通过与戴夫博塞特的动画创新讲故事of Disney

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Katie Trauth Taylor[00:00:04]欢迎来到非国有创新故事，在那里我们扩大了由无国内内容提供技术支持的洞察力，影响和创新的解开故事。乐动体育足球我是你的主人，凯蒂泰勒。我们的客人今天是Dave Bossert，他是一家屡获殊荣的制片人，创意总监和作家。他是前生产者，创意总监和沃尔特迪斯尼动漫工作室经典项目。戴夫，我今天很感激你今天播客。你已经创造了一些完全改变了我的生活的艺术和工作。而且我知道这么多的听众都很激动，以便在你的大脑里面进入你的大脑，并了解你对创新和讲故事的独特作用。

戴夫·博斯特[00:00:51]好吧，很高兴和你在一起。我很高兴地谈论任何可能感兴趣的事情和一切。

Katie Trauth Taylor[00:01:01]这是所有兴趣，但我想我特别想知道是什么让你成为一个动画师，什么样的给你带来了特效和特效？好吧，你知道，很有意思。

How Dave Got Into Animation

戴夫·博斯特[00:01:12]我觉得人们当你成长时，你知道，孩子们总是喜欢，哦，我想成为这个，或者我想成为这一点。而现实是，我不认为我们中的任何人都真的知道我们将成为那个年轻人。你知道，有些孩子会想成为消防员或警察，或者我的兄弟们对想要成为飞行员和宇航员的地狱弯曲。有时候你会跟进那些对我的事情。我喜欢艺术。当我进入高中时，我真的专注于发展一些艺术技能。我很幸运能拥有一位非常伟大的高中艺术老师，我认为今天有点缺乏供应。我想当学区削减预算时，他们通常先去艺术。是的，但是当我在高中时，我有这个真正的古典训练有素的艺术老师。他是一位成熟的艺术家，他真的鼓励我。 And I really look back on that as being one of those people that really sort of pointed me in a direction. And when I got out of high school, I enrolled in an advertising art program at a local college in New York. And while I was there, I took a class that was called TV Graphics. Now, this is pre-computer days. But it was the first time I actually created a piece of animation with my artwork where I took a piece of artwork and I created motion with it.

Katie Trauth Taylor[00:03:02]那是什么样的？

戴夫·博斯特(00:03:04)实际上是很酷的。你知道的,you get that big smile across your face and you’re like, wow, this is awesome. And you start thinking of the possibilities. And right about that time, a friend had passed off an article to me from The New York Times that was about a school in Los Angeles that was training the next generation of animators for Disney. And I promptly packed up my portfolio and shipped it UPS out to the school to apply. And they only accepted 30 students a year into that program.

Katie Trauth Taylor[00:03:50] Wow.

戴夫·博斯特[00:03:51]我想，除非你尝试，否则你永远不会知道。所以当我接受该计划时，我很激动。而且我也获得了迪士尼奖学金。我打包了一只大众甲虫，我和我开车越野，我抵达洛杉矶，我清楚地记得这一点，我真的抵达洛杉矶，在我的口袋里大约有三十四美元抵达洛杉矶。

Katie Trauth Taylor[00:04:21]哇。

戴夫·博斯特[00:04:22]我知道这很疯狂。但我在Calarts经历了该计划。它被称为加利福尼亚人对艺术。很多人没有从计划中毕业，因为他们被拆除了在工作室里工作，特别是迪士尼的工作。当我毕业时，我在加利福尼亚州工作室城的一个小型工作室里，我会被录得拍摄。在一些非常早期的视频游戏中，我在那里工作了大约九个或10个月。一个被称为太空王牌，另一个被称为Dragonslayer，然后公司破产了。这是一种令人愉快的，因为他们在停车场有这个工作室会议。工作室的负责人说，我们只是用完了钱，所以我们已经关闭了门。

Katie Trauth Taylor[00:05:17]哦，我的善良。

戴夫·博斯特[00:05:19]和我想,好吧,我回不去w York and I’ll get into advertising, because that’s kind of what I wanted to do was advertising. And I thought I’d be able to do animated commercials in New York City. And then a friend of mine was working over at Disney and he says, hey, you know, why don’t you send your portfolio over? Because they really need some help getting a movie finished. And so I said, well, let me do that. And I could work on a picture and then I’ll go back to New York. And so I sent my portfolio over to Disney and they hired me right away. And I started working in the special effects department on a film called The Black Cauldron and one of the lesser successful Disney animated films. But it does have a special place in my heart, because it was the first picture I ever worked on. And I was crazy because I thought, well, I’ll work on this picture and I’ll just save up as much money as I can. And I’ll head back to New York. And I did a lot of overtime and all I was doing was like I started my first week there. I worked six days, I worked Saturday. And then after five months, I started working seven days a week to get that picture finished and just was making tons of money because I was getting paid overtime and golden time and all this stuff. And I didn’t have any time to spend the money. I was just putting it all in the bank. And I figured by the time that picture was getting finished, I’d get laid off and maybe spend a month on the beach figuring out what I wanted to do and then go back to New York. And and so towards the end of that picture, they actually started laying people off. And I saw people I’d be working with who had been there for years. I was the last guy hired into the department. So I thought, well, I’ll be the first guy left out. And they’re letting all these people go around me. And finally, it was May of nineteen eighty five. And I was working on one of the last special effects scenes in the picture, and I finally went down the hall to the production manager and I said, “Hey, you know Don,” who’s a friend of mine now, I said, “”Don, can you give me a sense of when you’re going to lay me off so I could just kind of plan ahead?” And he looked up at me and he said, “Dave, we’re not going to lay you off.” He goes, “You’ve been working so hard, we’re keeping you.” And. And I think my jaw hit the floor and my eyes became saucers. And I was so surprised. And I said, well, can I at least take a couple of weeks off to rest while working so hard. And so I wanted to take it a little bit of a vacation. But that was kind of how I wound up getting in there and I thought I literally thought for the next, like, five pictures. I worked on that at the end of each one. I was just at the end of this picture, I’ll get laid off and I and like all of a sudden, like thirty two years later, I was like, wow, know? I mean, you look back and you go, what a career.

Katie Trauth Taylor[00:08:45] Oh, my goodness. And for those of you who maybe don’t know, we’re talking the types of pictures you got to work on, that you played an integral role in The Little Mermaid, who framed Roger Rabbit, the rescuers down Under Beauty and the Beast, Aladdin and the Lion King, Pocahontas, Hunchback of Notre Dame, Hercules, every single one. It feels like these treasured what are now classics, who we pass on to our children and our grandchildren. What an incredible career.

Dave Bossert，迪士尼动画和创新讲故事

戴夫·博斯特[00:09:14]是的，这真的很有趣。当你在那样的照片上工作时，你不知道它是什么样的。我的意思是，你享受自己。你正在创造艺术。您正在使用数百名其他艺术家来创建这些动画图片，您不确定它们出门时会如何收到。显然，当你在一张变得真正瞬间经典的照片上工作时，它肯定很令人愉快，美丽和野兽的方式。事实上，关于美丽和野兽的有趣的是，当它被释放到剧院时，我们开始在工作室开始所有这些报道，剧院销售我们的夜晚表明他们就像它正在成为一个日期电影。这真的很令人难以置信。我想，你很了解。

Katie Trauth Taylor[00:10:09]是的，它仍然是。我认为它仍然是。

戴夫·博斯特[00:10:12]是的。我的意思是，它非常棒。

Katie Trauth Taylor但是百分率汗水。对于这么多人，艺术家的工作，像你这样的动画师，我们向你兴奋地激励我们。所以你能通过动画和你所知道的如何看待我们的动画和如何让我们谈到这些故事情节的百分之一点，让我们谈到生命的想法

戴夫·博斯特[00:10:56] Well, you know, I mean, to me and this really, I think applies to anything to do with the art of creating something, whether you’re creating a painting or writing a book or creating a piece of music, it really starts in your head. And when I was animating at the studio, I’d get a scene and I’d go over the scene with the effects supervisor and usually the director to get a sense of what it was that they were looking for. Some scenes were straightforward and you knew exactly what you needed to do. But in other scenes, you really needed to kind of get into the head of the director, the storyteller of that picture and understand what they were looking for. And you had to be aware of where your work fit into the whole of the picture and with special effects. For the most part, special effects are like a supporting character to the actual characters in the film. And oftentimes in a picture, the special effects become the dominant feature. There’s some sort of climactic, spectacular thing where it requires a lot of special effects work to really help tell that story point convincingly. And so for me, after. We are talking with the director of the effects supervisor, I oftentimes went back to my office and sat in a chair and and just literally close my eyes and started thinking about that scene until I was able to actually visualize it and visualize exactly how I was going to approach it and how I was going to draw that scene. And that’s really what I often do even today, whether if I do a sculpture or I’m in the midst of writing another book, my mind is constantly working and thinking about that. And then at some point it comes out of your hands and you create. And that’s really how I look at it.

Katie Trauth Taylor[00:13:16]我喜欢你认为那一刻闭上眼睛的形象。这听起来像是那些对你那些小，更安静的时刻发生的灵感。

戴夫·博斯特[00:13:26]是的。而且，你知道，有趣的事情是，经理和豆柜常常认为你已经摆脱了浪费时间。对我来说，它真的是你要创造的重要一部分。你必须坐下来，真的很有想法，而且真的有点地阻挡了其他一切，并将你的思想集中在那一件事上。那是什么样的？你是怎么开始的？你打算如何编写这个场景的动画，非常重要，非常重要。

Katie Trauth Taylor[00:14:13] You know, I’m thinking of the the time that many companies now are giving to their employees to just be free, Google giving, I think it’s 20 percent of employee’s time and saying you have to spend 20 percent of your workweek not working and then apply that that thinking. Those are the insights you uncover during that time to the rest of your work. I guess one question I have is, did you ever feel guilty about making that time to just sit and be quiet? Or did you feel a lot of pressure from the outside to look productive in those times that you knew productivity was happening? But maybe earlier in your career, did you feel guilty or worried that you didn’t seem as though you were making things happen in those moments?

戴夫·博斯特[00:14:59] No, I never really felt that guilty about it. I probably early on, I didn’t really have that much time to sit around and do that, because when you enter into whatever business it is. But when I entered Disney, I entered at a low level position. So I was called in between or so I was filling in, drawing. So essentially the vision of the scene had already been worked out by the animator. And, you know, the assistant brought it to a certain point. And then it came down to me where I filled in additional drawings so there wasn’t as much in the way of having to think about what it was going to be. But as I progressed through the ranks and became an animator and a supervising animator and the visual effects supervisor know those are the places where you start to take that time to sit down and just really visualize what it is you’re going to do. And each artist has their own process, their own way of doing that. Some people will sit and just start drawing and some nailing stuff out. Other people are going to sit for a little bit, maybe a couple of hours or a half a day and just think about things and companies today that are giving their employees that time to take for themselves whatever job you’re doing. You’re never really not doing it because you’re thinking about it either on a conscious or a subconscious level. Your mind is always going and you’re always thinking whether you’re writing code for something, which to me is a very creative process. But people have to think about that. So driving to work, driving home from work while you’re sleeping, your mind is still working and still processing what it is that you’re doing or going to do.

Katie Trauth Taylor[00:17:11]那真是如此。是的，一点没错。这真的接受了创造力在个人级别生活的地方，我认为你正在谈论的真正强大的建议。您知道，对于我们正在采访此播客的大多数创新领导者，我们询问了他们在创新艺术中扮演的职位讲话。但我有点想逆转工程师为您提出的问题，并询问创新在讲故事艺术中的创新扮演什么职位？

戴夫·博斯特[00:17:41] Well, you know, to me, I think that anything that you’re going to work on and I have some good examples of this, and maybe I’ll just jump in and tell you, like, just the simple act of writing a book drove me to invent something that didn’t exist. And so it was I was writing the book on Dolly and Disney decided, and it was a collaboration in nineteen forty six between Salvador Dali and Walt Disney on a short film that was going to go into a Fantasia like movie. And as I was writing that book, I kept thinking to myself, I want people to see that short film, because even though Dolly and Disney didn’t finish the film in nineteen forty six, I was part of a team that finished the film in two thousand three. And so we have this wonderful six minute short film. And as I was writing the story about that collaboration between these two. 20TH century artists, these two titans of the art world, I kept thinking to myself in the back of my mind, I wanted people to be able to see the movie and why couldn’t we put the movie into the book? And so to me, I just kept thinking about that. And I sought out a person who was working over an Imagineering at Disney that was an expert in display technology. And I introduced myself to him and we got together for a coffee and we told them what I wanted to do. And we wound up building a prototype. I took it. I took a book and I cut out some of the pages up front and we put a screen in and we embedded the movie on a chip and had a play. But then everything. And I shot a little less than a minute teaser on my iPhone. And I and I emailed it to the publishing people that were publishing my book. And I said, I think we should do this maybe as a special edition or something like that. And I got a call like in five minutes after I sent that and they flipped out, they couldn’t believe it. They had never seen anything like that before. And we wound up putting it together. And it took about two years to get it to market because it had never been done before. And there are things like the spine of the book had to be a quarter inch taller than the thickness of all the paper that went in the book to accommodate the thickness of this seven inch, high def screen that we put in and the electronics and the flat battery and all of these things. And we wound up putting it all together. And it was to me, I get the most joy when I go out to speak about this, because I usually bring a copy of that book and I will stick my finger up inside the cover and press the button. And I hold the book up and then I open it and they see the movie playing on a screen. And there is this oh oh that goes across the audience, you know, one hundred, one hundred fifty people that you’re talking to and they all go, Oh, I’ve never seen that before and I get such a charge out of that. But to me my thinking process is that no matter what you’re doing, how can you wow people or entertain somebody or do something different that people haven’t seen before? And that was the case of taking existing technology and merging it into a book and being able to do that again. I think if I hadn’t built the prototype of it and I just explained it to somebody at publishing, they would have patted me on the head and said, “Oh, that’s nice, Dave. Now go back to work and finish that book.” Sometimes you just have to take a leap of faith and just go do something. But to me, that’s the fun about creating stuff. And it all boils down to story. And I don’t care what you’re involved with, if you’re hocking new sparkling water, there’s a story to be told, you know, and you’ve got to figure out what is that story that you want to tell to people. Obviously, when I write books, one of the best compliments I get from people is I felt like you were sitting next to me telling me the story.

Katie Trauth Taylor[00:23:03]是的，绝对。

动画，讲故事和创造力

戴夫·博斯特[00:23:05]那就是对我来说是最好的恭维，当他们阅读我的一本书时，我可以从某人那里得到他们，因为这对我来说是什么，是它的全部。你在讲故事。再次，我认为这抚摸着人们。无论你在生活中做什么，你都可以工作。您可以有一个快餐的餐厅。您在讲述那家快餐餐厅的故事是什么？你知道，一切都有一个故事。

Katie Trauth Taylor[00:23:38]是的。完全同意。当你在想什么时候进入一个新的项目时，无论是一本书还是另一张照片，你知道，你是否有什么样的想象，因为你对观众参与的关键希望？你介入时的愿景是什么？

戴夫·博斯特[00:23:56]好吧，显然，与你做的任何事情，你知道，你希望人们能够享受它。你知道，我在过去几年里，我一直在写全职，我已经掏出了一些书籍。所以对我来说，希望是，我会从说的人那里发表评论，我读了你的最新书，我真的很喜欢它。我拿出一本关于一年的一本书，一年多的关于我在工作室工作的动画家具。

Katie Trauth Taylor[00:24:30]是的。我猜，我看着那个，这太有意思了。

戴夫·博斯特[00:24:37]当我离开迪斯尼,我一直工作on one of these Ken Weber desks that was built in nineteen thirty nine. And when I was leaving they said, Would you like your desk? And I was like, wow, absolutely. And I’m actually sitting at this. Nineteen thirty nine Ken Weber animation desk talking to you and this is where I write my books now. And I was sitting here working on a book that’s coming out next year, and I kind of sat back as I was typing one day and I started just kind of looking at the desk and you have flashbacks of memories from different pictures you worked on and stuff like that. But I was sitting here looking at the desk, as I’m doing right now, as I tell you this story. And I thought, I wonder if anybody’s written anything about this furniture, because this was specialized furniture that was created for the animation process at the Walt Disney Studios. And I wonder if anybody has documented this. And so, you know, I wound up blowing the afternoon doing research on that instead of writing the book that I was working on. And it turned out there really was no documentation on it. And I decided this would make a great book. I want to do this book. And then I was met with the from the publishers. Well, it’s kind of a niche topic, Dave. You know, who’s really going to buy this book? You know, we don’t see they didn’t see it as something that they could sell twenty five thousand copies of. And so everybody passed on it and then I still decided, well, I’m going to go do this book anyway because I want to do it. It was an image to the furniture I had worked on for thirty two years at the studio that I’m still working on today, that I felt like this furniture had a soul to it and there was a story to be told. And so I just went ahead and did it. And I found Cambers archives up in Santa Barbara, found a lot of great material there and images of a lot of his artwork and early designs and all of that. And I did the book and I published it. Yeah.

戴夫·博斯特[00:27:13]这本书已经出去了，它真的很受欢迎，它赢得了一堆奖项，这很疯狂。

Katie Trauth Taylor[00:27:22] When you think about there’s so much conversation, even just in the innovation community around or in the business community around what configuration will lead to the most collaboration or creativity or, you know, how space and impacts the work that we do and our productivity, our relationships, our motivation. It’s so built into every aspect of how we work. And looking at a piece of furniture like your desk in the way that it was designed to facilitate creativity in the animation work and to enable you to work in a way that was different, to produce a product that was different from any other that had ever been created before. I get it. I think that it is something that can be of interest to people across their different business or personal interests. It’s fascinating.

戴夫·博斯特[00:28:18] Yeah. And so, you know, I have the luxury now to just decide, oh, I’m going to go do that and just do it. And so I think that’s kind of a fun thing. I also think it’s a very important thing because oftentimes people will say, I’m going to do that, or I wish I could do that, or someday I’m going to do X and then they never do. And for me, when I decide, oh, I’m going to do something like put a video screen in a book or write a book on furniture and know anything like that, I go ahead and follow through on it. I just do it. And I think that’s a hugely important thing. However crazy some of the ideas that we need to come up with, there’s validity to them and there are things that you should go and try and, you know, and maybe it won’t work out, but maybe it’ll lead you to something else. And I think that’s, you know, that’s the fun of it. You know, that discovery.

Katie Trauth Taylor[00:29:30] Yeah, absolutely. And I’m wondering, too, would you speak to the power that animation has to create new worlds to really, really in some ways, when when you’re facing the opportunity to create an animated story, you at least from an outsider’s perspective, it seems as though you have hardly any limitations. You could be in outer space and gamma quadrant 10, you could be under the water. You can have characters that aren’t human. You can really everything that defines reality for most people can get completely turned on its head inside the world of animation. So how do you innovate when you have no limitations?

戴夫·博斯特[00:30:16]好吧，我认为大多数人都对自己施加约束。我觉得人们，你知道，立即它几乎就像人们被调节说，现在就像你长大一样，你知道，我想去做这个。不，你不能这样做，或者你不能这样做。你需要这样做。这是我们教你如何做某事的方式。而且我认为人们跳得知道的自然倾向。我曾经在工作室里玩得开心，因为我让它尝试变成是的点。我这样做，我能够大部分时间做到这一点。

Katie Trauth Taylor[00:31:03]你能给我一些例子吗？

戴夫·博斯特[00:31:04]好吧，这只是我想去的，在我正在进行一个要求我做很多得分会议的项目时做出一份纪录片。我想做关于音乐和动画的纪录片。这有点见面，你为什么要这样做？我就像，因为它没有真正覆盖，它尚未记录。而且因为我正在进行得分会议，我很容易拍摄一些这些东西，然后面试作曲家和这样的东西。好吧，我不知道我不确定。然后我回去说，看，我已经支付了这个项目的评分会话。我们正在在国会大厦记录。我们在国会大厦记录历史记录工作室舞台。我真的想拍摄一些这些东西。 And then finally, it was like, well, what are you going to do with it? Well, it’ll be educational. It’ll give some insight into how we do things and to go into film festivals and blah, blah. OK, we’ll go ahead and do it.

Katie Trauth Taylor[00:32:22]激情扮演一个重要角色。是的，绝对。

戴夫·博斯特[00:32:27]你知道，所以我倾向于接近这种方式，思考我正在做的事情。你知道，我怎么知道，我一直在给予写作书籍的许多思考。当我在家具上做了Ken Webber预订时，我真的觉得我需要将书本提升到一件艺术品。所以我非常涉及与打印机交谈并挑选较重的哑光填充纸库存和所有进入书中的图像。我想把现场清漆放在上面，我真的希望这本书拥有，就像人们认为有一个触觉的经验。我有很多人对我说，这本书本身是一件艺术品，因为我们使用的印刷技术。这是非常合作的，因为我正在与打印机交谈并说，我们可以做的一些很酷的事情是什么？他会向我展示东西的样本。而且，你知道，我们决定将一些木材纹理放在书的封面上。所以当你第一次拿起书时，你觉得你可以感受到这本书封面上的木纹。 And that was sort of just high concept-wise, bringing you into this world of this wood furniture that was built for the Disney Studios. And that’s kind of how my mind works when I’m dealing with these types of projects. How do you do something different that hasn’t been done before so that what you’re working on isn’t just the run of the mill? You know?

History, Storytelling, and Animation with Dave Bossert

Katie Trauth Taylor[00:34:37]绝对。我喜欢实际上迷失在你的网站上。我强烈推荐给听到Davidbossert.com的人那里的人，尤其是签出一些文章和论文。显然你的书是令人难以置信的。这些文章清楚地迷上了你，对历史和揭露丢失故事有一种热情。我读过的那些是关于米老鼠防毒面具的。

戴夫·博斯特[00:35:06]哦，是的。是的。我实际上是在未来的日期。我正在拿走第二次世界大战后写的所有这些论文，他们都进入了一本书，其中包含扩展信息，更多的图像和类似的东西。但这是我的激情，也是如此之多，所以今天的司在世界各地都有这样的司。看来，你知道，人们是如此划分和生气，你知道，政治局势就是如此不友好。在第二次世界大战时期，我如此着迷，因为它被称为最大的一代。这是每个人一起拉在一起的时期。大家，你知道，每个人都只是为了你进入军队并在家中待在家里，并通过在工厂中工作来搅拌飞机和坦克和什么服务。在那个时期，每个人似乎都会走到一起，迪士尼工作室没有什么不同。 They were part of that. They contributed greatly, creating training films and all kinds of things, you know, and when the government came knocking, they answered the call. And there’s just such wonderful warmth about that period, even though it’s part of a horrific world war, you know. And so finding all those individual stories like the Mickey Mouse gas mask and how that came about and what the thinking was and the fact that the British were telling children with their gas masks that it was Mickey Mouse, even though it wasn’t they were using that term to try and soften it and quell the nerves of the children when they were going into air raid shelters.

Katie Trauth Taylor[00:37:30]是的。那么那时然后在那一点上，沃尔特迪斯尼公司拥抱它并说，你知道吗？让我们做一个真正的米老鼠。确切地。是的，究竟。减轻他们的恐惧。是真的。是的，这是一个令人难以置信的故事。我喜欢你的写作。

戴夫·博斯特[00:37:44] Thank you very much. In fact, they made a tin for the British that had the Mickey Mouse characters on the tin for the kids to put their gas mask in. It was like their own little holder for it, for the gas mask. And so you take, you know, these horrible things that are going on in daily life and you’re actually trying to soften them a little bit, you know, and put people at ease. And I just thought there’s a lot of those kinds of stories to be told that nobody really has delved into and talked that much about. And so for me, those things are fascinating. I think that they are pieces of history that you want to document.

Katie Trauth Taylor[00:38:37] Yeah.

戴夫·博斯特[00:38:38]所以他们不会像这么多的东西迷失时间。

Katie Trauth Taylor[00:38:42]我想通过分享那些创新和创造力的时刻和我们的历史，并激励我们今天思考这种方式，想想在地球上或为什么我们知道，用米老鼠面部创造一个防毒面具。正确的。但是当你回头看时，你看到在上下文和历史中的那一刻，很明显，在盒子外面思考并真正试图做一些更大的事情有时需要这种创造力。所以，是的，我认为这是鼓舞人心的。它让我们提醒我们以合作方式思考，也许可能拥抱可能，在表面似乎，你知道，不可能或奇怪的事情。而且，天哪，不是迪士尼历史的那部分历史，即使从那以后已经出现的电影？

戴夫·博斯特[00:39:33] Well, you know, the amazing thing is, is that when I worked on those pictures, especially in the period that they now referred to as the renaissance of animation, which is the nineteen eighties, nineteen nineties, you realize when you’re working on stuff that. What you’re doing, regardless of what you’re doing, it’s going to touch somebody in some way, maybe, maybe in a little way or maybe in a very profound way. I remember when we worked on The Lion King there after it was released to theaters, the studio received some letters and one in particular really stands out to me. And I sometimes get choked up when I talk about it. But it was from a woman who lost her husband, the father of her son, and the Lion King, because Simba loses his father in the film that so touched them because of their loss. And it helped. She wrote that it helped her son get through that difficult period. Oh, sure. To understand the circle of life and the fact that he needed to go on and continue on and his father would always be with him, you know.

Katie Trauth Taylor[00:41:09]是的。是的，绝对。我认为我们世界上最伟大的故事讲述者对我们来说，这是我们最伟大的故事讲述者。这是你在那些继续努力的电影的天才，并将继续出现我们可以在这些更大的故事的背景下使我们的生命。

戴夫·博斯特[00:41:36]你和那就是如此真实。而这是整个电影行业的真实，而不仅仅是动画，一般的电影。它吸引了我们。它娱乐我们，让我们笑。它让我们哭泣。它让我们深入了解事情。我认为这是我一直喜欢电影娱乐的事情之一，以及为什么我一遍又一遍地地观看某些电影，因为他们只是与我共鸣。

Katie Trauth Taylor[00:42:11]是的，肯定。你知道的,if you were to give advice to people who are wanting to be innovative or who are leading innovation teams, whether that’s, you know, and really across all industries and all ages and all talent areas, what would what advice would you give, especially sort of pulling from the lessons you’ve learned as an animator and special effects artist?

戴夫·博斯特[00:42:38]嗯，我认为只有很多有效性，只有那种蓝天的天空过程扔墙上的东西，看看是什么棍子。而我们曾经在图片开头做过的事情之一就是我们只是开始扔掉想法。有多荒谬的想法可能是我可能足以激发一位同事说，是的，但你知道是什么？那这个呢？这让你失望了，你知道，我们能做什么？这可能是什么？那可能是什么？但在一天结束时，这些电影我们正在工作，这是一个非常强大的故事。在一个我们想要多次访问的世界中设置的可爱字符，我们想继续回归，这真的是什么，你必须从故事开始并从那里扩展。

Katie Trauth Taylor[00:43:45]是的，绝对是。这是一个美丽的形象。我喜欢大胆和冒险的想法，以便不仅仅是让这个想法成为胜利者，而且为了让这成为另一个团队成员的助手，他们可能能够在或重新申请或重新申请或重新申请或重新申请或建立it to get everyone moving in the direction it’s meant to go. Absolutely.

戴夫·博斯特[00:44:11]你知道，这对我来说，这是一个非常有趣的过程，它是一个必须被允许参加课程的过程。再次，我谈论扔墙上的想法，看看什么棍子。但对我来说，这是创造性的过程的重要组成部分是，你知道，让自己在典范外面思考，盒子外并推动信封。再次，对于您所在的任何业务来说，这真是如此。它不仅与电影业务或动画业务或音乐有关。您可以将此思想放在世界上的任何地方。

Katie Trauth Taylor[00:45:07]是的，我完全同意。百分之百。如此戴夫，我很感激你今天做的时间与我们交谈，了解创造力和发明和持久性。你可以在@dave_bossert的社交媒体上追踪大卫，并查看他的网站David Bossert，阅读了他的书。我非常感谢您今天分享的所有见解。

戴夫·博斯特[00:45:32] It was absolutely my pleasure. I really enjoyed talking with you and I hope I hope what I had to say, uh, may resonate with somebody out there in the world, I’m sure.

Katie Trauth Taylor[00:45:44]是的，绝对会。非常感谢你，戴夫。

戴夫·博斯特[00:45:49] My pleasure. Thank you.

Katie Trauth Taylor[00:45:52] Thanks for listening to this week’s episode. Be sure to follow us on social media and add your voice to the conversation. You can find us at untold content.

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