与迪士尼的Dave Bossert合作，通过动画创新讲故事

这一集的动力来自Untold Content的创新故事雷竞技电竞竞猜叙述雷竞技raybet提现．在这种身临其境、互动、故事驱动的体验中增加你的最佳想法。在这里，你的团队会为他们最新的项目、原型和提案改进讲故事的技巧，并从25个有影响力的创新故事的史诗般的例子中获得灵感。学习更多在UntoldContent.com/雷竞技raybet提现trainings/innovation-storytelling-Training-For-individuals.．

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。雷竞技电竞竞猜我是你的主人，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]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

戴夫·博斯特[00:01:12]我想在你成长的过程中，你知道，孩子们总是说，哦，我想做这个或我想做那个。而事实是，我认为我们中没有人真正知道自己在那么年轻的时候会变成什么样子。你知道，有些孩子会想成为消防员或警察，我的哥哥拼命想成为飞行员和宇航员。有时你会为我坚持到底。我喜欢艺术。到我上高中的时候，我真的很专注于培养一些艺术技能。我很幸运，我有一个非常棒的高中美术老师，我想现在这种老师很少。我认为，当学区削减预算时，他们通常会首先选择艺术。是啊，但我上高中的时候，有个很棒的古典艺术老师。他自己就是一个有成就的艺术家，他真的鼓励了我。 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]那是什么感觉?

戴夫·博斯特[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。雷竞技raybet提现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。

戴夫·博斯特[00:03:51]我想，如果不尝试，你永远也不会知道。所以当我被这个项目录取时，我很兴奋。我还获得了迪士尼奖学金。我装上一辆大众甲壳虫，开着车穿越了整个国家，到达了洛杉矶我记得很清楚，我到达洛杉矶时口袋里只有34美元。

Katie Trauth Taylor.00:04:21哇。

戴夫·博斯特[00:04:22]我知道这很疯狂但我最后还是去了加州艺术学院。它被称为“加州人的艺术”。很多人没有从这个项目毕业，因为他们被赶出了这个项目，去电影公司工作，尤其是迪士尼。当我毕业的时候，我在加州studio City的一个小工作室找到了工作。我在那里工作了9到10个月，致力于一些早期的电子游戏。一个叫Space-ace，另一个叫Dragonslayer，然后公司破产了。这有点滑稽，因为他们在停车场开了个工作室会议。工作室负责人说，我们没钱了，所以我们要关门了。

Katie Trauth Taylor.[00:05:17]哦，天哪。

戴夫·博斯特[00:05:19]于是我想，好吧，我要回纽约，从事广告方面的工作，因为我想做的就是广告。我想我可以在纽约做动画广告。然后我的一个朋友在迪士尼工作，他说，嘿，你知道，你为什么不把你的作品集寄过来呢?因为他们真的需要一些帮助来完成一部电影。所以我说，好吧，我来做一下。我可以拍张照片，然后回纽约。所以我把我的作品集寄给了迪士尼，他们马上就雇佣了我。我开始在特效部工作，拍摄了一部叫做《黑釜》的电影，这是一部不太成功的迪斯尼动画电影。但它确实在我心里有一个特殊的位置，因为这是我第一次拍摄的照片。我当时很疯狂，因为我想，好吧，我要拍这部电影，我要尽可能多地攒钱。 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，这很神奇。

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]嗯，你知道，我的意思是，对我来说，我认为这真的适用于任何与创作艺术有关的事情，无论是你创作一幅画、一本书还是创作一段音乐，它都是从你的大脑开始的。当我在工作室做动画的时候，我会找一个场景，我会和特效总监一起检查这个场景，通常是导演，了解他们想要什么。有些场景很直接，你很清楚自己需要做什么。但在其他场景中，你真的需要进入导演的头脑，了解影片的故事讲述者，了解他们想要什么。你必须意识到你的作品在整个画面和特效中的位置。在大多数情况下，特效就像是电影中真实人物的一个配角。通常在照片中，特效会成为主要特征。电影中有一些高潮迭起、引人入胜的情节，需要大量的特效才能真正将故事情节讲得令人信服。所以对我来说，之后。影响我们与主任主管,我经常回到我的办公室,坐在椅子上,然后闭上眼睛,开始思考那一幕直到我能够想象和形象化的我要如何处理,我是如何画出来的场景。 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]我喜欢你在那个时刻闭上眼睛的画面。对你来说，灵感似乎就发生在那些小而安静的时刻。

戴夫·博斯特(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] 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]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.[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,当然。

动画，讲故事和创造力

戴夫·博斯特[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.[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.

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]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?

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]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。

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?

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。

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。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。

戴夫·博斯特[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。

戴夫·博斯特[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.[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．对。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]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。我认为世界上最伟大的作家们有责任与我们并肩作战。这就是你拍的那些电影的天才之处，那些不断以这种方式出现的电影，我们可以联系起来，真正把我们的生活放在这些更大的故事的背景下。

戴夫·博斯特[00:41:36]你是如此真实整个电影行业都是如此，不仅仅是动画，那部电影。它吸引我们。它娱乐我们，使我们发笑。它让我们哭。它让我们思考的更深。我想这是我一直喜欢电影娱乐的原因之一，也是为什么有些电影我可以一遍又一遍地看，因为它们能引起我的共鸣。

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?

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,当然。这是一个美丽的画面。我爱勇敢和冒险的想法为了不仅只有这个想法成为赢家,但为了让助理到另一个团队成员可能会遏制或重新申请或建立它让每个人都朝着本打算去的方向。绝对的。

戴夫·博斯特[00:44:11]你知道，对我来说，这是一个非常有趣的过程，这是一个必须被允许顺其自然的过程。再一次，我说的是把想法扔到墙上，看看什么能坚持下来。但对我来说，这是创造过程的一个重要部分，你知道，推动你自己去思考，跳出常规，跳出框框，挑战极限。再说一遍，无论你从事什么行业，这都是千真万确的。它不仅仅与电影、动画或音乐有关。你可以把这种想法运用到世界上任何地方。

Katie Trauth Taylor.[00:45:07]是的，我完全同意。百分之一百。戴夫，我很感激你今天抽出时间和我们谈论创造力，发明和坚持。你可以在社交媒体上关注大卫，@Dave_Bossert，查看他的网站，大卫Bossert，阅读他的书。我非常感谢你们今天分享的所有见解。

戴夫·博斯特[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。

戴夫·博斯特[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。雷竞技电竞竞猜

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