Book Review: The Art of Monsters University
This leads to the movie’s staff’s comments. “It’s not an accident that Oozma Kappa is green. How do you put clothes on Mike? He has no real body. You can put a hat on him, and wrist stuff or leggings, but he can’t wear a jacket.” – Jason Deamer, characters art director. “I remember being asked, How do you make an eyeball look eighteen years old? It’s a really good question, but we also see Mike as a little kid. So what does an eyeball look like at eighteen, and what does an eyeball look like at six?” – Ricky Nierva, production designer. “I got to explore a wide range of personalities for Randall, from nice guy to jerk. I did some early explorations of the characters being competitive in school. For instance, Mike, being a know-it-all, would raise his hand, but Randall would one-up him all the time; because Randy’s got more hands, he would put up three hands to Mike’s one. When Randall became more of a nerdy nice guy, I put glasses on him, to make his eyes bigger. When he takes the glasses off, he starts squinting – which is the look we recognize from the first film.” –Albert Lozano, sketch artist. “Structurally, the Oozma Kappas [four fraternity brothers] kind of step in for Boo as the third party that eventually heals Mike and Sulley. Without the Oozma Kappas, they wouldn’t have got stuck together, they wouldn’t have had this whole journey together. And it’s only in caring for them that both Mike and Sulley eventually come to care for themselves and each other.” –Pete Docter, executive producer.
The Art of Monsters University is written by Karen Paik, a writer in the Pixar story development department who has worked on Ratatouille, Up, and the current Monsters University. She also wrote The Art of Ratatouille. The foreword is by Dan Scanlon, the director of Monsters University. As usual, this is one of Chronicle Books’ lavish art books that tells all about the movie that it covers; a beautiful behind-the-scenes souvenir for the fans of Monsters University.
Fred Patten has been a fan of animation since the first theatrical rerelease of Pinocchio (1945). He co-founded the first American fan club for Japanese anime in 1977, and was awarded the Comic-Con International's Inkpot Award in 1980 for introducing anime to American fandom. He began writing about anime for Animation World Magazine since its #5, August 1996. A major stroke in 2005 sidelined him for several years, but now he is back. He can be reached at firstname.lastname@example.org.