Some short films build around a story arc-a beginning,rnmiddle, and end. For others, an interesting character, or perhapsrna conflict, drives the concept. Teddy Newton's stunningly originalrnshort "I Day&Night," on the other hand, began as a doodle and grewrninto a metaphor.rn"I was a keyhole," Newton says. "I added a couple eyeballs, and it kind of looked like a guy. I wasn't creating an animated film. It was just a gag."rnA gag until Pixar producer Kevin Reher ("Partly Cloudy," A Bug's Life) suggested that Newton pitch a short film. Newton had been a character designer for Pixar's Oscar-nominated short film "Presto," RatAtmille, and The Incredibles, a development artist for Up, and had help write the short "Jack-Jack Attack." Before joining Pixar, he was a development artist for Osmosis Jones and The Iron Giant, and co-wrote and co-produced the mock-1950s public education film The Trouble tvith Lou, But, he hadn't yet directed a film.
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机译：一些短片围绕一个故事而构建-一个开始，一个中间和一个结尾。对于另一些人来说，一个有趣的角色，或者也许是冲突，驱动了这个概念。另一方面，泰迪·牛顿（Teddy Newton）令人惊叹的原创短片《 I Day＆Night》，最初是一个涂鸦，后来变成了一个隐喻。“我是一个锁孔，”牛顿说。 “我加了几个眼球，看上去有点像个家伙。我不是在制作动画电影。这只是一场插科打.。”直到皮克斯制片人Kevin Reher（“ Party Cloudy”，《虫虫的生活》）提出这一建议之前，插科打A牛顿拍了短片。牛顿曾是皮克斯公司获得奥斯卡奖提名的短片《 Presto》，RatAtmille和《超人特工队》的角色设计师，而《超人特工队》则是Up的开发艺术家，并曾协助编写了短片《杰克-杰克袭击》。在加入皮克斯之前，他是Osmosis Jones和The Iron Giant的开发艺术家，并共同编写和共同制作了1950年代的模拟公共教育电影The Trouble tvith Lou。但是，他还没有执导电影。
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