We had a first draft by early September of 2012.”Īt the time, Stanton was still busy with John Carter, his live-action directorial debut. Right off the bat, I could take some of the pressure off having to be the lead writer and that gave me much more focus to be the director. “I thought it would be not only a family story, but a story dealing with sisters,” he reveals. It was all just sitting there and I felt like I needed to have closure for this character.”Īnd so, in early June 2012, Stanton hired Victoria Strouse to work on the script with him. “As a writer you fight hard for years to come up with a main character who has that much complexity. “I knew internally was a tragic character, even though she was the one generating all the humour in the movie,” he explains. realised we should never make a sequel unless we have a story to tell.”Īfter rewatching Finding Nemo, however, Stanton suddenly had a story worth telling. The only movie we did that with was Toy Story 2, in its inception, and we almost made a horrible movie for it. “But we have never made a sequel for the desire to further the franchise. “My wife loves it and every time would mention it, you’d get told,” laughs Stanton (pictured with DeGeneres, below). But while other Pixar hits spawned sequels, Nemo remained a stand-alone, much to the displeasure of its many fans, including DeGeneres herself, who frequently bemoaned the lack of a sequel on her hugely successful US TV show. It was, at the time, the highest-grossing animated feature, and went on to become the biggest-selling DVD ever. The film won the best animated feature Oscar for Pixar as well as picking up a best original screenplay nomination for Stanton, Bob Peterson and David Reynolds. In Finding Nemo, Dory, a blue fin tang with short-term memory loss, voiced by Ellen DeGeneres, joins forces with Marlin, a clownfish voiced by Albert Brooks, to find Marlin’s missing son, Nemo. It was this parental obligation I felt to this character I’d created, to be at peace.” That gave me an objectivity I’ve never had before, and I was really unsettled with Dory at the end of it. “It was probably the first time seeing it like the rest of the world saw it. “To see it again on the big screen really opened my eyes,” he reveals. In 2011, Andrew Stanton, director of A Bug’s Life and Wall-E, was watching his Oscar-winning Finding Nemo for the first time in almost eight years, in preparation for its 3D re-release.
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