Summer in 1995, Burbank, California. Disney Animation Chief Peter Schneider glares at the artist standing in front of him. The guys just walked into his office and handed in his resignation. You're going to DreamWorks? The artist looks nervous. Yeah, they offered me four times of money.
Peter's former boss, Jeffrey Katzenberg, is building a rival animation house at his new movie studio DreamWorks, and he's doing it by poaching Disney's talent. This artist is just the latest of dozens of defectors. Schneider's face contorts with rage. You are totally without honor. Where's your loyalty?
I'll stay if you match DreamWorks, offer. But they both know Disney won't. It's got shareholders to answer, too. The DreamWorks is only beholden to Microsoft co-founder Paul Allen, the multi-billionaire who's funding its bid to shake up Hollywood. Allen doesn't care about the money. He's a computer geek seduced by invitations to hang with the glitterati. Schneider points at the door. Out. Get out.
Schneider slumps in his chair as the artist flees. He knows this can't continue. He must increase salaries if it wants to keep its talent. But that will send the cost of making animated features sky high. Schneider picks up his phone and calls Disney's CEO Michael Eisner. Michael, another one's just quit.
Schneider holds the receiver away from his ear as Eisner rants. For years, Disney's had a strangle hold on feature animation. No studio dared challenge it. But now, Eisner's former underling Katzenberg is laying siege to Disney's castle. But Eisner's not afraid. No. If Katzenberg wants a war, he's more than willing to oblige by strangling DreamWorks at Bird.
I'm Wondry, I'm David Brown, and this is BusinessWord. In the last episode, Jeffrey Katzenberg led Disney animation into a new golden age. Pixar saved Toy Story from cancellation with a last minute overhaul and Disney boss Michael Eisner fired Katzenberg for his hubris. Now Katzenberg wants revenge. He's using his new studio DreamWorks to assemble an animation army to storm the Magic Kingdom. But he's not the only one plotting against the House of Mouse. This is Episode 2, Battle of the Bugs.
Hi, I'm Sarah Hagi, co-host of Wondry's podcast, Scample Insers. In our recent two-part series, Three Weddings and a Funeral, we dive into the story of a German con man who built an entire life on fake names, lies, and schemes, and the unlikely true-kind twist that brought this decades-long charade crashing down. Listen to Scample Insers on Amazon Music or ever you get your podcasts.
August 1995, Point Richmond, a few miles north of Berkeley, California. Across the railroad tracks from the Chevron Oil Refinery in a dull office building, Pixar's animators are racing to finish Toy Story. Pixar's first movie is just three months away from release. But in the conference room, Pixar owner Steve Jobs is looking to the future.
Jobs takes a black marker pen and writes the letters, I-P-O, on the whiteboard. Pixar technology guru Ed Catmull and creative chief John Lasseter look startled. They think Jobs must be joking, but he's not. We need to take Pixar public. Catmull thinks that's crazy. Toy Story will be the first computer animated movie. No one knows how audiences will react.
Steve wish a wait till we've done two movies. If we have a track record, we'll raise more money. Jobs shakes his head. Now, now's the time. Let's assume Toy Story is a huge success, which it will be. When that happens, Michael Eisner will realize he's helped Pixar become a rival to Disney animation. So he'll want to renegotiate our contract to keep us under the Disney umbrella and stop us from going to another studio.
Lasseter interjects, how can you be sure? It's what I would do. When the renegotiation happens, we want half the profits from our movies. Our existing share is too low for Pixar to be viable. Jobs begins pacing the room. But Disney will only accept that if we co-finance our movies. Since each of our movies will eventually cost more than $100 billion, banks and private investors are not an option. They won't put up that kind of money. Therefore, we go public. It's the only way to raise the money we need to get what we want from Disney.
Catmull nods. He gets the logic. But Lasseter is wary. Well, we'd have to answer to Wall Street. We'd have pension funds telling us what to do creatively. If that happens, I'm gone. Jobs stops pacing. I will never ask that of you, John. Nothing changes. I will still be the majority stockholder. I'm not surrendering control.
Lasseter believes him. When Jobs ceded control of Apple, he got fired. Jobs won't risk that again. Catmull poses a question. So once our pitch to investors, the Toy Story will be a blockbuster? And no. We're building a company, not a movie. They get to buy into a new kind of entertainment company. And that's why the IPO will happen the week after Toy Story opens.
October 1995, Los Angeles. In his office on the Universal Lot, DreamWorks co-founder Jeffrey Katzenberg opens another can of Diet Coke. As he raises it to his lips, he sees a familiar figure in a Hawaiian shirt standing at its door. John Lasseter, Pixar's creative chief.
Katzenberg springs to his feet. "John, what are you doing here?" Lasseter moves in, arms outstretched, and embraces Katzenberg. "I'm here doing post-production on Toy Story, so I came to say, hi, how are you?" Lasseter releases Katzenberg from his bare hug. Katzenberg repositions his glasses. "I'm doing great, John, but I'd be happier if Michael Eisner wouldn't screw me out of my 2%."
Lasseter's smile droops. The feud between Katzenberg and Disney's CEO is intensifying. Katzenberg's owed 2% of profits from every Disney movie he worked on. A sum worth more than $100 million, but Eisner refuses to pay it.
Katzenberg senses Lasseter's unease. "Sorry, John, it's just that kicking me out of Disney wasn't enough for Michael. He wants to hurt me to kill DreamWorks. But you wait, our first animated movie, The Prince of Egypt, will astound you. You know the moment Steven Spielberg said we should do the story of Moses, I just thought, yes, I'm going to make it the best hand drawn animation ever made. Anyway, what about you? What's next for Pixar?"
Lasseter's face brightens. "Now we're doing a twist on the fable of the ant in the grasshopper, where the grasshoppers are like a motorcycle gang who terrorized the ants into giving them food. So the ants seek help from bigger bugs, but hire a cowardly circus troop by accident."
Katzenberg leans forward. "Yeah, when's it coming out?"
卡茨伯格向前倾身,“嗯,它什么时候上映?”
"Oh, it's a ways off still. But you've got a release window, right?"
哦,那还有一段路要走。但是,你有发行时间窗口,对吧?
Lasseter's surprised Katzenberg's interest, but sees no harm in being open. Katzenberg's an ally. If it wasn't for him, Toy Story never would have happened. "Well, Disney's thinking Thanksgiving 98."
Katzenberg stays poker faced, but inside, he's raging. November 1998. That's when the Prince of Egypt is slated for release. He feels this can't be coincidence. Eisner must be planning to use Pixar's ant movie to bury Dreamworks's first animated feature at the box office.
Lasseter checks his watch. "Ah, I should run. Toy Story won't finish itself. But great to see you."
拉瑟特看了看手表,“啊,我得赶紧走了。《玩具总动员》不能自己完成。但很高兴见到你。”
"Yeah, Johnny, it was. Talk soon."
是的,约翰尼,没错。很快再聊。
After Lasseter leaves, Katzenberg opens his desk drawer, the one that's full of scripts. He pulls out a script that's been in his maybe pile for months and places it on his desk. The script's title is ants with a Z, and its path into production just got accelerated.
A few days later, Toy Story is finished, and Disney's marketing machine kicks into overdrive. Disney World holds daily Toy Story parades. The Disney Channel airs TV specials. Burger King starts serving Toy Story meals, and Woody and Buzz appear on Sweet Tarts Candy boxes.
Even Toy Story opens on November 22, 1995, the Buzz is at fever pitch. Audiences rush the theaters, but it's not the high-tech animation that's attracting them. It's the story. Pixar's movie Delights Kids, but also entertains parents who've long had to endure rather than enjoy children's animation.
Toy Story grosses $28 million in three days. People eventually make more than $360 million at the box office worldwide, making it the third highest-brossing animated movie of all time after Disney's The Lion King and Aladdin.
A week later, Pixar goes public and raises $140 million. It's the biggest IPO of the year, and makes jobs a billionaire. A decade after being fired from Apple, Jobs has proved he's no one-hit wonder. Pixar is the leader in the new frontier of computer animation, but now that it's shown that computer-generated movies can make millions, DreamWorks wants in too.
Early December 1995, DreamWorks offices Los Angeles. In a meeting room, Carl Rosendall hopes his 15-year quest for a movie deal will soon be over. He's the blonde-haired co-founder of PDI. Like Pixar, his Silicon Valley company is a computer graphics pioneer. Over the years, its computer wizardry has made the Pillsbury Do-Boy dance and helped Batman perform physically impossible stunts in Batman Forever.
Now, with Toy Story making millions, PDI wants to make its own movie. In the past week, Rosendalls pitched every established studio in Hollywood. Now, he's hoping to get Tinseltown's youngest studio, DreamWorks, interested too.
"Our other idea is Gargoyles. It's about Gargoyles coming to life."
我们的另一个想法是石像鬼。它是关于石像鬼活了过来。
DreamWorks producer Sandra Ravens looks nonplussed. He's a Katzenberg acolyte who followed him from Disney to DreamWorks, and he wants her to assess whether PDI could be DreamWorks way into computer animation. "How much will these movies cost to make?"
Ravens glares at Rosendall. He clearly hasn't done his own work. At Disney, I was the producer of Toy Story, and I was responsible for the budget.
乌鸦瞪着罗森达尔,很明显他没有做好自己的工作。在迪士尼,我是《玩具总动员》的制片人,负责预算。
You were? Oh, I didn't know. So I know that movie costs far more than 20 million.
你是吗?哦,我不知道。那么我知道那部电影的成本远远超过了两千万。
Hmm. So I'm in Egypt for the rest of the year doing Prince of Egypt work, so we'll get back to you in the near.
嗯,所以我在埃及工作到年底,做《埃及王子》的事情,所以我们会在不久以后回复你。
And all doesn't want to wait. Warner Brothers is pushing for a deal with PDI before the new year. But if DreamWorks bites, PDI could play the two studios off against each other to get a better deal.
Well, we are talking to other studios, so if you're interested, it'll be great if you can let us know before new years.
好的,我们正在与其他工作室交流,如果您有兴趣,希望在新年之前能让我们知道,那将非常棒。
Yeah, nice try, Coral. But like I said, after the new year.
是的,好尝试,Coral。但我说过,要等新年之后。
Rosendall leaves convinced he's blown it with DreamWorks. At least Warner's still keen. But in the weeks that follow, Warner presents PDI with a deal it doesn't want to sign.
The first is Shrek. It's based on a six-page children's book about an ogre that marries an ugly princess with help from a donkey. The other option is Ants, a movie about a non-conformist ant living in a conformist colony.
PDI chooses ants. Computers still struggle with lifelike skin and fur. They're much better at animating flat surfaces like plastic toys or the exoskeletons of insects.
In February 1996, DreamWorks buys 40% of PDI and puts it to work on ants. The official release date is spring 1999. But Katzenberg offers PDI big incentives if he can get the movie done before Pixar's rival and movie.
But while DreamWorks prepares to strike, Disney and Pixar are clashing over whether their alliance will survive.
然而,虽然梦工厂准备出击,但迪士尼和皮克斯正在就他们的联盟是否能够继续存在发生争执。
It's the fall of 2017 in Rancho Tejama, California. A man and his wife are driving to a doctor's appointment when another car crashes into them, sending them flying off the road.
Disoriented, they stumble out of the car only to hear dozens of gunshots whizzing past them. This is just one chapter of a much larger nightmare unraveling in their small town.
This is actually happening, presents a special limited series called Point Blank, shedding a light on the forgotten spree killings of Rancho Tejama, where a lone gunman devastated a small town, attacking eight different locations in the span of only 25 minutes.
The series follows five stories of people connected to the incident, from a father that drew the gunman away from a local school to the sister of the shooter. These are riveting stories that will stick with you long after you listen. So this is actually happening wherever you listen to podcasts. You can listen ad-free on the Amazon Music or Wondery app.
March 1996, Disney headquarters, Burbank, California. In a private dining room, Disney's CEO Michael Eisner nearly chokes on his lunch. He can't believe the nerve of Pixar Chairman Steve Jobs.
Yes, that's the price if you want our next five movies. That and equal billing to Disney in promotions.
如果你想要我们的接下来五部电影以及与迪士尼同等的宣传宣传费用,那就是这个价格。
Steve, I'm open to increasing Pixar's share of profits, but we're not going to pay your bills and give you half the money on top. Nor should you. Pixar will pay half the production costs. Our movies will be Pixar Disney co-productions.
Steve, the way this works is Pixar makes movies for Disney. That makes them Disney movies.
Steve,这个情况是这样的,皮克斯制作迪士尼电影。这就让它们成为了迪士尼电影。
Jobs stairs and to Eisner's eyes. If you reject our terms, we will go to another studio. And Disney will still own the rights to Toy Story and Pixar's next two features. With or without you, we'll keep making Toy Story movies.
But behind the bravado, Eisner's warming to Jobs' proposal.
在表面的虚张声势之下,艾斯纳开始倾向于接受乔布斯的建议。
Jobs' plan assumes Pixar will keep making hits. But Eisner knows movies are a hidden misbusiness. Eventually Pixar will create a flop. But if Pixar's sharing the cost, Disney will lose a lot less when that dud happens.
Eisner calculates that under Jobs' proposal, Disney can only lose money if a Pixar movie makes less than 70 million at the box office. And no Disney movies perform that badly since 1988.
But there's no way Eisner's going to give Jobs what he wants today. He's only going to roll over after making Jobs fight tooth and nail for it.
埃斯纳绝不会今天满足乔布斯的要求。他只会让乔布斯费力地争取到自己想要的。
But while they haggle, DreamWorks closes in. Spring, 1996. Los Angeles. And his office DreamWorks co-founder Jeffrey Katzenberg ends his latest phone call and buzzes his secretary on the intercom.
Katzenberg is taken aback. Lasseter's usually a placid guy.
卡兹伯格感到惊讶,拉瑟特通常是一个温和的人。
John, I don't know what you're talking about.
约翰,我不知道你在说什么。
I told you about our Aunt Movie and now I hear you're making one too.
我跟你说过我们的阿姨电影,现在我听说你也在拍一部。
Where did you hear that rumor?
你从哪里听到那个谣言的?
Lasseter heard it from Carl Rosendal, the co-founder of PDI, the animation studio making ants for DreamWorks. Pixar and PDI are tight. In the 80s, they used to co-host parties at computer graphics conferences. But Lasseter's not about to reveal his source.
Well, is it true? Yeah, it is. How could you? You're not stealing your idea, John. I had the script for Ants Long before you told me about your movie. I don't believe you.
Well, I admit I did speed up production after we spoke. But look, this isn't personal. You have to understand, Disney is releasing your movie on the same day as the Prince of Egypt. It's using your movie to destroy my movie. It's appalling behavior, but I can't let that slide. I don't want to hurt your movie, John. I just want Disney to change the release date. You get that, don't you, John?
There's a moment of silence. Then Lasseter replies, Cue, Jeffrey, Cue. Katzenberg blinks in shock. He's never heard Lasseter's swear before. But there's no going back now. The battle lines are drawn, a box office showdown beckons.
But while the two rivals race to make their bug movies, Pixar is bulking up. In February 1997, Pixar and Disney revise their deal. Pixar will now make another five original movies for Disney, starting with a bug's life. Pixar and Disney will share the profits and production costs. Which movie will be promoted as a Disney Pixar production? But Disney will own the rights. Disney also convinces Pixar to make a straight-to-video sequel to Toy Story.
But by 1998, Pixar is having second thoughts. It worries that a made-for-video movie will hurt its brand. So it persuades Disney to upgrade Toy Story 2 to a full theatrical release. Just weeks later, disaster strikes.
February 1998, Pixar offices Point Richmond. Toy Story 2 associate technical director Larry Cutler squints at his computer. Huh? That's weird. His colleague, Orin Jacob, turns to look. What is? I just refreshed the Woody file folder and there's like only 40 files. There should be hundreds here. Maybe refresh the directory again?
Cutler does and the number of files shrinks from 40 to 4. He refreshes again and a message appears. Directory invalid. Cutler and Jacob look at each other. Cutler quickly checks another folder. The one holding the data for Rex, Ham, and Mr. Potato Head. The files appear. Then he refreshes the directory and Rex disappears. Then Mr. Potato Head. Jacob's eyes widen. He's just realized what's happening.
Hundreds of Pixar employees work on these files and to make life easy. There's few restrictions on what they can do. They can even delete entire folders. But if someone uses a delete command in the wrong place, they could wipe everything.
Jacob grabs his phone and calls the server room. Terror pulses through his body as he waits for an answer. With every passing second, Toy Story 2 is being erased. Two years of work is about to be lost. The system's administrator answers the phone.
Yeah. Pull the plug on Toy Story 2's master machine. Uh-huh. What are you?
好的。断掉《玩具总动员2》的主控机器。嗯,你是什么?
Now! Pull the plug, pull it! Uh, uh, uh, uh, uh, uh, uh, why? Oh, please! God! Just pull it!
现在!拔掉插头,拔掉它!哦,为什么啊?拜托了!上帝啊!就拔掉它!
The anguish in Jacob's voice spurs the system's administrator into action. But shutting off his server isn't as simple as flicking a switch. Jacob's hangs in the line for what feels like an eternity. Finally, the guy returns to the phone. It's done.
Jacob and the rest of Pixar's tech team spin the next few hours assessing the damage. It's bad. Just 10% of Toy Story 2 remains. So they go to the backup tape, but the backup system failed months ago and no one noticed. Toy Story 2's gone. And there's no chance of finishing the movie in time for its schedule release in 1999.
Jacob和Pixar的技术团队花了几个小时来评估受损情况。状况很糟糕,只有Toy Story 2的10%剩下了。所以他们查看备份磁带,但备份系统在几个月前就已经失效了,没有人注意到。Toy Story 2已经丢失了。而且没有机会在1999年按计划发布电影了。
All seems lost. But then, a team member who recently had a baby remembers, she copied every file over to a workstation at her home so that she could work at home while caring for her newborn. She and Jacob race to her house and drive the workstation back to the office. The fate of a $100 million movie hangs on the data it holds. They booted up and find several thousand files are still missing. But most of the movies there. Toy Story 2 has survived for now.
But as the Toy Story 2 crew repairs the damage, high noon looms for dream works and Pixar's bug movies. Jeffrey Katzenberg hoped Ants would make Disney back away from attacking the Prince of Egypt, but it didn't. So he moves the Prince of Egypt from Thanksgiving to December 1998. But Disney immediately reschedules its movie Mighty Joe Young to open the same day. So Katzenberg goes nuclear.
In June 1998, he brings forward Ants' release from Spring 1999 to October 1998. Now Ants will enter movie theaters before Pixar's bug's life. The move enrages Steve Jobs. He can't stand the idea that Pixar now looks like the copycat. He starts badmouthing Ants in public. Many pleads with him to stop talking about the rival movie but he won't listen. He accuses dream works of copying Pixar.
Dreamworks PR chief suggests Jobs takes a chill pill. On October 2, 1998, as the two rivals sling mud at each other, Ants opens in cinemas across America. One was a soldier, one was a worker, and one was a dirt, not my idea of rewarding Korea. Now they're trading jobs. Nobody told me digging was something fun. Switching lives. I am proud to send you into battle. I'm sorry, into battle? And getting into the swing of things. Ants.
In its first weekend, Ants sells $17 million worth of movie tickets. Is the highest opening for an October weekend in US cinema history, and shows that Pixar isn't the only one capable of making computer animated hits. But Dreamworks rushed to beat Pixar to the movies. Came at a cost. The accelerated release gave Dreamworks little time to maximize its marketing push. The Ants toy line is incomplete when the movie opens, and many potential promotional partners passed on the opportunity due to the tight timescale. But Disney's got no such problems.
A bug's life is backed with $50 million of marketing deals. There are bugs life theme, Nestle chocolates, McDonald's happy meals, Mattel toys, and Chevrolet sponsored ball shows. And on November 25, 1998, a bug's life swarms into the nation's theaters. In its opening weekend, a bug's life makes $33 million, crushing ants, and proving that toy story wasn't a fluke. A bug's life will go on to make more than $350 million worldwide, more than twice as much as ants. Pixar wins the Battle of the Bugs, but Dreamworks is now established as its foremost rival in computer animation.
But for Katzenberg, ants isn't the main event. December 18, 1998, Los Angeles. At the Beverly Hills Hotel, Dreamworks is throwing a party to celebrate the launch of the Prince of Egypt. Jeffrey Katzenberg beams as he opens another bottle of champagne. It won't be long now until his distribution chief starts to call in the first reports of how the movie is doing at the box office. The Prince of Egypt is Dreamworks' flagship animation. It costs $70 million to make, and Katzenberg believes it will be a watershed moment in animation. He also hopes it will show everyone that Dreamworks can best Disney in hand-drawn animation.
The party goes quiet as the phone rings. Katzenberg bounds over to answer it. Jim, you got the first figures? When holds their breath as Katzenberg listens before replacing the receiver. Okay, so the takings are below expectations. But remember, that's the East Coast. Religions not so hot there. Just wait until the Midwest data comes in. The party resumes, but as more results come in, the mood sours fast. The Prince of Egypt is falling far short of expectations. Katzenberg is crushed. Not only does Dreamworks look set to lose millions, but he won't get to lord it over Michael Eisner today.
But Dreamworks isn't the only one facing bad news, because over at Pixar, creative chief John Lasseter's finally taken a proper look at Toy Story 2, and he doesn't like it. They're all. June 1999.
In the driveway of his home, a Pixar animator secures his infant in the car seat in his the road. As he joins the interstate, he knocks back some more coffee to fend off the exhaustion. For six months, everyone at Pixar has worked 100 hour weeks. The crunch began when creative chief John Lasseter decided Toy Story 2 wasn't good enough. But with the marketing deals for the movie already locked down, delaying the release wasn't an option. So instead of settling for second best, Pixar decided to rework the whole movie in just nine months.
Now this animator's days bleed into each other. Life is a haze of blurred commutes and countless hours of the computer screen. The animator's heart sinks as the rail crossing barriers block his path. Pixar's offices are just over the tracks, but this train will add another 10 minutes to his commute. Time that neither he nor Pixar can afford to spare. A few hours after reaching the office, the animator drops by his wife's desk. She also works at Pixar but went in early to get ahead. Hey, how you doing? Oh, you know, tired. My hand really aches today. How did the drop off at daycare go? The animator's face falls. He forgot about daycare. Their baby's still in the car, broiling in the summer heat. The parents and other employees race to the car carrying bottles of cold water. They open the car door. The heat inside is intense. The baby's unresponsive, but breathing, they pour water over the infant and call for an ambulance. The infant's okay, but it was a close call. Pixar's people are cracking. They barely see their families. A third of them have repetitive stress injuries and they're still three months of relentless work to go.
President Ed Catmull decides Pixar can never again ask this of its people, even if they're willing to do it. So he acts. Employees must now get management approval to work more than 50 hours a week. Scripts must be locked down more tightly before movies' inner production to reduce the risk of extensive last-minute overhalls. And Pixar's next movie, Monsters Incorporated, is delayed until 2001.
But DreamWorks fails to capitalize on Pixar's absence. In February 2000, DreamWorks releases another hand-drawn animated feature, The Road to El Dorado. And it bombs. With two disappointments in a row, Jeffrey Katzenberg slashes jobs at DreamWorks Animation Studio and dens the generous salaries he used to poach Disney talent.
He also buys PDI, the company that produced Ants, to ensure DreamWorks remains competitive in computer animation. But he's not ready to abandon traditional animation. It's his first love, and he sure it still has a future. The DreamWorks next animated movie will challenge that belief.
May 2001, Con Film Festival, France. In a darkened movie theater, Katzenberg wonders if his big gamble is about to backfire. Next week, DreamWorks releases its second computer animation, Shrek. And to build interest, he's entered it for the Palm Door, the most prestigious prize in movies after an Oscar.
Now, he's having doubts. The con crowd are hard to please. Maybe they're not ready for Shrek's snarky attitude, toilet humor, and sly digs at Disney. But it's too late now. The lights go down, and Shrek begins. A few seconds in, Shrek jumps into a bog and farts. Bubbles in a dead fish rise to the surface. No one laughs. Katzenberg sinks lower in his chair.
Eight minutes in, he wants to crawl under his seat. None of the jokes are landing. But then, somewhere at the back of the theater, someone chuckles. Then there's another laugh. The icy crowd is thawing. Soon, Shrek and his sidekick, Donkey, will have the whole theater laugh him. In the movie ends, Shrek gets a standing ovation. And it's a sign of what's to come. Shrek becomes DreamWorks biggest movie yet. It makes almost half a billion dollars at the box office.
And as Shrek thrives, Disney suffers. Two weeks after Shrek's release, Disney releases its latest animated feature, Atlantis, the Lost Empire. But with audiences still flocking to see Shrek, it's met with a lukewarm reception. After six years of trying, Katzenberg's finally landed a punch on Disney. But Pixar's still ahead.
In November 2001, Pixar's Monsters Incorporated Debuts. By now, the Pixar brand is powerful enough to get people packing theaters. Monsters incorporated outshines Shrek and earns more than 570 million at the box office. But Shrek still has a chance to even the score.
March 2002, the Kodak Theater, Hollywood. It's the Oscars. In his seat near the front, Katzenberg's trying to keep his hopes in check. The Academy will soon announce the first ever winner of the Oscar for best animated feature.
And Katzenberg is desperate to win. He spent weeks and a small fortune urging Academy members to vote Shrek. But Pixar is just as eager to win. They've even hired a consultant to mastermind their campaign to get the Academy voting for Monsters Incorporated.
Katzenberg looks across the theater where Pixar's team are sitting and catches John Lasseter's eye. Lasseter looks away. Katzenberg senses that Lasseter's never going to forgive him for ants. Nathan Lane, the voice of T-Mone in the Lion King, walks on stage to present the best animated feature award.
As Lane picks up the envelope containing the winner's name, Katzenberg crosses his fingers. On the other side of the room, Lasseter edges forward in his seat. And the Oscar goes to... Shrek.
当 Lane 拿起装着获奖者名字的信封时,卡岑伯格交叉了手指。在房间的另一边,拉瑟特向前移动了座位。奥斯卡奖的获得者是......《史瑞克》。
Katzenberg springs to his feet and hugs everyone next to him. He feels vindicated. Dreamworks is on its way. And it's giving Pixar a run for its money. But in the excitement, he's overlooked the most important lesson from the Oscars.
All the movies nominated were computer animated. The era of hand-drawn animation is fading fast. And that spells trouble for Katzenberg's plan to win by keeping one foot in traditional animation and the other in computer cartoons.
On the next episode, Disney Guts its animation studio, Steve Jobs turns on Michael Eisner and Dreamworks suffers a DVD disaster. From Wondry, this is episode two of Dreamworks vs. Disney Pixar for Business Wars.
A quick note about recreations you've been hearing. In most cases, we can't know exactly what was said. Those scenes are dramatizations, but they're based on historical research. If you'd like to read more about Dreamworks, we recommend The Men Who Would Be King by Nicole Laporte.
I'm your host David Brown, Tristan Donovan of Yellow Ant Media wrote this story, voice acting by Michelle Philippi. Karen Lois, our senior producer and editor, edited and produced by Emily Frost..
我是您的主持人大卫·布朗,这篇报道是来自Yellow Ant Media的Tristan Donovan编写的,Michelle Philippi为声演。我们的高级制片人Karen Lois,负责编辑。制作人是Emily Frost。
Sound designed by Ryan Potesta. Our producer is Dave Schilling. Our executive producers are Jenny Lauer Beckman and Marshall Looey, created by Ernan Lopez for Wondry.