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But I gathered myself, went off in search of a new dream, eventually settling on being a scientist, perhaps something like the next Albert Einstein.
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This guy, WALL-E, is a great example of that.
He finds beauty in the simplest things.
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We got so geeked out on making WALL-E this convincing robot that we made his binoculars practically optically perfect.
His binoculars are one of the most critical acting devices he has.
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Later in the movie, towards the end, WALL-E loses his personality, essentially going dead.
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The jellyfish in Finding Nemo was one of those moments for me.
There are scenes in every movie that struggle to come together.
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The director had a vision for this scene based on some wonderful footage of jellyfish in the South Pacific.
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And then I showed it to the lighting director, and she got excited.
Soon, I was showing to the director in a dark room full of 50 people.
In director review, you hope you might get some nice words, then you get some notes and fixes, generally.
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I gave my intro, and I played the jellyfish scene.
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And then the whole room was clapping.
This is the moment that I live for in lighting — the moment where it all comes together and we get a world that we can believe in.
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