Jan Pinkava

Not always. Do you happen to make a nice ratatouille? Yeah, I've made ratatouille before, but I don't have the skill, taste and feeling to make a great ratatouille. The thing is, it's just a bunch of vegetables, right? Well, yes, but no. Yes, but no, exactly. And that's the thing. Ratatouille as a theme and a title for the film, that was there from the beginning for a number of reasons.

Not always. Do you happen to make a nice ratatouille? Yeah, I've made ratatouille before, but I don't have the skill, taste and feeling to make a great ratatouille. The thing is, it's just a bunch of vegetables, right? Well, yes, but no. Yes, but no, exactly. And that's the thing. Ratatouille as a theme and a title for the film, that was there from the beginning for a number of reasons.

Not always. Do you happen to make a nice ratatouille? Yeah, I've made ratatouille before, but I don't have the skill, taste and feeling to make a great ratatouille. The thing is, it's just a bunch of vegetables, right? Well, yes, but no. Yes, but no, exactly. And that's the thing. Ratatouille as a theme and a title for the film, that was there from the beginning for a number of reasons.

First of all, it's about rats and ratatouille. It tells you it's a comedy because it's a silly word. And ratatouille as the quintessential peasant dish, it's just vegetables, it's stuff that you can find easily. If you know how to cook it well, it's beautiful. I'm speaking here with Jan Pinkover. I worked on a couple of the early feature films of Pixar, including A Bug's Life and Monsters, Inc.

First of all, it's about rats and ratatouille. It tells you it's a comedy because it's a silly word. And ratatouille as the quintessential peasant dish, it's just vegetables, it's stuff that you can find easily. If you know how to cook it well, it's beautiful. I'm speaking here with Jan Pinkover. I worked on a couple of the early feature films of Pixar, including A Bug's Life and Monsters, Inc.

First of all, it's about rats and ratatouille. It tells you it's a comedy because it's a silly word. And ratatouille as the quintessential peasant dish, it's just vegetables, it's stuff that you can find easily. If you know how to cook it well, it's beautiful. I'm speaking here with Jan Pinkover. I worked on a couple of the early feature films of Pixar, including A Bug's Life and Monsters, Inc.

and Toy Story 2. And I got a break to develop my own feature film.

and Toy Story 2. And I got a break to develop my own feature film.

and Toy Story 2. And I got a break to develop my own feature film.

I came up with the original idea and wrote a treatment, came up with the name Ratatouille and the basic bones and outlines of the concept and the story. And then co-wrote a script with Jim Capobianco. And there were many versions of the script with various people on the way, as is always the case. And we began developing the movie.

I came up with the original idea and wrote a treatment, came up with the name Ratatouille and the basic bones and outlines of the concept and the story. And then co-wrote a script with Jim Capobianco. And there were many versions of the script with various people on the way, as is always the case. And we began developing the movie.

I came up with the original idea and wrote a treatment, came up with the name Ratatouille and the basic bones and outlines of the concept and the story. And then co-wrote a script with Jim Capobianco. And there were many versions of the script with various people on the way, as is always the case. And we began developing the movie.

His name was Tony Antonin, and he was a very serious man. He was the first of ten children, the son of a village cobbler, and he had perfect grades at school. He was an engineer who designed railway engine braking systems. He was a man who had a hard life. When he did something, he did it seriously. So when he played chess, he would take as long as it took to make the next move.

His name was Tony Antonin, and he was a very serious man. He was the first of ten children, the son of a village cobbler, and he had perfect grades at school. He was an engineer who designed railway engine braking systems. He was a man who had a hard life. When he did something, he did it seriously. So when he played chess, he would take as long as it took to make the next move.

His name was Tony Antonin, and he was a very serious man. He was the first of ten children, the son of a village cobbler, and he had perfect grades at school. He was an engineer who designed railway engine braking systems. He was a man who had a hard life. When he did something, he did it seriously. So when he played chess, he would take as long as it took to make the next move.

And that's how he won a lot of games, by boring the other side to death. But when he was playing with himself, he would just stare at the board and just keep on thinking and thinking and thinking as far and deeply as he could until he could make the move he wanted. And then he turned the board around. And then he... Did it again. Did it again.

And that's how he won a lot of games, by boring the other side to death. But when he was playing with himself, he would just stare at the board and just keep on thinking and thinking and thinking as far and deeply as he could until he could make the move he wanted. And then he turned the board around. And then he... Did it again. Did it again.

And that's how he won a lot of games, by boring the other side to death. But when he was playing with himself, he would just stare at the board and just keep on thinking and thinking and thinking as far and deeply as he could until he could make the move he wanted. And then he turned the board around. And then he... Did it again. Did it again.

I'm pitching to John Lasseter and Andrew Stanton and Pete Docter and Joe Ranft, the head of story, and Ed Catmull, the head of the studio. These are just the early concepts for a film. One of the ideas was, oh, this is a story about a rat who wants to become a chef. Everyone laughs. Everyone gets it. You're sold. The idea had come to him at home while he and his wife were in the kitchen.

I'm pitching to John Lasseter and Andrew Stanton and Pete Docter and Joe Ranft, the head of story, and Ed Catmull, the head of the studio. These are just the early concepts for a film. One of the ideas was, oh, this is a story about a rat who wants to become a chef. Everyone laughs. Everyone gets it. You're sold. The idea had come to him at home while he and his wife were in the kitchen.