Monsters University - crew, film crew
The entire team, the film crew of the film "Monsters University"
Monsters University (2013)
Timing:
1:44 (104 min)
7.046/10
11246
11246
7.648/10
272981
272981
7.2/10
421000
421000
Film crew
Director
Producer
Executive Producer
Casting
Kevin Reher
Casting
Natalie Lyon
Casting
Editor
Greg Snyder
Editor
Art Direction
Daisuke Tsutsumi
Art Direction
Craig Foster
Art Direction
Production Design
Sound Re-Recording Mixer
Tony Sereno
Sound Re-Recording Mixer
James Spencer
Sound Re-Recording Mixer
Original Music Composer
Additional Editing
Ken Schretzmann
Additional Editing
H. Lee Peterson
Additional Editing
Stephen Schaffer
Additional Editing
Kevin Nolting
Additional Editing
Anna Wolitzky
Additional Editing
Associate Producer
Nicole Paradis Grindle
Associate Producer
Orchestrator
J.A.C. Redford
Orchestrator
Jonathan Sacks
Orchestrator
Director of Photography
Jean-Claude Kalache
Director of Photography
Matt Aspbury
Director of Photography
Musician
Steve Schaeffer
Musician
Sound Effects Editor
E.J. Holowicki
Sound Effects Editor
Teresa Eckton
Sound Effects Editor
Justin Pearson
Sound Effects Editor
Dustin Cawood
Sound Effects Editor
Visual Effects Supervisor
Jon Reisch
Visual Effects Supervisor
Supervising Sound Editor
Michael Silvers
Supervising Sound Editor
Script Supervisor
Kelsey Mann
Script Supervisor
Jason Katz
Script Supervisor
Shannon Wood
Script Supervisor
Amanda Deering Jones
Script Supervisor
Character Designer
Albert Lozano
Character Designer
Sanjay Patel
Character Designer
Carlos Baena
Character Designer
Jack Chang
Character Designer
Jason Davies
Character Designer
Christian Haniszewski
Character Designer
Bernhard Haux
Character Designer
Jonathan Hoffman
Character Designer
Michael Honsel
Character Designer
Jonas Jarvers
Character Designer
Tim Milliron
Character Designer
Mark Piretti
Character Designer
Edward Robbins
Character Designer
Chris Sasaki
Character Designer
Daniela Strijleva
Character Designer
Jeremie Talbot
Character Designer
Brian Tindall
Character Designer
Animation
Brett Pulliam
Animation
Bret Parker
Animation
Alan Barillaro
Animation
Brett Coderre
Animation
Nancy Kato
Animation
Wendell Lee
Animation
Patty Kihm Stevenson
Animation
Ross Stevenson
Animation
Ron Zorman
Animation
Paul Mendoza
Animation
Arik Ehle
Animation
Timothy Hittle
Animation
Royce Wesley
Animation
Ramiro Lopez Dau
Animation
Shaun Chacko
Animation
Robb Denovan
Animation
Doug Sheppeck
Animation
Kevin Chesnos
Animation
Simon Christen
Animation
K. C. Roeyer
Animation
Don Crum
Animation
Steve Mason
Animation
Austin Madison
Animation
Lindsay Andrus
Animation
Evan Bonifacio
Animation
Jude Brownbill
Animation
Michael Chia-Wei Chen
Animation
Chris Chua
Animation
Eric S. Degner
Animation
Graham Finley
Animation
Aron Hatfield
Animation
Travis Hathaway
Animation
Neil Helm
Animation
Tsung-Yin Hsieh
Animation
Guilherme Sauerbronn Jacinto
Animation
Rob Jensen
Animation
Aaron Koressel
Animation
Bruce Kuei
Animation
John Chun Chiu Lee
Animation
Holger Leihe
Animation
Matt Majers
Animation
Cameron Miyasaki
Animation
Javier Moya Alonso
Animation
Juan Carlos Navarro Carrión
Animation
Jayson Price
Animation
Andreas Procopiou
Animation
Nickolas Rosario
Animation
Amber Rudolph
Animation
Allison Rutland
Animation
Brett Schulz
Animation
Stefan Schumacher
Animation
Terry Song
Animation
Matthew Strangio
Animation
Raphael Suter
Animation
Jessica Torres
Animation
Anthony Ho Wong
Animation
Tom Zach
Animation
Production Manager
Cynthia Lusk
Production Manager
David Park
Production Manager
Russell J. Stough
Production Manager
Screenplay
Robert L. Baird
Screenplay
Set Designer
Paul Abadilla
Set Designer
First Assistant Editor
C.J. Hsu
First Assistant Editor
Sound Designer
Art Department Coordinator
Rodney A. Brillante
Art Department Coordinator
Judy Yu-Inn Jou
Art Department Coordinator
Duncan Ramsay
Art Department Coordinator
Dialogue Editor
Brian Chumney
Dialogue Editor
First Assistant Sound Editor
Chris Barron
First Assistant Sound Editor
Art Department Assistant
Elizabeth Thiers
Art Department Assistant
Foley Editor
Luke Dunn Gielmuda
Foley Editor
Pascal Garneau
Foley Editor
Corey Tyler
Foley Editor
Painter
Randy Berrett
Painter
Story
Robert L. Baird
Story
Music Supervisor
Tom MacDougall
Music Supervisor
Production Accountant
Emily Engie
Production Accountant
Michelle Liu Chung
Production Accountant
Sculptor
Jason Bickerstaff
Sculptor
Andrew Schmidt
Sculptor
Greg Dykstra
Sculptor
Music Editor
Bruno Coon
Music Editor
Additional Writing
Post Production Supervisor
Paul Cichocki
Post Production Supervisor
VFX Artist
Jason Johnston
VFX Artist
Set Decorating Coordinator
Erin Magill
Set Decorating Coordinator
Eric Rosales
Set Decorating Coordinator
Visual Effects Coordinator
Brian London
Visual Effects Coordinator
Animation Director
Andrew Gordon
Animation Director
Robert H. Russ
Animation Director
Michael Stocker
Animation Director
Color Designer
Jennifer Chang
Color Designer
Shelly Wan
Color Designer
Lighting Supervisor
Michael Sparber
Lighting Supervisor
ADR Voice Casting
Kristen Li
ADR Voice Casting
Production Office Assistant
Courtney Bergin
Production Office Assistant
Susan Eggett
Production Office Assistant
Jonathan Hurwitz
Production Office Assistant
Jenni Rowland
Production Office Assistant
Sound Recordist
Ronald G. Roumas
Sound Recordist
Visual Development
Eric Froemling
Visual Development
Joshua Jenny
Visual Development
Publicist
Robin Chandler
Publicist
Chris Wiggum
Publicist
Deborah Coleman
Publicist
Briana Gardner
Publicist
Hasia Sroat
Publicist
Modeling
Paul Aichele
Modeling
Jason Bickerstaff
Modeling
Raymond Wong
Modeling
Dale Ruffolo
Modeling
Ivo Kos
Modeling
Michael Krummhoefener
Modeling
Joseph Suen
Modeling
Lighting Artist
Sungyeon Joh
Lighting Artist
Jeremy Birn
Lighting Artist
Mathieu Cassagne
Lighting Artist
Ye Won Cho
Lighting Artist
Kathleen Cosby
Lighting Artist
Stefan Gronsky
Lighting Artist
Emmanuel Maniez
Lighting Artist
Burt Peng
Lighting Artist
Angelique Reisch
Lighting Artist
Vandana Reddy Sahrawat
Lighting Artist
Julien Schreyer
Lighting Artist
Philip Shoebottom
Lighting Artist
Post-Production Manager
Eric Pearson
Post-Production Manager
Title Designer
Susan Bradley
Title Designer
Administration
Allysa Amundson
Administration
Meghan Benafield
Administration
Heather Feng
Administration
Danielle Rae Levin
Administration
Michelle Moretta
Administration
Tanya Oskanian
Administration
Lara Pendleton
Administration
Wendy Dale Tanzillo
Administration
Lighting Director
Thomas Moser
Lighting Director
Nick Bartone
Lighting Director
Jessica Harvill
Lighting Director
Animation Manager
Cathleen Carmean
Animation Manager
Information Systems Manager
Sue Maatouk-Kalache
Information Systems Manager
Danielle Cambridge
Information Systems Manager
Gregory Finch
Information Systems Manager
Tamsen Mitchell
Information Systems Manager
Sowmya Natarajan
Information Systems Manager
Ozan Serim
Information Systems Manager
Ottavia Storer
Information Systems Manager
Benjamin Turman
Information Systems Manager
David Wehr
Information Systems Manager
Craft Service
Luis Alarcon-Cisneros
Craft Service
Finance
Megan Albert
Finance
Nancy Garretson Case
Finance
Naomi Davidson
Finance
Beatrice De Luca
Finance
Rachel Ergas
Finance
Kristi Gamble
Finance
Timothy Glass
Finance
Jeanie Gray
Finance
Valerie Hathaway
Finance
Kentaro Hinoki
Finance
Heather D.C. Jackson
Finance
Kacy Naylor
Finance
Rosana Neciuk
Finance
Kristina Ruud
Finance
Michelle Simons
Finance
Shari Villarde
Finance
Deana Walker
Finance
Annette Wang
Finance
Dialogue
Foley
Dennie Thorpe
Foley
Jana Vance
Foley
Lead Painter
Alex Harvill
Lead Painter
Visual Effects Designer
Amit Baadkar
Visual Effects Designer
Dave Hale
Visual Effects Designer
Jim Cody Harrington
Visual Effects Designer
Stephen Marshall
Visual Effects Designer
Konstantin Promokhov
Visual Effects Designer
Tim Speltz
Visual Effects Designer
Matthew Kiyoshi Wong
Visual Effects Designer
Editorial Staff
David Condolora
Editorial Staff
Christopher Zuber
Editorial Staff
Supervising Technical Director
Guido Quaroni
Supervising Technical Director
Sanjay Bakshi
Supervising Technical Director
Story Artist
Louis Gonzales
Story Artist
Rosana Sullivan
Story Artist
Supervising Animator
Scott Clark
Supervising Animator
Software Engineer
Tom Duff
Software Engineer
Drew Rogge
Software Engineer
Forrester Cole
Software Engineer
Kurt Fleischer
Software Engineer
Michael Kass
Software Engineer
Mark Meyer
Software Engineer
Jean-Daniel Nahmias
Software Engineer
André Pang
Software Engineer
Laura Savidge
Software Engineer
Character Modelling Supervisor
Christian Hoffman
Character Modelling Supervisor
Character Technical Supervisor
Sanjay Bakshi
Character Technical Supervisor
Layout
Patrick Lin
Layout
Gregg Olsson
Layout
Robert Anderson
Layout
Mark Sanford
Layout
Andrew Cadelago
Layout
Adam Habib
Layout
Josh Anon
Layout
Mark Shirra
Layout
Matthew Silas
Layout
Russell J. Stough
Layout
Robert Kinkead
Layout
Jan Pfenninger
Layout
Leo Santos
Layout
Editorial Coordinator
Hana Yoon
Editorial Coordinator
Story Supervisor
Kelsey Mann
Story Supervisor
Jason Katz
Story Supervisor
CGI Director
Jacob Brooks
CGI Director
Music Director
Andrew Page
Music Director
CG Animator
Chuck Waite
CG Animator
Set Dressing Artist
Nelson 'Rey' Bohol
Set Dressing Artist
Christina Garcia Weiland
Set Dressing Artist
Paul Abadilla
Set Dressing Artist
Amy L. Allen
Set Dressing Artist
Alison Leaf
Set Dressing Artist
Systems Administrators & Support
Erik Forman
Systems Administrators & Support
Jason Watkins
Systems Administrators & Support
Tlaloc Alvarez
Systems Administrators & Support
J. Darion Cuevas
Systems Administrators & Support
Ricky Der
Systems Administrators & Support
Tyler Fazakerley
Systems Administrators & Support
Robert Hamrick
Systems Administrators & Support
Michael Stewart Johnson
Systems Administrators & Support
Cory Knox
Systems Administrators & Support
Chris Lasell
Systems Administrators & Support
Warren Latimer
Systems Administrators & Support
Joanna Laurent
Systems Administrators & Support
Leslie Law
Systems Administrators & Support
Matthew Lindahl
Systems Administrators & Support
Jeremiah Macias
Systems Administrators & Support
Terry Lee Moseley
Systems Administrators & Support
Peter Plackowski
Systems Administrators & Support
Steven Ricks
Systems Administrators & Support
Benjamin Rillie
Systems Administrators & Support
Jessica Wan
Systems Administrators & Support
Ian Westcott
Systems Administrators & Support
Art Department Manager
Nick Berry
Art Department Manager
Editorial Production Assistant
Adrian Syben
Editorial Production Assistant
Fix Animator
Adam Rodriguez
Fix Animator
Guillaume Chartier
Fix Animator
Justin Farris
Fix Animator
Belen Gil-Palacios
Fix Animator
Joey Gilbreath
Fix Animator
Richard Gunzer
Fix Animator
Michael Sauls
Fix Animator
Jane Snow Stewart
Fix Animator
Ricky Wight
Fix Animator
Alon Winterstein
Fix Animator
Lighting Manager
Joshua Hollander
Lighting Manager
Alice Clendenen
Lighting Manager
Peter Sumanaseni
Lighting Manager
Master Lighting Artist
Scott Clifford
Master Lighting Artist
Tim Best
Master Lighting Artist
Josée Lajoie
Master Lighting Artist
Luke Martorelli
Master Lighting Artist
Lloyd Bernberg
Master Lighting Artist
Mimia Arbelaez
Master Lighting Artist
Max Bickley
Master Lighting Artist
Justine Codron
Master Lighting Artist
Airton Dittz Jr.
Master Lighting Artist
Mitch Kopelman
Master Lighting Artist
Andrew Pienaar
Master Lighting Artist
Jordan Rempel
Master Lighting Artist
David Shavers
Master Lighting Artist
Maria Yershova
Master Lighting Artist
Simulation & Effects Artist
Nick Lucas
Simulation & Effects Artist
Sonoko Konishi
Simulation & Effects Artist
Mach Tony Kobayashi
Simulation & Effects Artist
David Baraff
Simulation & Effects Artist
Daniel Chang
Simulation & Effects Artist
Jiayi Chong
Simulation & Effects Artist
Laurie Kim
Simulation & Effects Artist
Tiffany Erickson Klohn
Simulation & Effects Artist
Ian Krebs-Smith
Simulation & Effects Artist
Samantha Raja
Simulation & Effects Artist
Edgar Rodriguez
Simulation & Effects Artist
Animation Department Coordinator
Rodney A. Brillante
Animation Department Coordinator
Michael Capbarat
Animation Department Coordinator
David Sokolosky
Animation Department Coordinator
Animation Fix Coordinator
Claire Faggioli
Animation Fix Coordinator
Second Film Editor
Gregory Amundson
Second Film Editor
Editorial Manager
Gillian Libbert
Editorial Manager
Lighting Coordinator
Megan Bartel
Lighting Coordinator
Anthony Kemp
Lighting Coordinator
Shading
Randy Berrett
Shading
Byron Bashforth
Shading
David Batte
Shading
Robert Kondo
Shading
Eric Andraos
Shading
Chris Bernardi
Shading
Megan Stifter
Shading
CG Painter
Laura Phillips
CG Painter
Laura Beth Albright
CG Painter
Jaehun Chung
CG Painter
Trent Crow
CG Painter
Sarah Fowler Deluna
CG Painter
Jack Hattori
CG Painter
Alex Hessler
CG Painter
Katherine Ipjian
CG Painter
Yibing Jiang
CG Painter
Thidaratana Annee Jonjai
CG Painter
Kiki Mei Kee Poh
CG Painter
Joshua Seaver
CG Painter
Shalin Shodhan
CG Painter
Brian Tindall
CG Painter
Maria Lee
CG Painter
Production Intern
Dani Belko
Production Intern
Shauna Lacoste
Production Intern
Animation Production Assistant
Ramon Cardona
Animation Production Assistant
Elizabeth Thiers
Animation Production Assistant
Lead Set Dresser
Nathan Fariss
Lead Set Dresser
Sets & Props Artist
Mark Adams
Sets & Props Artist
Richard Snyder
Sets & Props Artist
Paul Abadilla
Sets & Props Artist
Frank Aalbers
Sets & Props Artist
Pamela J. Choy
Sets & Props Artist
Co-Art Director
Jason Deamer
Co-Art Director
Robert Kondo
Co-Art Director
Set Dressing Supervisor
David Eisenmann
Set Dressing Supervisor
Opening/Ending Animation
Ron Zorman
Opening/Ending Animation
Tom Gately
Opening/Ending Animation
Jason Merck
Opening/Ending Animation
Lighting Production Assistant
Johnson Cheng
Lighting Production Assistant
Simulation & Effects Production Assistant
Christine Waggoner
Simulation & Effects Production Assistant
Kirsten Peterson Marshall
Simulation & Effects Production Assistant
Set Production Intern
Matthew Garcia-Dunn
Set Production Intern
Software Team Lead
Thomas Hahn
Software Team Lead
Ian Buono
Software Team Lead
George Elkoura
Software Team Lead
Michael A. Bordas
Software Team Lead
Ryan Burns
Software Team Lead
Tony DeRose
Software Team Lead
F. Sebastian Grassia
Software Team Lead
Eric Gregory
Software Team Lead
Jamie Hecker
Software Team Lead
Tara Hernandez
Software Team Lead
Hayley Iben
Software Team Lead
Michael B. Johnson
Software Team Lead
Brett Levin
Software Team Lead
Cory Omand
Software Team Lead
Jack Paulus
Software Team Lead
Arun Rao
Software Team Lead
Sarah Shen
Software Team Lead
Erin Tomson
Software Team Lead
Dirk Van Gelder
Software Team Lead
Douglas Waters
Software Team Lead
Adam Woodbury
Software Team Lead
Michael B. Johnson
Software Team Lead
What's left behind the scenes
- To understand what a de-aged Mike should look like, the filmmakers studied the aging process in frogs. Then, artist Ricky Nierva, lead animator Jason Dimmer, and some other members of the film crew applied the knowledge they gained to the work on the younger versions of Mike and Sally. “We made them a little leaner, reduced their horns, erased some wrinkles, made their eyes brighter, and the colors more saturated,” Dimmer said.
- It was decided to give each of the three returning characters a new individual trait, or a visual cue, to use the jargon of the film crew. Mike was given braces. Sully got unruly teenage hair, reflecting his somewhat relaxed approach to life. Randall, who is called Randy in 'Monsters University,' is equipped with glasses that occasionally give him away when he tries to perform his still-imperfect disappearing trick.
- "It was very difficult to draw fur for the first film," said artist Ricky Nierva. "We had a limitation: only one furry character was allowed in each scene. Since then, there has been unprecedented progress, and in 'Monsters University' we could place furry characters anywhere, without any restrictions. However, at some point, director Dan Scanlon had to rein us in: the difference from the first film, where having fur was a luxury allowed to a select few monsters, was too noticeable. As a result, we had to shave the fur from some of the new generation of monsters."
- The cartoon features 500 characters, with an average of 25 characters per frame, twice as many as in any previous Pixar film. Artists modeled and developed many of the more than four hundred background characters early in the film's production, while the writing team finalized the details of Mike and Sully's adventures.
- Twelve people worked on a character named Terzaales. The heroine needed to be scary and repulsive, but also beautiful and graceful. The artists drew inspiration from the rare centipede Scolopendra Gigantea, also known as the giant Amazonian centipede.
- Producer Kori Rae participated in a trip to universities in search of information and inspiration. This was during the early stages of script development. "First, we went to the East Coast of the United States, where we visited several leading universities, including Harvard and the Massachusetts Institute of Technology (MIT)," says Rae. "It was impressive. On the first day, we were amazed by the size of the university campuses and how much was happening there. We couldn't believe our eyes. We went into classrooms, listened to lectures, and instantly became immersed in student life."
- The film crew visited universities in their native Southern California, including Stanford and Berkeley. The filmmakers were interested in the most exciting aspects of student life. Some of the crew were even lucky enough to witness a fireworks display in Berkeley, timed to coincide with an important football game against Stanford. This experience was reflected in the film as a rivalry between Monsters University and ScareTech.
- The film crew decided to add some fun visual effects to the scene where university clubs advertise their merits to freshmen. Mike walks from booth to booth at this time. “For the art club,” recalls Nierva, “we came up with a character whose head is one dense mass of wool. He dips his woolly head into paint and slams it onto the canvas with force. The guys preparing the special effects had a lot of fun developing this scene. One of them put on a paint-soaked wig and ran his head over the canvas several times.”
- Creating a university for monsters is a colossal task. “When we started working, I didn’t yet have a clear idea of what our college should look like,” said director Dan Scanlon. “But as our field research progressed, as we got to know different real universities, we increasingly understood that we were interested in elongated buildings in a classic style. We wanted the building to indicate that the university had a long history, but without looking too dusty. On the one hand, it should be an elite educational institution, we thought, and on the other hand, it should be fun to study there. We decided to locate the university campus in a hilly area, drew other buildings behind each building, and covered all the lawns with paths to give the impression that wherever you go, there is something interesting. Because that’s what student life is like. That’s how one of the cornerstones of our university emerged.”
- Lead artist Ricky Nierva claims that the main task when designing the campus buildings was to convey the spirit of learning and science, but the artists were not forbidden to have a little fun. “We subjected our buildings to careful monsterization, adding fangs, claws, horns, teeth, spikes, tentacles, and creepy faces wherever possible. Also, pipes resembling plumbing are visible in all the rooms. Roars and screams are supplied through them, because all the buildings on campus are heated by the energy of roars and screams.”
- It took 100 million hours of processor time to create 'Monsters University'. If the film had been made on one computer, it would have taken 10,000 years. This is a Pixar studio record. On average, 29 hours of work went into each frame. The Pixar computer network used to create this film was approximately twice as large as the one used to work on 'Brave'. In addition, each computer was turned into a multi-processor (12 processors in each). This allowed frames to be broken down into several parts and processed simultaneously on multiple computers using multithreading.
- One of the main innovations in the creation of "Monsters University" is Pixar's new lighting development, called global illumination (GI). This is a revolutionary approach to lighting. Global illumination allows filmmakers to receive light directly from a single volumetric source, rather than hundreds of individual light sources. As a result, the image looks much more realistic. A major advantage of this method is that the filming crew can understand how the final lighting will look at an early stage. Previously, this always required waiting for the filming process to be completed.
- "The number and diversity of characters presented a great difficulty for us," says Technical Director Sanjay Bakshi. "This is a film about a university. The events take place in a huge university complex, so we had to create a whole bunch of diverse students to resemble a real university, only for monsters. The teams responsible for modeling and rigging needed to figure out how to cope with all this diversity. It was easier with the first film. Then we designed hands and tentacles separately from the bodies. But in "Monsters University," all the characters had to look lively and organic. We knew we were going to create hundreds of characters, so we developed several basic types. Based on them, we could construct more complex characters, giving them various additional properties."
- "For the secondary characters, we developed six basic models," said Christian Hoffmann, head of character creation. "Then we lengthened, stretched them, and added horns, spikes, hair, and other objects to them. Each group has its own name. All the Charlies (the name was chosen in honor of a similar monster from the film "Monsters, Inc.", 2001) have eyes set on thin stalks, and tentacles instead of arms and legs. Spiffs look more like humans, but have a horn instead of a nose. Pills resemble a small castle with three eyes and thin limbs. Blocks look like wrestlers with square bodies. Fungus monsters look like slugs. They slide on the ground. They have two large eyes, like insects, a small round body, and thin limbs." "Systems for controlling animation, or AVAR, were a great help in working on this film," Hoffmann shared. "There is currently nothing equal to them in terms of technical advancement. With their help, we could create absolutely phenomenal facial expressions. For example, we could now allow a character to move the corners of their mouth or cheek with an expressiveness that the world of animation had not yet known."
- To make the film look convincing, it was necessary to skillfully draw a crowd of monsters for scenes in auditoriums, on campus, and during the Scare Games. "There are a very, very large number of mass scenes in this picture," said J.D. Northrup (head of the team that worked on creating the crowd), who led the technical team for mass scenes. "One episode takes place in a football stadium, where there are up to 5,000 monsters in the frame. In many other scenes, we have medium-sized groups of monsters, 200–400 individuals. This film has a very high density of monsters per square centimeter of screen. In this regard, we surpassed all films ever shot at Pixar."
- "This film has far more characters with fur than any other film," said Head of Modeling Christine Waggoner. "Basically, in "Monsters, Inc." (2001), we had only one character that was properly covered in fur, because the technology at the time did not allow us to cope with a large number of such characters on the screen. In "Monsters University," 15–20% of all monsters are covered in fur. The technology for processing hair and fur has been significantly simplified. Consequently, modeling capabilities have also expanded. Our current graphics programs allow animators to see the character's hair during animation. Moreover, these are not modeled hairs, but the result of visualization, carried out so quickly that the whole process can be called interactive. As a result, animators have the opportunity to better calculate the composition of each frame and more accurately calculate the required amount of fur."
- The first prequel to a Pixar film.
- Doug Sweetland was initially considered as director, having directed the animated film 'Prep & Landing' (2008).
- Originally, the plot was to include Mike's parents, who were supposed to drive Mike to university on his first day. However, director Dan Scanlon decided to abandon this idea to make Mike seem much more vulnerable.
- The second film with a college theme to receive a 'G' rating. The first film is 'Daddy Day Camp' (2008).
- Lecture hall A-113 is a reference to a real classroom at the California Institute of the Arts, where animation classes are held. A reference to this room appears in every Pixar film.
- The ball from the cartoon "Luxo Jr." (1986) can be noticed as a drawing on a stone wall.
- A scene from the trailer where Mike is turned into a disco ball was not included in the final version of the film.
- In the German version of the cartoon, the character Frank McCay was voiced by the goalkeeper of the German national football team, Manuel Neuer.
- In the new film, a very young Mike visits the factory on a school excursion 20 years before the events of the first film begin. Ten years later, the members of "Roar Omega Roar" pay Monsters, Inc. another very unexpected visit. For these episodes, the artists had to develop two retro versions of the corporation. “We couldn’t use the drawings left over from the first film,” explains Nierwa. “Technology had come too far. We had to rebuild everything from scratch, while simultaneously figuring out how to make our enterprise look 10 and 20 years younger.” For example, the team of artists had to redo the scoreboard displaying the leading workers. “In the first film, the results of the employees’ work are displayed on several TV screens,” says Nierwa. “We decided that earlier, the results were probably displayed on a fossilized train station scoreboard, with the letters running with a characteristic crackle. In the new film, the corporation looks different, but the connection to what was in the first picture is obvious. We also took into account the evolution of mobile phones, which have transformed from huge bricks into gadgets of modest size. Our door control stations have also been aged. They look much more massive, as they were at an earlier stage of scientific and technological progress.”
- When Mike and Sully are first shown their room in the fraternity house, the light switch is located on the wall under the bunk bed. In subsequent shots, it moves closer to the door.
- In the previous installment of the animated film "Monsters, Inc." (2001), during a conversation between Sully and Mike, we learn that they have known each other since the 4th grade, while in "Monsters University" (2013) they only meet in college.
- It took 100 million hours of processor time to create "Monsters University." If the film had been made on a single computer, it would have taken 10,000 years. This is a record for Pixar. On average, 29 hours of work went into each frame. The computer network used to create this film was approximately twice the size of the one used for "Brave." In addition, each computer was converted into a multiprocessor (12 processors each). This allowed frames to be broken down into several parts and processed simultaneously on multiple computers using multithreading.
- The second college-themed film to receive a 'G' rating. The first film was "Daddy Day Camp" (2008).
- In the previous installment of the "Monsters, Inc." (2001) animated film, during a conversation between Sully and Mike, we learn that they have known each other since the 4th grade, but in "Monsters University" (2013) they only meet in college.
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