![]() ![]() People are so attached to that character, they knew instantly that it wasn’t the same.” “To rebuild Dory was super-hard because, as soon as you move something, that’s not Dory. “It’s like, if you typed a Word document 13 years ago and tried to open it now, it wouldn’t open.” “But the technology had all changed,” Stocker said. ![]() “But it’s digital, as opposed to drawing it in 2-D.”įor many of the characters, they weren’t exactly starting from scratch: Dory and her friends Marlin and Nemo are well-known from the 2003 original film. “If you think of stop-motion animation, where you can grab an arm and pull it, it works the same way,” he said. ![]() It’s a long process, beginning with creating what Stocker described as a virtual puppet or model for each character. Stocker, a Spokane native and former Seattleite – back in the 1980s, he hand-painted conceptual airplane interiors for Boeing – has worked for Pixar Animation Studios for 13 years the last three-and-a-half as animation supervisor for “Finding Dory.” For that film, he led a team of about 70 animators to bring the story of the forgetful blue tang Dory (voiced, as in “Finding Nemo,” by Ellen DeGeneres) to life. SEATTLE – “Animators are actors,” said Pixar’s Michael Stocker, talking about the “Finding Nemo” sequel, “Finding Dory.” “We’re delivering a performance.” ![]()
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