Day & Night

Hello, I'm Teddy Newton, I'm the director of Day & Night.

Hi, my name is Sandy Karpman.

On Day & Night, I was the camera polisher and stereographer.

When I opened this picture, I wanted the audience to think

they were watching a familiar cartoon they had seen 100 times before.

The idea was to fill the frame

with customary cartoon imagery, only to break into something unfamiliar.

Originally, my idea was to have a keyhole as a personality,

so I drew a pair of cartoon eyes on this keyhole,

and it could glance into itself, seeing a world within.

But the novelty was limited,

and I wanted this character to be mobilized, so I added legs,

allowing him to walk around his environment,

revealing more of his landscape.

This inspired the idea

that the background could mirror his personal state.

Unlike other Pixar movies, a big portion of this was drawn by hand.

These drawings were scanned into a computer and vectorized.

We had to take pencil and paper drawings,

and we had to actually bring them into the computer.

You have someone drawing

at their desk,

and you have someone else modeling this set in their computer,

and they might as well be in two quadrants of the world.

So, one of the things that we did on Day & Night was we said,

"Okay, you know what? We can't wait until you're done hand drawing,

"we can't wait until your set is done,

"we have to keep bringing these two worlds together,

"even when the art's not ready,

"so that we can test where we are."

Both teams basically had to eyeball this

and hope this would actually merge together

when we would sandwich these two mediums.

The challenge was awesome.

We were composing three movies at once.

I was composing through the Day character

the movie that Teddy wanted to see,

I was composing through the Night character

the movie that Teddy wanted to see,

and then we were composing the two characters in a single frame.

And all that was shot with one camera.

And believe me, it was so hard, but I loved it.

Not only did I want the internal landscapes to reflect

the experiences the characters were going through,

I wanted the sound to do the same.

Greg Snyder and Barney Jones

supplied the sound effects for this picture.

My first conceit was not to use any music at all.

I wanted only naturalistic sounds that mirrored the actions of the characters.

For instance, if Night had an idea, an outhouse light would click on.

If the two characters were grappling each other on the beach,