeps me like jack nicholson or somebody Marlon Brando.
Yeah, yeah.
Tom Bancroft 1:00:32
I get it. Well, you know what, we probably need to wrap this up, Danielle, this has been awesome. A lot of fun. Thanks, man. Get some good information. Hopefully all of our listeners learned a lot about what it's like to be a character designer, Pixar, and hopefully a little bit of what it takes to get there to hard work.
Tony Bancroft 1:00:48
I think the big answer, that's the big summary hard work. And so I hope that people really heard to throughout this interview connections, it is a lot of what came about for Daniel that I'm hearing is it was Ronnie, Ronnie del Carmen. It was this guy. It was that guy friends that he made way back in college friends that he made a big idea early on that helped him through his career. So much of what happens in this animation community is about those small connections. So make sure that you make good connections upfront early on, and keep those relationships tight. And you are who you know, that's for sure.
Tom Bancroft 1:01:21
Thank you, Daniel.
Daniel Lopez Munoz 1:01:22
Thank you guys. It's been a pleasure and an honour, frankly, to copy the honours hours.
Tony Bancroft 1:01:28
Yeah. Thank you, man. So yeah, I'm pleased to continue to tune in to the Bancroft brothers animation podcast, we have a lot of more interviews coming up with truthfully friends of ours, but other people that we just admire in the industry that we're going to get on board to do interviews, plus Tom and I like to chat from time to talk to join in and talk to guests. We're just talking talk the animation process. I love it. We love what we do, and we hope that you do too. I also want to really thank Stewart ink books, who is our sponsor for this episode. That's Stewart ink, mg books. And if you go online, you could find him at Stewart ink. books.com and, Tom. Any last words to
Tom Bancroft 1:02:06
Yeah, I just think everybody should animate from the
Tony Bancroft 1:02:09
heart. Thanks, guys, everybody.
Transcribed by https://otter.ai
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