The Art of Finding Nemo - Book

Aug 26, 2026

Upload by Aditya

The Art of Finding Nemo documents the creative journey behind Pixar and Disney’s animated film, weaving together reflections from key creators and detailed context for story development. Forewords recount the emotional pitch that sparked the project, early inspirations drawn from a child’s aquarium memories, and the design process for building an underwater world. The book also describes Pixar Animation Studios’ culture and environment, linking creative inspiration to the final realization of the film’s characters and settings.

LanguageEnglish

CategoryLiterature

FormatPDF

Pages160

Reading Time4 h 6 min

AccessFree to download

Forewords

Introduction

Leaving Home

The Big Blue

The Tank and Harbor

Acknowledgments

ЭблерртхакThe Art of by心城 To the crew of Finding Nemo,who created thebeautiful world of this fim.Thank you for jumpinginto the waters with us;this book is dedicated to youand your families. Andrew Stanton,writer-directorGraham Walters,producerpage 1:Geefwee Boedoe color pencil,6×4Copyngh02003by Disney Enterprises,Inc./FixarAnimator Studios. pages 2-3:Al ngts reserved.No part of this book may be reproducedAnthony Christovin any form withou wniten penision from the pubishcr.pencil,9×67Lbraryof Congres Catalogingin Pubication Data avalable.pages4-5:IS8N08118-39753Mark WhitingManufactured inHong Kongacrylic,8%×6V Designed by LaunalovettTypeset in Foundry Sansopposite,top to bottom:Mark WhitingDistributod in Canada by Ralncoat Bonksacrylic.5V⁴×3V9050 Shuughnessy SureetVancouver.British Columbia V⁶P6E5Mark Whiting10987654321acrylic,54×3V4Chronicle BookstiC85Second 5tueetMark WhitingSan ftancsco,Caifornia 94105acrylic.5/4×3%wwwchroniclebooks.cnm [Contents] Forewords 6Introduction 8 1:LEAVING HOME 13 2:THE BIG BLUE 47 3:THE TANK AND HARBOR 99Acknowledgments 158 # Forewords Andrew Stanton is my colleague,friend,and cre-ative collaboraror at Pixar.DuringABugsLife,hestarted toying with an idea for a feature film.Well.tell me,teil me,tell me."I said."No.let me thinkabout thisfor alittle while,"he answered.Finallyhe got to the point where he said,"Tmgoing totell you this story lve been thinking about."Hetontinued with an incredble one-hour story pitchthat was nivcting emotional,funny-astory abouta father and son.It was just amazing and Iwasstrapped to my seat.After the pitch he said,"John,what do you thirk?"I said,"You had me at theword fish." John Lasseter executive producer above: Ronnie del Carmendigital opposite: Ronnie del Carmen pastel and ink.9%x5 i grew upinMassachusetts.by the sea,andlremem-ber going tomy family dentist,who had thisfunkyfish tank in his affice Ali kids are attractedto aquar-iums,and i remember staring at thistankand thinking what aweird view of theworld thismust be forthe fish—it'dbelikeflyinginto Las Vegas and thal'syour first view of America Iassumed,when I wasachild,that all fish intankswere onginally fromtheocean and wanted to go backhome. In 1993,itook myson Ben,whowas cne yearold,to Marine World,where they'd opened thisfishexhihit that had atunnel with amassive glasswall.Idnever scubadved at that point,but ifyoustoodclose to thegla55,you got the feeling of beingunderwater with all hese tropical fish.Thiswas two years before ToyStory,when peoplewere ques-tioningwhether audiences would even sit througha computer graphics(CG)feature But Iremember.even then,thinkinghow in CGwe could make anuncerwater world.that CGwould be the perfectmedum for that worid. The ideastayed on the back bumer aslworked on the slate of Pixar productions that followedthe successof Toy Stary-and waitedforthe spark that'dfinally fireupthe gestatingidea.had the environment and the situation,but the ideadidn't kickinto gear untilltameup with somethingthat matteredtomeemotionally The final piece fellinto place when Benwasabout five yearsold andi took him forawalkto thepark to have some father/son time.It was only twoblocksaway,but the whole timelkept saying"Don't touch that..be careful.stay away fromthecurb—cars!i suddeniy became aware of what1was doing.I thought about the dilemmaof beingaparent and having protective instinctsthat can con-sume you andkeepyou frombeing the interactiveparent your chid needs youto be.The premiselconcluded with was "Fear denicesa gpod fatherfrom being one."That conflict intnguedme andsparked theideaof making astory that focusedonthe parent,not the child.That walk to the park withmy son really connected the dots,and from 1999ont got serious about making Finding Nema. So,it's been a longjoumey frommy dentst'soffice until now.withmanyincredible artistsjoiningup along the way to helptum thislitle fishideaintoareality.Thisbook isatnibute totheir amazingtalents,and ap

FAQs

What inspired the creators to develop Finding Nemo?

The forewords describe inspiration from an emotional story pitch and childhood aquarium memories, which helped shape the focus and world-building for the film.

How did the idea connect to a father-son theme?

Andrew Stanton explains that a dilemma about protective parenting versus being an interactive parent led to the central conflict and the decision to center the story on the parent.

What does the book say about Pixar Animation Studios’ creative environment?

It describes Pixar Animation Studios as a space designed to spark creativity, including distinctive shared areas such as the animator’s playroom and an aquarium used as reference for the film’s fish characters.

Aug 26, 2026

Upload by Aditya