As a seasoned animator and storyteller, it seems that Steven Caple Jr., with his rich background, has found a unique niche in bridging the gap between live-action and animation. The transition from live-action to animated films for the Transformers prequel not only proved to be a wise decision economically but also creatively, as it allowed for more stylization and exploration of the characters’ origins.
Similar to Woody’s new journey at the end of Toy Story 4, filmmaker Josh Cooley embarked on a fresh path. This was in March 2020, and just a month prior, he had been awarded an Oscar for his work on Toy Story. Despite these achievements, he bravely chose to depart from Pixar, the studio where he had spent his entire professional career, having started there as an intern 18 years earlier.
It was Friday, marking the end of his workweek before relocating his family to Los Angeles in pursuit of opportunity. The decision came after recognizing that due to the nature of the Pixar production schedule, if he remained there, he wouldn’t see a movie released for another ten years. Despite feeling sad, he was also filled with excitement.
On Monday, March 16th, America took a pause due to the COVID-19 pandemic. A heavy, uneasy feeling knotted up in my gut, churning with uncertainty.
Looking back, I find myself questioning my choice when I let go of our family’s health insurance coverage. Was that a move doomed from the start?” That’s how I recall feeling at the time.
Last Friday afternoon, he discreetly took on the task of directing an animated Transformers film for Paramount Animation. This decision might appear daring, given that the last time an animated Transformers movie was released in cinemas, all the way back in 1986, the results weren’t particularly successful.
Given the ongoing pandemic, the prospect of moving forward seemed increasingly uncertain and hazardous. With prolonged quarantines continuing, one might question whether people would still attend or produce movies. He remembers pondering, “I wasn’t sure if these endeavors would even survive.
Approximately five years after its conception, the project initially known as Transformer One, has now been finished and debuting in cinemas today. This film serves as an origin tale, delving into the transformation of two iconic Transformers, Optimus Prime and Megatron, from being friends to becoming bitter adversaries. Chris Hemsworth and Brian Tyree Henry lend their voices to these characters, while Keegan-Michael Key and Scarlett Johansson are also part of the voice cast. The reviews have been overwhelmingly positive. Interestingly, for a movie bearing the name “Transformers,” it is generating Oscar buzz.
It’s great news for Cooley, who is currently with me in a secluded spot of a restaurant in Los Angeles. He’s briefly back home from his global promotional tour. Originally from Livermore, California, which is part of the Bay Area, Cooley was raised by artist parents. His mother was a professional cellist and music teacher, while his father constructed and played guitar, although he had a long-term job at Chevron. Later in life, when Cooley was married with children, his parents retired and operated a unique toy store in the town for 15 years.
Cooley humorously comments, ‘You waited until now?!’ However, it was fantastic,” he says. “My children had the privilege of growing up with a grandparent who owned a toy store. When they made the decision to close, they let all the grandchildren choose toys from the shop by giving us bags and saying, ‘Take whatever you desire.’ In essence, I got to live my dream through them.
He mentions, “I’ve always been deeply fond of toys. As a child, I never discarded my toys. It’s quite common in the world of animation for people to keep their toys or collect them. After working on a movie like Toy Story and then Transformers, it seemed natural to me.
For the upcoming hour, as platters of lettuce wraps and boba drinks appear and disappear, Cooley discusses how the movie “Who Framed Roger Rabbit” by Robert Zemeckis significantly impacted his life, performing magic tricks at Fisherman’s Wharf, the golden era of Pixar, why animation directors should be part of the Director’s Guild of America, and why he won’t persuade Quentin Tarantino to watch “Toy Story 4”.
What were you obsessed with when you were growing up?
Since my earliest memories, I’ve been captivated by the art of drawing. My parents always supplied me with sketchbooks and other materials to create on. I found myself utterly fascinated by Warner Bros. cartoons and Disney classics, and my passion for cartooning only grew stronger. One day, it struck me that I wanted to become an animator. I shared this dream with my parents, who, unlike many others, responded enthusiastically, saying, “Of course! Why not?” Their unwavering support was inspiring. When I was 11 years old, the movie Who Framed Roger Rabbit was released, and it left a profound impact on me.
How so?
The film that left me in awe, making me exclaim, “I aspire to be a movie-maker!” I vividly recall my cinema experience, as if my mind was being torn apart, wondering, “What’s going on? How is this possible? He’s conversing with and controlling an animated character, and the character is physically interacting with the world.” It felt like witnessing real magic.
At that point, there were no secrets revealed about how things were created. However, Robert Zemeckis was showcasing these behind-the-scenes aspects on ABC, particularly in shows like Roger Rabbit or Back to the Future II. I used to record these with great enthusiasm and enjoyed watching every bit of it.
There’s also stuff with magic as well. That was part of (my childhood).
Oh, really?
My sibling and I frequently visited a magical shop, spending leisurely hours there. It’s worth noting that cinema and magic share a connection, as some pioneers in filmmaking were actually stage magicians who were experimenting with film for the very first time.
Are you a member of the Magic Castle?
Not yet. I’m thinking about it. I was a street magician when I was in college in San Francisco.
Holy cow.
For a brief moment, I assumed it was allowed. Little did I realize, obtaining a street permit was necessary for such an activity – something I hadn’t been aware of before.
Did you get cited?
On a few occasions, I was warned that I might face citations, but instead of backing down, I’d demonstrate a trick or two, which usually left them amazed, saying “That’s quite impressive!” This seemed to put an end to any further disturbances. In my leisure hours, I would pick up a pot and head over to Fisherman’s Wharf. When tourists approached me, I would entertain them with magic acts in exchange for tips. It turned out to be quite profitable.
How did your Pixar era begin?
In late 2002, I found myself at the Academy of Art in San Francisco, immersed in the study of traditional hand-drawn animation. Amidst a wave of digital advancements, particularly 3D animation, I chose to stay true to my passion for 2D animation.
As I’m about to graduate, it seems like the 2D animation studios are closing one after another. Studios like Disney Florida and their Paris studio, along with other commercial studios producing 2D animation, are all shutting down. This has me worried, thinking that perhaps I’ve learned a skill that’s becoming obsolete.
In a story-crafting class led by a Pixar artist, on the last day, he invited Joe Ranft, who was the head of story at Pixar. We were all pitching our final projects when he was there, and I had heard of him before. When I saw him, I thought, “I need to make an impression on this guy.” I pitched my project, and he seemed to really like it. After that, we kept in touch. A few months after graduation, I received a call: “We’re working on a movie about cars. Would you like to intern in the story department?” I was excited because I enjoy drawing cars. However, I can’t draw a car worth a thing! Still, I went in and became the very first story intern at Pixar.
How was that like?
I assisted in refining and enhancing the drawings of storyboard artists who were working on numerous sketches each day. Sometimes these sketches were quite rough, and they’d pass them on to me with a request like, “Hey, could you make these look better?” In essence, I was simultaneously improving my drawing skills and aiding everyone else. It was an exceptional learning experience that I believe is unique, given the timing. During this period, movies such as Cars, The Incredibles, and Ratatouille were being produced. At that time, Disney hadn’t yet taken over, and they weren’t aiming to create a new movie every year.
Originally, I was focusing on the project titled “Cars.” Suddenly, they requested additional help for a superhero film. I agreed and shifted my attention to that team led by Brad [Bird]. After some time, they signaled that their task was complete, then suggested I move to another assignment: a rat-themed movie. Again, I obliged and proceeded to work on it.
Initially, Cooley was appointed as a junior story artist, and within a month, he was advanced to a full story artist position. Interestingly, Pixar had turned him down on two previous occasions when he applied for roles there. However, this time, he managed to secure a spot behind the scenes. “I still keep those rejection letters,” he shared.
Could you share some insights about your experience working at Pixar during its golden era? It’s only when such periods end that we truly appreciate them.
Reflecting back, it wasn’t thoroughly contemplated at the moment. It seemed exhilarating, as if everything was within reach. Who would imagine creating a movie centered around a rat? I vividly recall that sense of excitement even while working on Up, a film about an elderly man and a young boy embarking on incredible journeys, leaving me puzzled and wondering, “What’s the subject of conversation?” Each day at work held a new surprise, making me eager to be there.
Who was your favorite person there?
Joe Ranft served as my mentor. We shared an interest in magic, creating a special bond between us. He was truly exceptional. Tragically, he passed away in a car accident back in 2005. There were certain instances at the studio where you could sense a profound shift, and his passing was one of those moments that hit everyone particularly hard. To me, he was like a father figure, but also a paternal presence for the entire studio. I named my son after him as a tribute to his influence on my life.
I guess a second big moment when you would say the culture shift was when Disney bought Pixar?
Yeah. The big question was what was going to happen?
Were people panicked?
Absolutely. The movie “Ratatouille” was actually the final film under the original distribution deal between them and Disney. Following “Ratatouille”, there were concerns about what would happen if they didn’t renew the agreement. During company meetings, discussions arose about the strained relationship between Bob Iger and Steve Jobs. It seemed that Disney was planning to establish another studio to produce sequels of Pixar films. This situation didn’t sit well with everyone, but we were told to continue creating movies as we usually do, and then we would see how things unfolded.
I recall the moment Iger stepped into our studio; I must admit, I was genuinely taken aback by him. At a corporate gathering, he mentioned his visit to Disneyland, where he noticed an overwhelming presence of Pixar elements. To be precise, it seemed as if everything had a “Toy Story” vibe and the influence of Disney was minimal during that specific period.
He expressed, “It seems you all are excelling in areas we’re not.” I responded, “That’s quite an admirable comment.” I believe part of our discussions involved Jobs stating, “We can’t alter the atmosphere here. It needs to remain as it is.” For a while, I didn’t sense any significant changes taking place.
Has Tarantino admitted that he hasn’t watched Toy Story 4 yet? It seems unbelievable that he wouldn’t want to see it!
It’s clear that he has full freedom to make his choices, and after listening to that interview, it’s evident that he is indeed Quentin Tarantino. What I admire most about him is his unbridled enthusiasm for everything, and especially for the trilogy he created. Simply fantastic!
What would you say to him to try and convince him to see your movie?
I don’t want to have to convince him to see it. If he doesn’t want to see it, he doesn’t have to.
You left after Toy Story 4. What was the thought process behind that?
Following some enjoyable work, I took a moment to assess the project timeline. If everything fell perfectly into place (which rarely does), there wouldn’t be a release until 2029. The timeframe for these projects is quite narrow, and I didn’t want to wait that long. Then, I stumbled upon the script for Transformers One, and it was unlike anything I had anticipated based on the name Transformers.
As a gamer, I couldn’t help but feel a pang of concern when Pixar faced challenges during the pandemic. It was tough to watch their struggles from the sidelines, especially when their latest movies didn’t resonate as strongly with audiences as we had hoped. And then came the decision to exclusively release on Disney+, which stirred up mixed feelings among fans like me.
It strikes me as a significant misstep to opt for offering Pixar exclusively on streaming for no charge. Frankly, this perplexes me. I believe this move has had a detrimental impact on the brand’s reputation. I understand their motive was to boost Disney+ subscriptions, but I fear it may have done more harm than good.
If an individual plans to write a history of Pixar in around 20 years, they will likely encounter a stage where they find the more recent films, such as Luca and Turning Red, focused on deeply personal narratives. These aren’t the same popular movies that were made earlier.
Absolutely, I get your point. In my perspective, it’s like comparing movies such as Toy Story, Monsters, Inc, and A Bug’s Life, or similar initial films. These stories are based on the implicit understanding that toys have life when we’re not around, which is a common assumption among children. Similarly, most of us have an unconscious belief that there are monsters hiding in our closets. These ideas are deeply rooted, often subconsciously, and were tapped into by these movies without us realizing it. They touched upon universal truths that resonated with audiences.
I never thought about turning into a panda bear or turning into a fish boy. It’s just a different style of story. And for me personally, I prefer the monsters in the closet, and I think that’s why for me it was more successful, story wise for that reason.
The word “Transformers” can induce some eye-rolling, like why should I take this seriously?
In essence, the idea behind these films I’ve created – which range from cars, toys, and even emotions – might have originated at Pixar. Though they aren’t human, they exhibit traits we can relate to. That’s what makes these stories resonate so deeply with audiences. So, why not apply that concept to Transformers as well?
And this movie took five years to make?
I began working on it in 2020, but according to producer Lorenzo di Bonaventura, the planning for this project may have started even earlier. After the second live-action film, he gathered a group of writers and posed the question, “Where might this universe be heading next?” The prequel story idea, focusing on their friendship origins, seemed particularly intriguing to everyone involved.
So what cracked the code?
Instead of creating a live-action movie, Lorenzo emphasizes the choice of an animated film for its project. He explains that if the movie were entirely computer-generated (CG), the production cost would skyrocket to approximately $2 billion due to its high level of detail and realism. Therefore, opting for animation allowed them to style it more freely and tell the entire story using only Transformers on their planet, which was crucial for the project’s execution.
There is a tragedy element to the ending. Is that a risky move to make for a movie right out of the gate? You’re giving the audience an Empire Strikes Back before a Star Wars.
I didn’t view it as a risky move since the audience is already aware of their impending conflict. They are accustomed to seeing these two characters as enemies due to their history spanning over 40 years. I was leveraging this familiarity. By making them likable together in Act I and creating a sense of affection among the audience, there’s always an underlying anticipation that their relationship won’t last. The audience is essentially waiting for the moment when things will go awry, thinking, “When will it fall apart?
There’s been talk about the harsh working conditions in animation. Are they really that rough?
While I haven’t directly encountered such a situation myself, I’ve heard tales of productions being incredibly grueling. Alongside these anecdotes, I’ve also witnessed the use of advanced technologies like animation and visual effects. What I can affirm is that there’s a widespread demand for lower costs in movie production. Studios yearn for cheaper and quicker methods, but at no cost to the hardworking crew members. To me, this seems nothing more than common sense. However, my observations are generalized; I haven’t faced these challenges specifically at Paramount or Pixar.
There’s been some discussion lately about animators not belonging to the Directors Guild of America. You also tweeted about it. Could you explain the main point of contention in this situation?
I don’t know the answer to why the DGA doesn’t allow animation directors to join their union. I’m able to join WGA because I’ve written in live action. If you’re an animation writer, you’re under the Animation Guild, part of IATSE. But animation directors, they’re not allowed to join. I wish I knew the answer.
It might come down to maybe, still after all this time, animation is still looked down upon by some segments of the industry.
As a gamer, let me tell you, my gameplay skills haven’t shifted; it’s my priorities that have evolved. What I yearn for now is quality healthcare for my loved ones – that’s the new level I want to unlock. And hey, if some residuals come along as bonus points, I wouldn’t mind!
What’s next for you? Are you looking to get into live-action?
As a film enthusiast, I’m always eager to craft compelling narratives and breathtaking visuals, whether it’s through live-action, animation, or even creative mediums like sock puppets. I’m all about breaking the mold and surprising audiences with unexpected twists. Just like Roger Rabbit ignited my imagination, I’ve been dreaming of creating a hybrid masterpiece. Yet, I’m equally captivated by films like Longlegs, and I remain open to exploring any avenue that sparks my creativity.
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2024-09-20 22:57