How Pixar’s Nona Director Kept The Story Authentic

How Pixar’s Nona Director Kept The Story Authentic

There's a truth to that, right? When I grew up, I was running the streets from the moment I got home until I came in real quick to eat dinner and pretend to do my homework and then bounce back outside to play, like, that was my thing. And I'd run across the street - I remember being like in middle school, I’m eight years old and I'm riding bikes with my friends, two cities over, so when kids are dropped off on a doorstep, just show up on the doorstep, little kids, too, because I knew parents would be like, ‘Hey, go to the store.’ They would send like six-year-olds to the little corner store. Kids had more autonomy and I kind of liked this idea of this, if this character is like a real firecracker, a real star, real ball of energy, she's not going to be introduced. She’s going to show up like Anton Ego in Ratatouille with lightning in the background like a big - ‘Here I am, grandma!’ And [grandma’s] like, ‘Oh, damn.’ So having her show up by herself was way more powerful than if dad dropped her off. Cause then it brings in questions, like why is the dad leaving? But to make her more empowered, when she came in by herself, it just, it worked, so we never changed it.