与迪士尼的Dave Bossert合作,通过动画创新讲故事

通过动画创新讲故事

不为人知的创新故事

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“有时候,你必须鼓起勇气去做一些事情。但对我来说,这就是创造东西的乐趣。这一切都归结为一个故事。我不管你参与了什么,如果你要卖新的苏打水,那就有故事要讲了。你得想出你想告诉人们的故事。——迪士尼的dave Bossert,《通过动画创新讲故事》

从今天的节目中,您将了解:

为什么故事对创新过程很重要?哪些价值观可以灌输给分享故事的创新者?创新领袖如何激励创造者讲述和分享他们的成功和失败的故事?

我们谈谈达沃·博塞尔,迪士尼的长期动漫师,他在标志性电影上工作,如小美人鱼,美女和野兽,狮子王和圣诞节前的噩梦。他与我们共同与动画的力量传达和唤起情感,以及情绪激发受众和我们作为创新者的力量。我们仔细看看他的写作,生产和电影方式如何举例说明了战略讲故事。倾听听他的创新故事,从全国各地以34美元的价格在口袋里,寻找与世界上最高级讲故事公司创造的机会。

今天的嘉宾:

David A. Bossert是一位获奖艺术家、导演和作家。他在华特迪士尼公司工作了32年,为《谁是兔子罗杰》(1988)、《小美人鱼》(1989)、《美女与野兽》(1991)、《阿拉丁》(1992)、《圣诞节前的噩梦》(1993)、《狮子王》(1994)、《幻想曲/2000》(1999)等影片贡献了才华。博塞特是独立制片人、创意总监和作家,被认为是迪士尼艺术和动画历史的权威。Bossert是众多动画书籍和文章的作者。他的最新著作是,凯姆·韦伯:迪士尼工作室的中世纪家具设计(旧工厂出版社,2018年)和蒂姆伯顿的圣诞节前的噩梦:Visual Companion(迪士尼版,2021)。了解更多www.davidbossert.com.

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这一集的动力来自Untold Content的创新故事乐动体育足球叙述乐动体育266.在这种沉浸式和互动的故事驱动的经验中增加购买。您的团队在哪个讲故事技术的最新项目,原型和投票 - 并通过25个史诗般的创新故事的史诗例子来启发。了解更多www.isandstone.com/乐动体育266trainings/innovation-storytelling-training-for-individuals


Katie Trauth Taylor.[00:00:04]欢迎来到不计其数的创新故事,在这里,我们通过不计其数的内容来放大不计其数的洞察力、影响力和创新故事。我是你的主人,凯蒂·泰勒。我们今天的嘉宾是Dave Bossert,他是一位获奖制片人、创意总监和作家。他曾担任制作人、创意总监和迪斯尼动乐动体育足球画工作室经典项目负责人。戴夫,我非常感谢你今天上播客。你创造了一些艺术作品,完全改变了我的生活。我知道我们的很多听众都很兴奋能进入你的大脑,了解你对创新和讲故事的独特见解。

达沃·博塞尔[00:00:51]很高兴和你们在一起。我很乐意和你聊任何你感兴趣的话题。

Katie Trauth Taylor.[00:01:01]都是因为兴趣,但我想我特别想知道是什么促使你成为一名动画师,是什么促使你从事动画和特技工作的?嗯,你知道,这很有趣。

Dave如何进入动画

达沃·博塞尔[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?

达沃·博塞尔[00:03:04]实际上很酷。你知道,你会在你的脸上得到那么大的笑容,你就像哇,这太棒了。你开始思考可能性。在那个时候,一位朋友从纽约时报宣布了一篇关于洛杉矶的学校的一篇文章,这是培训了迪士尼下一代动画师。乐动体育266我迅速包装了我的投资组合,并将其推出到学校申请。他们只接受了30名学生,进入该计划。

Katie Trauth Taylor.[00:03:50]哇。

达沃·博塞尔[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。

通过动画达沃·博塞尔报价图片讲故事的创新

Katie Trauth Taylor.00:04:21哇。

达沃·博塞尔[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,天哪。

达沃·博塞尔[00:05:19]我想,好吧,我会回到纽约,我会进入广告,因为这是我想做的事是广告。我以为我能在纽约市做动画商业。然后我的一位朋友在迪士尼工作,他说,嘿,你知道,你知道为什么不发送你的投资组合?因为他们真的需要一些帮助你完成的电影。所以我说,好吧,让我这样做。我可以在一张照片上工作,然后我会回到纽约。所以我把我的投资组合送到了迪士尼,他们马上雇用了我。我开始在一个名为黑色大锅的电影中工作的特殊效果部门,其中一个成功的迪士尼动画电影之一。但它确实在我心中有一个特殊的地方,因为它是我曾经工作过的第一张照片。而且我很疯狂,因为我想,好吧,我会在这张照片上工作,我会尽可能多地拯救出多少钱。 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]哦,天哪。和的人也许不知道,我们说的图片你需要的类型,你在小美人鱼中扮演不可或缺的角色,谁陷害了兔子罗杰,救援人员在《美女与野兽》,阿拉丁和狮子王,波卡洪塔斯,驼背的巴黎圣母院,赫拉克勒斯,每一个人。我觉得这些珍贵的东西现在都是经典,我们把它们传给我们的孩子和孙子。多么不可思议的职业生涯。

Dave Bossert,迪士尼动画和创新讲故事

达沃·博塞尔[00:09:14]是的,真的很有趣。当你在拍摄这样的照片时,你不你不知道会是什么样子。我是说,你玩得很开心。你在创造艺术。你正在与数百名其他艺术家一起创作这些动画图片,但你不确定它们出来后会受到怎样的欢迎。很显然,当你在拍摄一部几乎瞬间成为经典的电影时,就像《美女与野兽》那样,这当然是令人满意的。事实上,《美女与野兽》的有趣之处在于,当它在影院上映时,我们开始在电影公司收到各种报告,说影院在出售我们的晚间节目,好像这是一部约会电影。这真的很不可思议。我想,你知道,绝对是。

Katie Trauth Taylor.是的,现在仍然是。我想还是这样。

达沃·博塞尔(00:10:12)是的。我的意思是,这很神奇。

Katie Trauth Taylor.[00:10:15]但是你拍摄第一部电影的画面和所需的汗水量,我们在播客前讨论了托马斯·爱迪生,他曾经说过天才是百分之一的灵感加上百分之九十九的汗水。对于这么多人,像你这样的艺术家、动画师的作品,我们期待着你能激励我们。那么,你能谈谈通过动画把想法带到生活中去吗?你知道,对于我们来说,我们如何只看到我们所爱的故事情节中的百分之一?

达沃·博塞尔[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。

达沃·博塞尔(00:13:26)是的。而且,你知道吗,有趣的是,经理和会计们经常认为你在游手好闲,浪费时间。对我来说,这真的是你要创造的主要部分。你必须坐下来好好想想,把其他的事情都抛在脑后,把注意力集中在一件事上。那会是什么样子?你打算怎么开始呢?你要如何为那个场景设计动画,这非常非常重要。

Katie Trauth Taylor.[00:14:13]你们知道,我在想很多公司现在给员工的时间是为了让他们自由,谷歌给,我认为这是员工时间的20%,并说你们必须花20%的工作时间不工作,然后应用那个想法。这些是你在这段时间内发现的对你其他工作的见解。我想我的一个问题是,你有没有因为花时间坐下来安静而感到内疚?或者,在你知道生产力正在发生的时候,你是否感觉到来自外部的巨大压力,让你看起来富有成效?但也许在你职业生涯的早期,你是否感到内疚或担心自己似乎没有在这些时刻让事情发生?

达沃·博塞尔[00:14:59]不,我从未为此感到内疚。可能在一开始,我并没有那么多的时间坐下来做这些事情,因为不管你进入了什么行业。但当我进入迪士尼时,我是在一个较低的职位。所以在这期间,我被叫去做填空,画画。所以基本上场景的视觉已经被动画师设计出来了。而且,你知道,助理把它带到了一个特定的点。然后我又画了一些其他的画这样就不需要太多的思考它会是什么样子了。但随着我的晋升,成为了一名动画师,一名监督动画师以及视觉效果总监,这些都是你开始花时间坐下来认真想象你要做的事情的地方。每个艺术家都有自己的创作过程,自己的创作方式。有些人会坐下来,开始画画和钉东西。 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.这是真的。是的,绝对是。我认为这是一个非常有力的建议,可以让我们在个人层面上接受创造力的存在。你知道,对于我们在这个播客上采访的大多数创新领导者,我们问他们讲故事在创新艺术中扮演什么角色。但我想为你们反向设计这个问题,问一下创新在讲故事的艺术中扮演什么角色?

达沃·博塞尔[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,讲故事和创意

达沃·博塞尔[00:23:05]对我来说,当别人读我的书时,我能从他们那里得到的最好的赞美就是对我这么说,因为对我来说这就是书的全部意义。你在讲故事。再一次,我认为这触动了人们。无论你在生活中做什么,你都可能在工作。你可以开一家快餐店。你说的那家快餐店的故事是什么?你知道,每件事都有一个故事。

Katie Trauth Taylor.是的。完全同意。当你在思考什么时候你要进入一个新的项目,无论是一本书还是另一幅图片,你知道,当涉及到观众参与时,你的主要希望是什么?当你介入时,你的愿景是什么?

达沃·博塞尔很明显,无论你做什么,你都希望人们能够享受。你知道,在过去的几年里,我一直在全职写作,我出版了很多书。所以对我来说,希望是,我会得到某人的评论,他说,我读了你的新书,我真的很喜欢。大约一年多前,我出版了一本关于我在工作室工作的动画家具的书。

Katie Trauth Taylor.[零点24分三十秒]是。我想,我看着的是,它是如此有趣。

达沃·博塞尔[00:24:37]当我离开迪斯尼时,我还在1939年建造的一张肯·韦伯桌子上工作。当我要离开的时候,他们问我,你想要你的桌子吗?我说,哇,当然了。我就坐在这里。1939年,肯·韦伯动画桌在和你们说话,这是我现在写书的地方。我坐在这里工作在明年的一本书,我坐回有一天当我打字,我开始只是看着桌上,闪回记忆的不同照片你之类的。但我坐在这里看着桌子,就像我现在做的一样,当我告诉你们这个故事的时候。我想,我想知道有没有人写过关于这种家具的东西,因为这是专为迪士尼工作室的动画制作而设计的家具。我想知道有没有人记录过。所以,你知道,我把整个下午的时间都用来做研究而不是写我正在写的书。 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.

达沃·博塞尔[○点27分13秒]和书走了出来,它已经真正的好评,它赢得了一堆的奖项,这是疯了。

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.

达沃·博塞尔[00:28:18]是的。所以,你知道,我现在有奢侈品才能决定,哦,我要去那样做,只是这样做。所以我认为这是一件好事。我也认为这是一个非常重要的事情,因为人们会说,我要这样做,或者我希望我能做到这一点,或者总有一天我要做X然后他们永远不会那样做。对我而言,当我决定哦,我会做一些像在书中放一个视频屏幕的东西,或者在家具上写一本书,并知道任何类似的东西,我继续前进并通过它追随它。我只是这样做。我认为这是一个非常重要的事情。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]是的,绝对。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?

达沃·博塞尔[0点三十分16秒]好了,我想,大多数人把约束自己。我想人,你知道,马上这几乎就像人们现在空调说,当你长大了,你知道,我想要去做到这一点。不,你不能这样做,或者你不能这样做的。你需要做的这种方式。这是我们教你如何做的方式。而且我觉得有一种自然倾向的人跳就知道了。我曾经有乐趣的工作室里,因为我做了一个点,试图把一个没有成是。我做到了,我能做到这一点大部分时间。

Katie Trauth Taylor.[00:31:03]你能给我举几个例子吗?

达沃·博塞尔[00:31:04]嗯,就好像我在做一个需要我做很多评分环节的项目的时候,我想去拍一部纪录片。我想做一部关于音乐和动画的纪录片。他们会问你为什么要这么做?我当时想,嗯,因为它还没有被真正报道,也没有被记录下来。因为我在做计分,所以我很容易就能把这些东西拍下来然后采访作曲家之类的事情。我不知道我是不是不确定。然后我回头说,看,我已经为这个项目支付了评分费用。我们在国会唱片公司做。我们在国会唱片公司一个历史悠久的录音棚舞台上。我真的很想拍下这些东西。 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]对扮演重要角色的热情是的,当然。

达沃·博塞尔[00:32:27]你知道,所以我倾向于接近事情的方式和想超越什么,那就是我做的。你知道,我怎么能知道,我已经给很多心思约写书。当我做了的家具,肯·韦伯的书,我真的觉得我需要这本书本身提升到一件艺术品。所以我非常积极地参与与谈话的打印机和挑选出较重的哑光纸股票和所有的书中去的图像。我希望把局部上光上,我真的想这本书有,当人们认为有触觉的经验,它像。我有许多人对我说,这本书本身是因为印刷技术,我们用艺术作品。这是非常合作的,因为我是说给打印机和说,什么是一些很酷的事情,我们可以做什么?他会向我展示的东西样本。而且,你知道,我们决定把一些木材纹理到书的封面。所以,当你第一次拿起这本书,你觉得你能感觉到在书的封面上的木纹。 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?

历史,讲故事和动画与戴夫博斯特

Katie Trauth Taylor.00:34:37绝对。我喜欢在你的网站上迷路。我强烈推荐大家登陆davidbossert.com,特别是其中的一些文章和文章。显然你的书很棒。这些文章很明显地吸引了你,对历史和发现失落的故事有热情。我读过的其中一篇是关于米老鼠防毒面具的。

达沃·博塞尔(00:35:06)噢,是的。是的。我在未来的约会中。我把我在二战后写的所有文章都写进了一本书里面有更多的信息更多的图片之类的东西。但这也是我的热情所在,今天更是如此,因为这个国家和全世界都存在这样的分歧。看起来,你知道,人们是如此的分裂和愤怒,你知道,政治形势是如此的不友好。我对二战的那段时期非常着迷,因为它被称为最伟大的一代。那是一段大家齐心协力的时期。每个人,你知道,每个人无论你是参军服役还是呆在家里为国家服务在工厂里工作生产飞机,坦克之类的东西。在那个时期,所有人似乎都走到了一起,迪士尼工作室也不例外。 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。然后,然后在那个时候,华特迪士尼公司接受了它,说,你知道吗?让我们做一个真正的米老鼠。完全正确。是的,没错。减轻他们的恐惧。这是真的。是的,这是一个不可思议的故事。我喜欢你的作品。

达沃·博塞尔[00:37:44]非常感谢你。事实上,他们为英国人制作了一个锡罐,让孩子们在锡上的米奇鼠标,让他们的防毒面具。它就像是他们自己的小持有者,对于气体面具。所以你拿走了,你知道,在日常生活中,这些可怕的事情正在进行中,你实际上试图让他们稍微软化,你知道,让人们放心。我只是想到了很多这些故事被告知,没有人真的已经明确讨论并谈过这么多。所以对我来说,那些东西令人着迷。我认为它们是您要记录的历史。

Katie Trauth Taylor.[00:38:37]是的。

达沃·博塞尔[00:38:38]这样它们就不会像很多东西一样在时间中迷失

Katie Trauth Taylor.[0点38分42秒]我想通过分享创新和创造性,我们的历史的那些时刻,并激励我们这样认为今天和思考如何在地球上为什么会我们,你知道,创建米老鼠的脸防毒面具.对。但是,当你回头看,你看到那一刻的背景和历史,很显然,盒子,真正尝试做更大的事情之外思维有时需要创造力的那个级别。所以,是的,我认为这是鼓舞人心的。它提醒我们认为在合作方式和可能接受的事情,可以在表面上看起来,你知道的,不可能的或奇怪的。而且,天哪,是不是迪士尼和电影的整个历史已经出来了,甚至自那时起的那一部分?

达沃·博塞尔[00:39:33]嗯,你知道,令人惊叹的事情是,当我在那些照片上工作时,特别是在他们现在被称为动画的文艺复兴时期,这是一九九九十年代,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,当然。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。

达沃·博塞尔[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。

创新故事训练乐动体育266

Katie Trauth Taylor.[00:42:11]当然你知道,如果你给那些想要创新的人或者领导创新团队的人提建议,不管他们是,你知道,不管他们是各行各业的人,不管年龄,不管人才领域的人,你会给他们什么建议,特别是从你作为动画师和特效师学到的经验中?

达沃·博塞尔[0点42分38秒]好了,我觉得有很多的有效性,只是那种扔东西在墙上,看看有什么棒的是蓝天的过程。和我们用在图片的开头经常做的事情之一就是我们刚刚开始扔出出主意。而一个想法可能是多么的可笑我也许足以引发一个同事说,是啊,但你知道吗?那这个呢?现象,导致你失望的,你知道这条道路,我们能做什么?可这有什么呢?那会是什么?而但在一天结束的时候,这些影片是我们的工作,它是所有关于有一个很强大的故事。凭借可爱的的世界字符集,我们会想访问多次,我们会想继续回来,而且这真的是它的全部,你要开始的故事,并从那里展开。

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.

达沃·博塞尔[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。

达沃·博塞尔[00:45:32]这是我的荣幸。我真的很喜欢和你聊天我希望我希望我说的话,能引起世界上某些人的共鸣,我相信。

Katie Trauth Taylor.[00:45:44]是的,肯定会的。非常感谢你,戴夫。

达沃·博塞尔[00:45:49]我的荣幸。谢谢你!

Katie Trauth Taylor.[00:45:52]感谢在听本周的剧集。请务必在社交媒体上关注我们,并将您的声音添加到谈话中。您可以在未销售内容中找到我们。乐动体育足球

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