Lasseter in 2002
John Alan Lasseter|
January 12, 1957
Hollywood, California, United States
California Institute of the Arts
Chief Creative Officer,
Pixar Animation Studios,
Walt Disney Animation Studios,
Principal Creative Advisor,
Walt Disney Imagineering
Luxo Jr. |
A Bug's Life
Toy Story 2
|Spouse(s)||Nancy Lasseter (1988–present)|
John Alan Lasseter (born January 12, 1957) is an American animator, film director, screenwriter, producer and the chief creative officer at Pixar, Walt Disney Animation Studios, and DisneyToon Studios. He is also the Principal Creative Advisor for Walt Disney Imagineering.
Lasseter began his career as an animator with The Walt Disney Company. After being fired from Disney for promoting computer animation, he joined Lucasfilm, where he worked on the then-groundbreaking use of CGI animation. The Graphics Group of the Computer Division of Lucasfilm was sold to Steve Jobs and became Pixar in 1986. Lasseter oversees all of Pixar's films and associated projects as executive producer. In addition, he directed Toy Story (1995), A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011). Since 2007, he also oversees all of Walt Disney Animation Studios' (and its division, DisneyToon Studios') films and associated projects as executive producer.
Lasseter was born in Hollywood, California. His mother, Jewell Mae (née Risley; 1918–2005), was an art teacher at Bell Gardens High School, and his father, Paul Eual Lasseter (1924–2011), was a parts manager at a Chevrolet dealership. Lasseter is a fraternal twin; his sister Johanna Lasseter-Curtis, who became a baker based in the Lake Tahoe area, is six minutes older.
Lasseter grew up in Whittier, California. His mother's profession contributed to his growing preoccupation with animation. He often drew cartoons during church services at the Church of Christ his family attended. As a child, Lasseter would race home from school to watch Chuck Jones cartoons on television. While in high school, he read The Art of Animation by Bob Thomas. The book covered the history of Disney animation and explored the making of Disney's 1959 film Sleeping Beauty, which made Lasseter realize he wanted to do animation himself. When he saw Disney's 1963 film The Sword in the Stone, he finally made the decision that he should become an animator.
Lasseter's higher education began at Pepperdine University, which was the alma mater of his parents and his siblings. However, he heard of a new character animation program at the California Institute of the Arts (CalArts) and decided to leave Pepperdine to follow his dream of becoming an animator. His mother further encouraged him to take up a career in animation, and in 1975 he enrolled as the second student in the CalArts character animation program created by Disney animators Jack Hannah and T. Hee. Lasseter was taught by three members of Disney's Nine Old Men team of veteran animators – Eric Larson, Frank Thomas and Ollie Johnston, and his classmates included future animators and directors like Brad Bird, John Musker, Henry Selick, Tim Burton, and Chris Buck. During his time there, he produced two animated shorts; Lady and the Lamp (1979) and Nitemare (1980), which both won the student Academy Award for Animation.
While at CalArts, Lasseter first started working for the Walt Disney Company at Disneyland in Anaheim during summer breaks, and got a position as a Jungle Cruise skipper, where he learned the basics of comedy and comic timing to entertain captive audiences on the ride.
First years at Disney
Upon graduating in 1979, Lasseter immediately obtained a job as an animator at Walt Disney Feature Animation on the basis of his early success with Lady and the Lamp. To put that in perspective, the studio had reviewed approximately 10,000 portfolios in the late 1970s in search of talent, then selected only about 150 candidates as apprentices, of which only about 45 were kept on permanently. In the fall of 1979, Disney animator Mel Shaw told the Los Angeles Times, "John's got an instinctive feel for character and movement and shows every indication of blossoming here at our studios ... In time he'll make a fine contribution."
However, Lasseter soon realized something was missing; after 101 Dalmatians, which in his opinion was the film where Disney had reached its highest plateau, the studio had lost momentum and was criticized for often repeating itself without adding any new ideas or innovations. In 1980 or 1981, he coincidentally came across some video tapes from one of the then new computer-graphics conferences, who showed some of the very beginnings of computer animation, primarily floating spheres and such, which he experienced as a revelation. But it wasn't until shortly after, when he was invited by his friends Jerry Rees and Bill Kroyer, while working on Mickey's Christmas Carol, to come and see the first lightcycle sequences for an upcoming film entitled Tron, featuring (then) state-of-the-art computer generated imagery, that he really saw the huge potential of this new technology in animation. Up to that time, the studio had used a multiplane camera to add depth to its animation. Lasseter realized that computers could be used to make films with three-dimensional backgrounds where traditionally animated characters could interact to add a new level of visually stunning depth that had not been possible before. He knew adding dimension to animation had been a longtime dream of animators, going back to Walt Disney himself.
Later, he and Glen Keane talked about how great it would be to make an animated feature where the background was computer animated, and then showed Keane the book The Brave Little Toaster by Thomas Disch, which he thought would be a good candidate for the film. Keane agreed, but first they decided to do a short test film to see how it worked out, and chose Where the Wild Things Are, a decision based on the fact that Disney had considered producing a feature based on the works of Maurice Sendak. Satisfied with the result, Lasseter, Keane and executive Thomas L. Wilhite went on with the project, especially Lasseter who dedicated himself to it, while Keane eventually went on to work with The Great Mouse Detective.
Lasseter and his colleagues unknowingly stepped on some of their direct superiors' toes by circumventing them in their enthusiasm to get the project into motion. During a pitch meeting for the film to two of them, animation administrator Ed Hansen, and head of Disney studios, Ron W. Miller, the project was cancelled, due to lack of perceived cost benefits for the mix of traditional and computer animation. A few minutes after the meeting, Lasseter was summoned by Hansen to his office. As Lasseter recalled, Hansen told him, "Well, John, your project is now complete, so your employment with the Disney Studios is now terminated.":40 Wilhite was able to arrange to keep Lasseter around temporarily until the Wild Things test project was complete in January 1984, but with the understanding there would be no further work for Lasseter at Disney Animation.:40 The Brave Little Toaster would later become a 2D animated feature film directed by one of Lasseter's friends, Jerry Rees, and co-produced by Wilhite (whom by then had left to start Hyperion Pictures), and some of the staff of Pixar would be involved in the film alongside Lasseter.
While putting together a crew for the planned feature, Lasseter had made some contacts in the computer industry, among them Alvy Ray Smith and Ed Catmull at Lucasfilm Computer Graphics Group. After being fired, and feeling glum knowing his employment with Disney was to end shortly,:40 Lasseter visited a computer graphics conference in November 1983 at the Queen Mary in Long Beach, where he met and talked to Catmull again.:45 Catmull inquired about The Brave Little Toaster, which Lasseter explained had been shelved.:40 From his experience at Lucasfilm, Catmull assumed Lasseter was simply between projects, since Hollywood studios have traditionally laid off people whenever they don't have enough movies in progress to keep them busy.:45 Still devastated at being forced out of the only company he had ever wanted to work for, Lasseter couldn't find the strength to tell Catmull that he had been fired.:45
Catmull later telephoned Smith that day and mentioned Lasseter was not working at Disney. Smith told Catmull to put down the phone and hire Lasseter right now.:45 Before the day was over, Lasseter had made a deal to work freelance with Catmull and his colleagues on a project that resulted in their first computer animated short: The Adventures of André and Wally B. Because Catmull was not allowed to hire animators, he was given the title "Interface Designer"; "Nobody knew what that was but they didn't question it in budget meetings". Lasseter spent a lot of time at Lucasfilm in the San Francisco Bay Area in the spring of 1984, where he worked together closely with Catmull and his team of computer science researchers.:40–41 Lasseter learned how to use some of their software, and in turn, he taught the computer scientists about filmmaking, animation, and art.:40–41 The short turned out to be more revolutionary than Lasseter first had visualized before he came to Lucasfilm. His original idea had been to create only the backgrounds on computers, but in the final short everything was computer animated, including the characters.
After the short CGI film was presented at SIGGRAPH in the summer of 1984, Lasseter returned to Los Angeles with the hope of directing The Brave Little Toaster at Hyperion Pictures.:45 He soon learned that funding had fallen through and called Catmull with the bad news.:45 Catmull called back with a job offer, and Lasseter joined Lucasfilm as a full-time employee in October 1984 and moved to the Bay Area.:45 Lasseter and Catmull's collaboration, which has since lasted over thirty years, would ultimately result in Toy Story (1995), which was the first-ever computer-animated feature film.
Due to George Lucas's financially crippling divorce, he was forced to sell off Lucasfilm Computer Graphics, by this time renamed the Pixar Graphics Group. It was spun off as a separate corporation with Steve Jobs as its majority shareholder in 1986. Over the next 10 years, Pixar evolved from a computer company that did animation work on the side into an animation studio. Lasseter oversees all of Pixar's films and associated projects as executive producer. As well as Toy Story, he also personally directed A Bug's Life (1998), Toy Story 2 (1999), Cars (2006), and Cars 2 (2011).
He has won two Academy Awards, for Animated Short Film (Tin Toy), as well as a Special Achievement Award (Toy Story). Lasseter has been nominated on four other occasions – in the category of Animated Feature, for both Monsters, Inc. (2001) and Cars, in the Original Screenplay category for Toy Story and in the Animated Short category for Luxo, Jr. (1986), while the short Knick Knack (1989) was selected by Terry Gilliam as one of the ten best animated films of all time. In 2008, he was honored with the Winsor McCay Award, the lifetime achievement award for animators.
Lasseter was also the recipient of the Austin Film Festival's 2011 Extraordinary Contribution to Filmmaking Award.
Lasseter is a member of the Academy of Motion Picture Arts and Sciences and served nine consecutive years on its board of governors from 2005 to 2014 when he had to relinquish his seat due to term limits. His last position on the board was as first vice president.
Return to Disney
Disney announced that it would be purchasing Pixar on January 24, 2006, and Lasseter was named chief creative officer of both Pixar and Walt Disney Feature Animation, the latter of which he renamed Walt Disney Animation Studios. On January 25, 2006, Lasseter was welcomed by his new employees in Burbank with warm applause, as they hoped that he could save the studio from which he had been fired 22 years earlier.:253–254 Lasseter was also named principal creative adviser at Walt Disney Imagineering, where he helps design attractions for Disney Parks. Since 2007, he oversees all of Walt Disney Animation Studios' films and associated projects as executive producer. He reports directly to Disney Chairman and CEO Robert Iger, bypassing Disney's studio and theme park executives. He also received green-light power on films with Roy E. Disney's consent.
In December 2006, Lasseter announced that Disney Animation will start producing animated shorts that will be released theatrically once more. Lasseter said he sees this medium as an excellent way to train and discover new talent in the company as well as a testing ground for new techniques and ideas. The shorts will be in 2D, CGI or a combination of both. Recent shorts have included Get a Horse! (2013) and Feast (2014).
In June 2007, Catmull and Lasseter were given control of DisneyToon Studios, a division of Walt Disney Animation Studios housed in a separate facility in Glendale. Since then, as president and chief creative officer, respectively, they have supervised three separate studios for Disney, each with its own production pipeline: Pixar, Disney Animation, and DisneyToon. While Disney Animation and DisneyToon are located in the Los Angeles area, Pixar is located over 350 miles (563 kilometers) northwest in the Bay Area, where Catmull and Lasseter both live. Since they could not be physically present at all three studios at once, they appointed a general manager for each studio to manage day-to-day business affairs, then established a routine of spending at least two days per week (usually Tuesdays and Wednesdays) in Southern California.
Lasseter is a close friend and admirer of Japanese animator Hayao Miyazaki, whom he first met when TMS Entertainment sent a delegation of animators to the Disney studio in 1981 and showed a clip from Miyazaki's first feature film, The Castle of Cagliostro (1979). Lasseter was so deeply moved that in 1985 he insisted on showing that clip and other examples of Miyazaki's work after dinner to a woman he had just met (who would become his wife). He visited Miyazaki during his first trip to Japan in 1987, and saw drawings for My Neighbor Totoro (1988). After Lasseter became a successful director and producer at Pixar, he went on to serve as executive producer on several of Miyazaki's films for their release in the United States, and oversaw the translation and dubbing of their English language soundtracks. The gentle forest spirit Totoro from My Neighbor Totoro makes an appearance as a plush toy in Toy Story 3.
Lasseter owns the "Marie E." steam locomotive, a H.K. Porter 0-4-0ST saddle tank locomotive formerly owned by one of Walt Disney's "Nine Old Men", Ollie Johnston. The locomotive has made two visits to the Pacific Coast Railroad in Santa Margarita, CA in May 2007 and June 2010, where Lasseter ran the locomotive alongside the original Santa Fe & Disneyland Railroad "Retlaw 1" coaches. In 2005, Lasseter was given permission to bring the Marie E. to Disneyland as part of a celebration honoring Johnston. Johnston was able to take the locomotive around the Disneyland Railroad three times. This is the only time in history an outside locomotive has been permitted to operate on any of the Disney railroads.
Lasseter lives in Glen Ellen, California with his wife Nancy, a graduate of Carnegie Mellon University, whom he met at a computer graphics conference. Nancy majored in computer graphics applications, and worked for a while as a household engineer and a computer graphics engineer at Apple Computer. They married in 1988, and have five sons, born between 1979/1980 and 1997.
The Lasseters own Lasseter Family Winery in Glen Ellen, California. Their residence has a narrow-gauge railroad (for the aforementioned locomotive) and a swimming pool with a lazy river that runs through a cave. Lasseter owns a collection of more than 1,000 Hawaiian shirts and wears one every day. Naturally, Lasseter also inherited his late father's passion for cars; besides having directed two films about them, he watches auto races at Sonoma Raceway near his home and collects classic cars, of which one of his favorites is his black 1952 Jaguar XK120.
On May 2, 2009, Lasseter received an honorary doctorate from Pepperdine University. He delivered a commencement address in which he encouraged the graduating class of more than 500 students never to let anyone tarnish their dreams.
|1981||The Fox and the Hound||inbetweener (uncredited)|
|1985||Young Sherlock Holmes||computer animation: ILM|
|1987||The Brave Little Toaster||story artist|
|1991||Beauty and the Beast||executive producer: 3D version|
|1992||Porco Rosso||executive creative consultant: US version|
|1995||Toy Story||Green Alien (on helium)||director/story/modeling & animation system development|
|1998||A Bug's Life||Harry the Fly||director/story|
|1999||Toy Story 2||Blue Rock 'Em Sock 'Em Robot||director/story|
|2000||Buzz Lightyear of Star Command: The Adventure Begins||characters|
|2001||Monsters, Inc.||executive producer|
|2002||Spirited Away||executive producer: US version|
|2003||Finding Nemo||executive producer|
|2004||The Incredibles||executive producer|
|2005||Howl's Moving Castle||executive producer: US version|
|Tales from Earthsea||executive producer: US|
|2007||Meet the Robinsons||executive producer|
|Tinker Bell||executive producer|
|2009||Up||executive producer/senior creative team: Pixar|
|Ponyo||executive producer: US, Director: English Dub|
|Tinker Bell and the Lost Treasure||executive producer|
|The Princess and the Frog||executive producer|
|2010||Toy Story 3||story/executive producer/senior creative team: Pixar|
|Tinker Bell and the Great Fairy Rescue||executive producer|
|2011||Cars 2||John Lassetire||director/story/characters|
|Winnie the Pooh||executive producer|
|The Muppets||creative consultant|
|Secret of the Wings||executive producer|
|Wreck-It Ralph||executive producer|
|2013||Monsters University||executive producer|
|2014||The Pirate Fairy||story/executive producer|
|Planes: Fire & Rescue||executive producer|
|Big Hero 6||executive producer|
|2015||Tinker Bell and the Legend of the NeverBeast||executive producer|
|Inside Out||executive producer|
|The Good Dinosaur||executive producer|
|Finding Dory||executive producer|
|2017||Toy Story 4||director/story|
|1983||Mickey's Christmas Carol||creative talent|
|1984||The Adventures of André and Wally B.||character design and animation, models: André/Wally B.|
|1986||Luxo Jr.||writer, director, producer, models, animation|
|1987||Red's Dream||writer, director, animator|
|1988||Tin Toy||story, director, animator, modeler|
|1989||Knick Knack||writer, director|
|1997||Geri's Game||executive producer|
|2000||For the Birds||executive producer|
|2002||Mike's New Car||executive producer|
|2003||Exploring the Reef||executive producer|
|2005||Jack-Jack Attack||executive producer|
|One Man Band||executive producer|
|2006||Mater and the Ghostlight||original story, director|
|2007||How to Hook Up Your Home Theater||executive producer|
|Your Friend the Rat||executive producer|
|Glago's Guest||executive producer|
|2008–present||Cars Toons||director, executive producer|
|2009||Super Rhino||executive producer|
|Partly Cloudy||executive producer|
|Dug's Special Mission||executive producer|
|Prep & Landing||executive producer|
|2010||Day & Night||executive producer|
|Prep & Landing: Operation: Secret Santa||executive producer|
|2011||Prep & Landing: Naughty vs. Nice||executive producer|
|La Luna||executive producer|
|The Ballad of Nessie||executive producer|
|Hawaiian Vacation||executive producer|
|Pixie Hollow Games||executive producer|
|Small Fry||story/executive producer|
|2012||Tangled Ever After||executive producer|
|Partysaurus Rex||story/executive producer|
|The Legend of Mor'du||executive producer|
|2013||The Blue Umbrella||executive producer|
|Party Central||executive producer|
|Toy Story of Terror!||executive producer|
|Pixie Hollow Bake Off||executive producer|
|Get a Horse!||executive producer|
|2014||Vitaminamulch: Air Spectacular||executive producer|
|Toy Story That Time Forgot||executive producer|
|2015||Frozen Fever||executive producer|
|Sanjay's Super Team||executive producer|
- O'Connor, Stuart (February 12, 2009). "How to tell a great toy story". The Guardian. Retrieved May 11, 2013.
I was doing a lot of amateur 3D photography – in 1988, when I got married to my wife Nancy, we took 3D wedding pictures.
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Lasseter says he depends heavily on his and wife Nancy's "own test audience" of five sons – ages 16 months to 18.
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|40x40px||Wikimedia Commons has media related to John Lasseter.|
- John Lasseter at the Internet Movie Database
- Richard Verrier and Dawn C. Chmielewski, Fabled Film Company May Get a Reanimator, Los Angeles Times, January 25, 2006
- Fortune Magazine interview with John Lasseter – includes biographic information
- KCRW's The Treatment: John Lasseter and Andrew Stanton (02/04)
- KCRW's The Treatment: John Lasseter (06/06)
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