Pixar are something of a master in how things flow, how walls can be moved around to facilitate experience. The primary thing to note in tandem with this is how the rest has been engineered around spontaneous expression. It lets them filter in the following way the larger surrounding human world retains its quality of callous indifference as we think of it ourselves, our gaze is directed to the magical world-within where fragile beings have to struggle with predicaments like ours. It's the difference between Toy Story and Cars. The more ordinary and familiar this corner is, the more often we can imagine passing through it, the better. Pixar's main structure in building world - and what sets them apart from previous studios - is finding a small corner of our own world to animate, say toys in the attic, we can then have the delight of secret lives right under our feet. It lies at the bottom of all the other structures we observe around us and at the bottom of almost every great film I know of. The thinking mind will hold me back nine times out of ten, but the fact that our lives play out against the possibility is behind any life worth being lived. The most fantastical quality of reality is that I can open the door and go wherever. Is there anything more extraordinary than texture and light falling a certain way? An audience of Disney's time would have been baffled by what kind of reality this film shows. It really has taken a quantum leap the last decade in trying to replicate our world after that business with dead eyes was over.
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Okay, but this leaves me free to observe these few things here.
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Not for any silly quibbles about real cinema versus not, kiddie versus adult it's simply that the real world that threads itself around us is too marvelous and fantastical, too full of myriad possible worlds to envision, to forego the opportunity. I've never been into animation and my comments probably reflect it.
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