通过与迪斯尼戴夫·博塞特的动画创新讲故事

这一集是由不计其数的内容的创新故事驱动的雷竞技电竞竞猜雷竞技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www.hchb688.com/雷竞技raybet提现trainings/innovation-storytelling-training-for-individuals．

凯蒂Trauth泰勒[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;波士[00:00:51]好吧，很高兴和你在一起。我很高兴地谈论任何可能感兴趣的事情和一切。

凯蒂Trauth泰勒[00:01:01]这是所有兴趣，但我想我特别想知道是什么让你成为一个动画师，什么样的给你带来了特效和特效？好吧，你知道，很有意思。

戴夫是如何进入动画行业的

戴夫;波士[00:01:12]我觉得人们当你成长时，你知道，孩子们总是喜欢，哦，我想成为这个，或者我想成为这一点。而现实是，我不认为我们中的任何人都真的知道我们将成为那个年轻人。你知道，有些孩子会想成为消防员或警察，或者我的兄弟们对想要成为飞行员和宇航员的地狱弯曲。有时候你会跟进那些对我的事情。我喜欢艺术。当我进入高中时，我真的专注于发展一些艺术技能。我很幸运能拥有一位非常伟大的高中艺术老师，我认为今天有点缺乏供应。我想当学区削减预算时，他们通常先去艺术。是的，但是当我在高中时，我有这个真正的古典训练有素的艺术老师。他是一位成熟的艺术家，他真的鼓励我。 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.

凯蒂Trauth泰勒[00:03:02]那是什么样的？

戴夫;波士[00:03:04]其实挺酷的。你知道，你脸上挂着灿烂的笑容，你会说，哇，这太棒了。你开始思考各种可能性。就在那时，一个朋友给了我一篇《纽约时报》上的文章，是关于洛杉矶一所学校的，为迪士尼培训下一代动画师。雷竞技raybet提现我立刻打包好我的作品集，用UPS快递寄到学校申请。他们一年只接受30名学生。

凯蒂Trauth泰勒00:03:50哇。

戴夫;波士[00:03:51]我想，除非你尝试，否则你永远不会知道。所以当我接受该计划时，我很激动。而且我也获得了迪士尼奖学金。我打包了一只大众甲虫，我和我开车越野，我抵达洛杉矶，我清楚地记得这一点，我真的抵达洛杉矶，在我的口袋里大约有三十四美元抵达洛杉矶。

凯蒂Trauth泰勒[00:04:21]哇。

戴夫;波士[00:04:22]我知道这很疯狂。但我在Calarts经历了该计划。它被称为加利福尼亚人对艺术。很多人没有从计划中毕业，因为他们被拆除了在工作室里工作，特别是迪士尼的工作。当我毕业时，我在加利福尼亚州工作室城的一个小型工作室里，我会被录得拍摄。在一些非常早期的视频游戏中，我在那里工作了大约九个或10个月。一个被称为太空王牌，另一个被称为Dragonslayer，然后公司破产了。这是一种令人愉快的，因为他们在停车场有这个工作室会议。工作室的负责人说，我们只是用完了钱，所以我们已经关闭了门。

凯蒂Trauth泰勒哦，天哪。

戴夫;波士[00:05:19]我想，好吧，我会回到纽约，我会进入广告，因为这是我想做的事是广告。我以为我能在纽约市做动画商业。然后我的一位朋友在迪士尼工作，他说，嘿，你知道，你知道为什么不发送你的投资组合？因为他们真的需要一些帮助你完成的电影。所以我说，好吧，让我这样做。我可以在一张照片上工作，然后我会回到纽约。所以我把我的投资组合送到了迪士尼，他们马上雇用了我。我开始在一个名为黑色大锅的电影中工作的特殊效果部门，其中一个成功的迪士尼动画电影之一。但它确实在我心中有一个特殊的地方，因为它是我曾经工作过的第一张照片。而且我很疯狂，因为我想，好吧，我会在这张照片上工作，我会尽可能多地拯救出多少钱。 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.

凯蒂Trauth泰勒[00:08:45]哦，我的善良。And for those of you who maybe don’t know, we’re talking the types of pictures you got to work on, that you played an integral role in The Little Mermaid, who framed Roger Rabbit, the rescuers down Under Beauty and the Beast, Aladdin and the Lion King, Pocahontas, Hunchback of Notre Dame, Hercules, every single one. It feels like these treasured what are now classics, who we pass on to our children and our grandchildren. What an incredible career.

Dave Bossert，迪士尼动画和创新讲故事

戴夫;波士[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。

凯蒂Trauth泰勒[00:10:09]是的，它仍然是。我认为它仍然是。

戴夫;波士[00:10:12]是的。我的意思是，它非常棒。

凯蒂Trauth泰勒[00:10:15]但是你在第一部电影和所需的排汗量上工作的那个形象，我们在播客之前说了一点点关于托马斯爱迪生，以及他曾经说过那个天才是一个百分之一和九九十九的百分比百分率汗水。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;波士[00:10:56] Well, you know, I mean, to me and this really, I think applies to anything to do with the art of creating something, whether you’re creating a painting or writing a book or creating a piece of music, it really starts in your head. And when I was animating at the studio, I’d get a scene and I’d go over the scene with the effects supervisor and usually the director to get a sense of what it was that they were looking for. Some scenes were straightforward and you knew exactly what you needed to do. But in other scenes, you really needed to kind of get into the head of the director, the storyteller of that picture and understand what they were looking for. And you had to be aware of where your work fit into the whole of the picture and with special effects. For the most part, special effects are like a supporting character to the actual characters in the film. And oftentimes in a picture, the special effects become the dominant feature. There’s some sort of climactic, spectacular thing where it requires a lot of special effects work to really help tell that story point convincingly. And so for me, after. We are talking with the director of the effects supervisor, I oftentimes went back to my office and sat in a chair and and just literally close my eyes and started thinking about that scene until I was able to actually visualize it and visualize exactly how I was going to approach it and how I was going to draw that scene. 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.

凯蒂Trauth泰勒[00:13:16]我喜欢你认为那一刻闭上眼睛的形象。这听起来像是那些对你那些小，更安静的时刻发生的灵感。

戴夫;波士[00:13:26]是的。而且，你知道，有趣的事情是，经理和豆柜常常认为你已经摆脱了浪费时间。对我来说，它真的是你要创造的重要一部分。你必须坐下来，真的很有想法，而且真的有点地阻挡了其他一切，并将你的思想集中在那一件事上。那是什么样的？你是怎么开始的？你打算如何编写这个场景的动画，非常重要，非常重要。

凯蒂Trauth泰勒[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;波士[00:14:59]不，我从来没有真正对此有罪。我可能很早，我并没有真正有这么多的时间坐在那里，因为当你进入任何业务时，它就会。但是当我进入迪士尼时，我进入低级位置。所以我被打电话在介于偶尔之间，所以我正在填写，绘画。所以基本上，动画师已经制定了现场的愿景。而且，你知道，助手将它带到某个点。然后它归结为我填写了额外的图纸，所以不得不考虑它将是什么的方式。但是，随着我通过队伍进行的，成为一个动画师和一个监督动画师，视觉效果主管知道那些是你开始坐下的地方，只是真正想象你要做的事情。每个艺术家都有自己的过程，他们自己的方式。有些人会坐下来，只是开始绘画和一些钉子的东西。 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.

凯蒂Trauth泰勒[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;波士[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.

凯蒂Trauth泰勒[00:23:03]是的，绝对。

动画、讲故事和创造力

戴夫;波士[00:23:05]对我来说，当别人读到我的一本书时，我能得到的最好的赞美就是他们对我说，因为这就是我的全部。你在讲故事。再说一次，我认为这触动了人们。无论你在生活中做什么，你都可以工作。你可以开一家快餐店。你说的关于那家快餐店的故事是什么？你知道，每件事都有它的故事。

凯蒂Trauth泰勒[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;波士[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。

凯蒂Trauth泰勒(00:24:30)是的。我想我调查了一下，很有趣。

戴夫;波士[00:24:37]当我离开迪士尼时，我一直在努力建立在19世纪三十九年的肯尼堡桌上。当我离开时，他们说，你想要你的桌子吗？而且我就像，绝对。而且我实际上坐着。1936年三十九个肯·韦伯动漫办公桌与你交谈，这就是我现在写下书籍的地方。And I was sitting here working on a book that’s coming out next year, and I kind of sat back as I was typing one day and I started just kind of looking at the desk and you have flashbacks of memories from different pictures you worked on and stuff like that. But I was sitting here looking at the desk, as I’m doing right now, as I tell you this story. And I thought, I wonder if anybody’s written anything about this furniture, because this was specialized furniture that was created for the animation process at the Walt Disney Studios. And I wonder if anybody has documented this. And so, you know, I wound up blowing the afternoon doing research on that instead of writing the book that I was working on. 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;波士[00:27:13]这本书出版了，反响很好，还赢得了很多奖项，这太疯狂了。

凯蒂Trauth泰勒[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;波士(00:28:18)是的。所以，你知道，我现在可以决定，哦，我要去做，就这么做。所以我认为这是一件有趣的事情。我也认为这是一件很重要的事情，因为人们经常会说，我要做那个，或者我希望我能做那个，或者某天我要做某件事，然后他们永远不会去做。对我来说，当我决定，哦，我要做一些事情，比如把一个视频屏幕放在一本书里，或者写一本关于家具的书，我知道任何类似的事情，我就会去做，并坚持到底。我就是这么做的。我认为这是非常重要的事情。不管我们需要想出的想法有多疯狂，它们都是有效的，有一些事情你应该去尝试，你知道，也许它不会奏效，但也许它会引导你找到别的东西。我认为这就是乐趣所在。你知道，那个发现。

凯蒂Trauth泰勒[00:29:30]是的,当然。我也在想，你能不能谈谈动画创造新世界的力量，在某种程度上，当你面对创作一个动画故事的机会时，至少从一个局外人的角度来看，你似乎没有任何限制。你可能在外太空和象限10，你可能在水下。你可以有非人类的角色。对于大多数人来说，所有定义现实的东西都可以在动画世界中完全颠覆。那么，当你没有限制时，你如何创新呢?

戴夫;波士[00:30:16]我认为大多数人都对自己施加了限制。我认为人们，你知道，马上就会习惯性地说，随着你长大，你知道，我想做这个。不，你不能那样做或者你不能那样做。你需要这样做。这是我们教你做某事的方法。我认为人们有一种自然的倾向，想要知道。我以前在工作室很开心，因为我努力把不变成是。我做到了，而且大多数时候我都能做到。

凯蒂Trauth泰勒[00:31:03]你能给我一些例子吗？

戴夫;波士[00:31:04]嗯，就像我想去拍一部纪录片，而我正在做一个需要我做很多记分的项目。我想做一部关于音乐和动画的纪录片。它遇到了一个问题，你为什么要这么做？我当时想，嗯，因为它没有被真正涵盖，也没有被记录下来。因为我在做记分课，所以我很容易拍下这些东西，然后采访作曲家之类的东西。嗯，我不知道我是否不确定。然后我回去说，看，我已经为这个项目支付了评分。我们在国会记录馆做这件事。我们正处在国会记录公司历史性的录音棚阶段。我真的很想把这些东西拍下来。然后最后，它就像，嗯，你打算用它做什么？嗯，这会有教育意义的。它会让我们了解我们是如何做事的，会让我们进入电影节等等。好的，我们继续做吧。

凯蒂Trauth泰勒[00:32:22]激情扮演一个重要角色。是的，绝对。

戴夫;波士[00:32:27]你知道，所以我倾向于用这种方式来处理事情，并超越我正在做的事情。你知道，我怎么。我一直在思考写书的事。当我写Ken Webber关于家具的书时，我真的觉得我需要把书本身提升为一件艺术品。所以我非常投入地和打印机交谈，挑选出更厚的哑光纸和书中所有的图像。我想给这本书涂上指甲油，我真的很想让这本书有一种触感。有很多人跟我说这本书本身就是一件艺术品因为我们使用的印刷技术。这是非常合作的，因为我和印刷商说，我们可以做一些很酷的事情吗?他会给我看一些样品。你知道，我们决定在书的封面上加上一些木质的纹理。所以当你第一次拿起这本书的时候，你能感觉到封面上的木纹。 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

凯蒂Trauth泰勒[00:34:37]绝对。我喜欢实际上迷失在你的网站上。我强烈推荐给听到Davidbossert.com的人那里的人，尤其是签出一些文章和论文。显然你的书是令人难以置信的。这些文章清楚地迷上了你，对历史和揭露丢失故事有一种热情。我读过的那些是关于米老鼠防毒面具的。

戴夫;波士[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.

凯蒂Trauth泰勒是的。就在那个时候，沃尔特·迪斯尼公司接受了它并说，你们知道吗？让我们做一只真正的米老鼠。确切地没错。减轻他们的恐惧。真是太棒了。是的，这是一个难以置信的故事。我喜欢你的写作。

戴夫;波士[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。

凯蒂Trauth泰勒(00:38:37)是的。

戴夫;波士[00:38:38]所以他们不会像这么多的东西迷失时间。

凯蒂Trauth泰勒[00:38:42]我想，通过分享这些创新、创造的时刻和我们的历史，激励我们在今天这样思考，思考我们究竟如何或者为什么要创造一个米老鼠脸的防毒面具。正确的。但当你回顾过去，在历史的背景下看到那个时刻，很明显，跳出框框，真正尝试做更大的事情，有时需要那种水平的创造力。所以，是的，我认为这很鼓舞人心。它提醒我们以合作的方式思考，或许去拥抱那些表面上看似不可能或奇怪的事情。而且，天哪，这难道不是迪斯尼的整个历史的一部分吗?

戴夫;波士[00:39:33]嗯，你知道，令人惊讶的是，当我在做这些画的时候，特别是在现在被称为动画复兴的时期，也就是二十世纪八十年代，九十年代，你会意识到当你在做一些东西的时候。你所做的，不管你在做什么，它都会在某种程度上触动某人，也许，也许是一点点的，也许是非常深刻的。我记得当《狮子王》在影院上映后，我们在那里工作时，工作室收到了一些信件，其中有一封特别让我印象深刻。当我说到它的时候，我有时会哽咽。但它来自一个女人，她失去了她的丈夫，她儿子的父亲，和狮子王，因为辛巴失去了他的父亲，在电影中，他们如此感动，因为他们的失去。它帮助。她写道，这帮助她的儿子度过了那段艰难的时期。哦,当然。为了理解生命的轮回以及他需要继续生活下去的事实他的父亲会一直陪着他。

凯蒂Trauth泰勒[00:41:09]是的。是的，绝对。我认为我们世界上最伟大的故事讲述者对我们来说，这是我们最伟大的故事讲述者。这是你在那些继续努力的电影的天才，并将继续出现我们可以在这些更大的故事的背景下使我们的生命。

戴夫;波士[00:41:36]你和那就是如此真实。而这是整个电影行业的真实，而不仅仅是动画，一般的电影。它吸引了我们。它娱乐我们，让我们笑。它让我们哭泣。它让我们深入了解事情。我认为这是我一直喜欢电影娱乐的事情之一，以及为什么我一遍又一遍地地观看某些电影，因为他们只是与我共鸣。

凯蒂Trauth泰勒是的，当然。你知道，如果你要给那些想要创新的人或是领导创新团队的人提供建议，不管是，你知道，还是真的跨所有行业、所有年龄段和所有人才领域，你会给出什么建议，特别是从你作为一名动画师和特效艺术家学到的经验中汲取教训？

戴夫;波士[00:42:38]嗯，我认为把东西往墙上扔，看什么能粘住是很有道理的。我们经常在开始画画的时候做的一件事就是我们开始抛出一些想法。这个想法有多荒谬也许我的同事会说，是的，但你知道吗?这是什么?这就把你带到了这条路上，你知道，我们能做什么?这是什么呢?那会是什么呢?但最终，我们制作的这些电影，都是关于一个真正强大的故事。在我们想要多次访问的可爱角色的世界中，我们想要不断地回到那里，这就是它的全部内容，你必须从故事开始并从那里扩展。

凯蒂Trauth泰勒[00:43:45]是的，绝对是。这是一个美丽的形象。我喜欢大胆和冒险的想法，以便不仅仅是让这个想法成为胜利者，而且为了让这成为另一个团队成员的助手，他们可能能够在或重新申请或重新申请或重新申请或重新申请或建立it to get everyone moving in the direction it’s meant to go. Absolutely.

戴夫;波士[00:44:11]你知道，这对我来说，这是一个非常有趣的过程，它是一个必须被允许参加课程的过程。再次，我谈论扔墙上的想法，看看什么棍子。但对我来说，这是创造性的过程的重要组成部分是，你知道，让自己在典范外面思考，盒子外并推动信封。再次，对于您所在的任何业务来说，这真是如此。它不仅与电影业务或动画业务或音乐有关。您可以将此思想放在世界上的任何地方。

凯蒂Trauth泰勒[00:45:07]是的，我完全同意。百分之百。如此戴夫，我很感激你今天做的时间与我们交谈，了解创造力和发明和持久性。你可以在@dave_bossert的社交媒体上追踪大卫，并查看他的网站David Bossert，阅读了他的书。我非常感谢您今天分享的所有见解。

戴夫;波士[00:45:32]绝对很高兴。我真的很喜欢和你说话，我希望我希望我要说的，呃，可能会在世界上有人共鸣，我敢肯定。

凯蒂Trauth泰勒是的，肯定会的。非常感谢你，戴夫。

戴夫;波士[00:45:49]我很高兴。谢谢你。

凯蒂Trauth泰勒[00:45:52]感谢收听本周的这期节目。一定要在社交媒体上关注我们，并在对话中加入你的声音。你可以在数不清的内容中找到我们。雷竞技电竞竞猜

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