通过与迪斯尼戴夫·博塞特的动画创新讲故事

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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;波士很高兴和你们在一起。我很乐意谈论任何可能感兴趣的事情。

凯蒂Trauth泰勒这些都是兴趣爱好，但我特别想知道是什么让你成为一名动画师，是什么让你从事动画工作，还有特效工作?嗯，你知道，这很有趣。

大卫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;波士其实还挺酷的。你脸上露出灿烂的笑容，你会觉得，哇，这太棒了。你开始思考各种可能性。就在那个时候，一个朋友从《纽约时报》上给我写了一篇文章，讲的是洛杉矶的一所学校在为迪士尼培训下一代动画师。雷竞技raybet提现我立刻把我的作品集打包，并用UPS快递送到学校去申请。这个项目一年只招收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，我的天啊。

戴夫;波士我想，好吧，我要回纽约，我要做广告，因为我想做广告。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，你为什么不把你的作品集送过来呢?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，让我来做。我可以拍张照片，然后就回纽约。所以我把我的作品寄给了迪士尼，他们马上就雇佣了我。我开始在特效部工作，为一部叫《黑釜》的电影工作，那是一部不太成功的迪士尼动画电影。但它在我心中确实有一个特殊的位置，因为这是我第一次参与拍摄的照片。我当时很疯狂，因为我想，好吧，我会继续制作这张照片，我会尽可能多地攒钱。 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.

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，这是相当惊人的。

凯蒂Trauth泰勒但是百分率汗水。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;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，有趣的是，经理和会计经常认为你在偷懒和浪费时间。对我来说，这真的是你要创造的重要部分。你必须坐下来好好想想，把其他的事情都排除在外，把注意力集中在一件事情上。那会是什么样子呢?你打算怎么开始呢?你将如何为这个场景设计动画，这非常非常重要。

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;波士嗯，你知道，对我来说，我认为任何你要研究的东西我都有一些很好的例子，也许我会直接告诉你，就像写一本书这个简单的行为驱使我去发明一些根本不存在的东西。当时我正在写一本关于多莉的书迪斯尼决定，这是1946年萨尔瓦多·达利和沃尔特·迪斯尼合作的一部短片它将被改编成一部类似于《幻想曲》的电影。当我写那本书的时候，我一直在想，我希望人们看那部短片，因为即使多莉和迪斯尼在1946年没有完成电影，我是一个团队的一员，在2003年完成了电影。所以我们有了这个精彩的六分钟短片。当我在写这两者之间的合作的故事时。20世纪的艺术家，艺术界的两位巨匠，我一直在心里想，我希望人们能够看电影，为什么我们不能把电影写进书里呢?所以对我来说，我一直在思考这个问题。我找到了一个在迪士尼工程部门工作的人，他是显示技术方面的专家。我向他介绍了我自己，我们一起喝了杯咖啡，告诉他们我想做什么。我们最终做了一个原型。 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;波士这对我来说是当别人读到我的书时我能得到的最好的赞美，因为这对我来说就是它的意义所在。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，你都可能是在工作。你可以开一家快餐店。你在讲那个快餐店的故事是什么?你知道，每件事都有相关的故事。

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。我想我研究了一下，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;波士这本书已经出版了，很受欢迎，还获得了很多奖项，这太疯狂了。

凯蒂Trauth泰勒[00:27:22]当你想到有这么多的对话,甚至只是在创新社区围绕或商界最协作或配置会导致创造力或者,你知道,空间和如何影响我们的工作和我们的生产力,我们的关系,我们的动机。它根植于我们工作的方方面面。看一件家具像你的桌子,它旨在促进创造力的动画工作,让你工作的方式是不同的,生产出的产品,是不同于其他任何曾经之前创建。我明白了。我认为这是让不同业务或个人兴趣的人都感兴趣的东西。这是迷人的。

戴夫;波士(00:28:18)是的。所以，你知道，我现在可以奢侈地决定，哦，我要去做，就去做。所以我认为这是一件有趣的事情。我也认为这是一件非常重要的事情，因为人们经常会说，我要做那件事，或我希望我能做那件事，或有一天我要做某件事，但他们永远不会做。对我来说，当我决定，哦，我要做一些事情，比如在一本书里放一个视频屏幕，或者写一本关于家具的书，并且知道诸如此类的事情时，我就会坚持做下去。我只是去做。我认为这是非常重要的事情。不管我们需要想出的想法多么疯狂，它们都是有效的，有些事情你应该去尝试，你知道，也许它不会成功，但也许它会让你找到别的东西。我认为这就是，你知道，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，你是否认为动画能够创造出一个全新的世界，在某些方面，当你有机会创造一个动画故事时，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。你可以拥有非人类的角色。对于大多数人来说，定义现实的一切都可以在动画世界中完全颠倒过来。那么当你没有限制的时候，你如何创新呢?

戴夫;波士我认为大多数人都是自我约束的。我认为人们，你知道，马上就会习惯地说，当你长大了，你知道，我想做这个。不，你不能那样做或者你不能那样做。你必须这样做。这是我们教你做事的方式。我认为人们有一种自然的倾向去了解。我曾经在工作室里玩得很开心，因为我努力把拒绝变成肯定。我做到了，而且大部分时间我都能做到。

凯蒂Trauth泰勒[00:31:03]你能给我一些例子吗？

戴夫;波士嗯，就像我想在做一个项目的同时拍一部纪录片，而这个项目需要我做很多评分环节。我想拍一部关于音乐和动画的纪录片。然后就会有人问你为什么要这么做?我当时就想，因为它还没有被真正覆盖，也没有被记录下来。因为我在做谱曲工作，所以我很容易拍下这些东西，然后采访作曲家之类的。我不知道我是不是不确定。然后我回去说，看，我已经为这个项目的评分环节付过钱了。我们要去国会唱片公司。我们在国会唱片公司历史悠久的录音室舞台上。我真的很想拍这些东西。 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.

凯蒂Trauth泰勒一种扮演重要角色的激情。是的,当然。

戴夫;波士你知道，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去思考。你知道，我怎么你知道，关于写书我想了很多。当我写那本肯·韦伯关于家具的书时，我真的觉得我需要把这本书本身提升为一件艺术品。所以我非常投入地与打印机交谈，选择一个较重的磨砂纸和书中所有的图像。我想给这本书涂上点光漆，我真的想让人们觉得这本书有一种触觉体验。很多人对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，因为我跟打印机说，我们能做些什么很酷的事情?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头的纹理。所以当你第一次拿起这本书的时候，你能感觉到你能感觉到书封面上的木纹。 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，故事，和动画与戴夫博塞特

凯蒂Trauth泰勒00:34:37绝对。我喜欢在你的网站上迷路。我强烈推荐大家到davidbossert.com来看看这些文章和文章。很明显你的书很棒。这些文章显然会让你着迷，它们对历史有一种激情，而且有点像是发现失落的故事。我读到的其中一个是关于米老鼠防毒面具的。

戴夫;波士(00:35:06)噢,是的。是的。我真的有个未来的约会。我要把我在二战后写的所有文章，都写进一本有更多信息和图片之类的书里。但这也是我的热情所在，今天更是如此，因为在这个国家乃至全世界都存在这样的分歧。人们似乎是如此的分裂和愤怒，你知道，政治局势是如此的不友好。我对二战的那段时期很着迷，因为它被称为“最伟大的一代”。那是大家齐心协力的时期。每个人，你知道，每个人不管你是去军队服役还是呆在家里为国家服务在工厂里生产飞机和坦克之类的东西。在那段时间，所有人似乎都走到了一起，迪士尼工作室也不例外。 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(00:37:30)是的。然后，在那个时候，沃尔特·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。我喜欢你的写作。

戴夫;波士非常感谢。事实上，他们为英国人做了一个罐头，罐头上有米老鼠角色，让孩子们把防毒面具放进去。就像他们自己的小支架，用来装防毒面具。所以，你知道，这些可怕的事情在日常生活中发生，你实际上是在试图软化一点，你知道，让人们放松。我只是觉得有很多这样的故事可以讲述，但没有人真正深入研究过，谈论过那么多。所以对我来说，这些事情很吸引人。我认为它们是你想要记录的历史片段。

凯蒂Trauth泰勒(00:38:37)是的。

戴夫;波士这样它们就不会像其他东西一样在时间中迷失。

凯蒂Trauth泰勒我认为，通过分享那些创新和创造的时刻，以及我们的历史，激励我们今天这样思考，思考我们究竟是如何，或者为什么要，创造一个有米老鼠脸的防毒面具。正确的。但当你回顾过去，在历史背景下看到那个时刻，很明显，跳出思维定势，真正尝试做一些更大的事情有时需要那种程度的创造力。所以，是的，我认为这很鼓舞人心。它提醒我们要以协作的方式思考，也许要接受那些表面上看起来，不可能或奇怪的事情。天啊，这难道不是迪士尼的整个历史和从那以后上映的电影的一部分吗?

戴夫;波士嗯，你知道，令人惊奇的是，当我在做这些图片的时候，特别是在现在被称为动画复兴的时期，也就是20世纪80年代，90年代，你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影响到别人，也许，也许是某种程度上，也许是非常深刻的影响。我记得当《狮子王》在电影院上映后，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。当我谈到它的时候我有时会哽咽。但它来自一个失去了丈夫，儿子的父亲，和狮子王的女人，因为辛巴在电影中失去了他的父亲，这让他们非常感动。它帮助。她写道，这本书帮助她的儿子度过了那段困难时期。哦,当然。为了理解生命的轮回他需要继续，继续他的父亲会永远和他在一起。

凯蒂Trauth泰勒[00:41:09]是的。是的,当然。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，如果你给那些想要创新的人或者领导创新团队的人提建议，不管是，你知道的，真的是所有的行业，所有的年龄，所有的人才领域，你会给什么建议，特别是从你作为动画师和特效师学到的经验中?

戴夫;波士嗯，我认为这是一种很有效的方法，就是把东西往墙上扔，看什么能粘住。我们过去经常做的一件事就是在一开始拍照片的时候我们就开始抛出一些想法。我的想法有多荒谬也许足以让一个同事说，好吧，但你知道吗?这是什么?这让你想到，我们能做什么?这是什么呢?那会是什么呢?但是在一天结束的时候，我们参与制作的这些电影，都是关于一个真正强大的故事。我们将可爱的角色设置在一个我们想要多次访问的世界中，我们想要不断回到这个世界中，这便是游戏的真正意义所在，你必须从故事开始并以此展开。

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泰勒感谢收听这周的节目。一定要在社交媒体上关注我们，并在对话中加入你的声音。你可以在未知的内容中找到我们。雷竞技电竞竞猜

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