Billy Crystal discusses his chemistry with ‘Monsters University’ co-star John Goodman
the voices of Billy Crystal, John Goodman, and Steve Buscemi. From the moment these two mismatched monsters met they couldn't stand. Billy Crystal sat down with us to discuss his role in 'Monsters and also examine his chemistry with co-star John Goodman. how much I wanted to meet Billy Crystal, but once it was on my agenda, . Well gosh, you guys. Monsters, Inc. is a American computer-animated buddy comedy film produced by Pixar Animation Studios and distributed by Walt Disney Pictures. Featuring the voices of John Goodman, Billy Crystal, Steve Buscemi, James The two meet the Abominable Snowman, who tells them about a nearby village, which Sulley.
Mike is charming and generally the more organized of the two, but is prone to neurotics and his ego sometimes leads him astray. He is dating Celia Mae, who calls him "Googly-Bear".
Mary Gibbs as Boo, a two-year-old    human girl who is unafraid of any monster except Randall, the scarer assigned to her door. She believes Sulley is a large cat and refers to him as "Kitty". In the film, one of Boo's drawings is covered with the name "Mary". The book based on the film gives Boo's "real" name as Mary Gibbs, the name of her voice actress, who is also the daughter of one of the film's story artists, Rob. He is a snide and preening character who makes himself a rival to Sulley and Mike in scream collection.
James Coburn as Henry J. Waternoose III, an arthropodic monster with a crab-like lower body. He acts as a mentor to Sulley, holding great faith in him as a scarer. Jennifer Tilly as Celia Mae, a gorgon -like monster with one eye and tentacle-like legs. Celia is the receptionist for Monsters, Inc. John Ratzenberger as Yeti  a. The Abominable Snowman,  a furry white monster who was banished to the Himalayas. Dan Gerson as Smitty and Needleman, two goofy monsters with cracking voices, who work as janitors and operate the Door Shredder when required.
Bonnie Hunt as Ms. Flint, a female monster, who trains new monsters to scare children. Samuel Lord Black as George Sanderson, a chubby, oranged-furred monster with a sole horn on top of his head. A running gag throughout the film involves George repeatedly making contact with human artifacts such as socks and the like which cling to his fur via staticprompting his scare coach to trigger "23—19" incidents with the CDA resulting in him mobbed, shaved bald, and sterilized.
He is good friends with Pete "Claws" Ward. Phil Proctor as Charlie, George's assistant with sea-green skin and tendrils for limbs. Joe Ranft as Pete "Claws" Ward, a blue monster with razor-sharp claws and horrifying breath. Development[ edit ] When production began in earnest on Monsters, Inc. The idea for Monsters, Inc.
I knew monsters were coming out of my closet when I was a kid. So I said, 'Hey, let's do a film about monsters. Docter pitched the story to Disney with some initial artwork on February 4 that year. He and his story team left with some suggestions in hand and returned to pitch a refined version of the story on May Each monster represented a fear he had, and conquering those fears caused the monsters eventually to disappear.
Sulley's eventual sidekick, Mike Wazowski, had not yet been added. As the story continued to develop, the child varied in age and gender. He feels envious because another scarer, Ned who later became Randallis the company's top performer.
Docter would later describe that the team "bent over backwards trying to create a story that still had monsters " while still solving the problem,  A key moment came when the team decided "Okay, he's the BEST scarer there.
He's the star quarterback" with Docter noting that before that moment "design after design, we really didn't know what he was about.
The idea was later largely rejected, as it was thought that audiences would be distracted by the tentacles. Sullivan was also planned to wear glasses throughout the film. However, the creators found it a dangerous idea because the eyes were a perfectly readable and clear way of expressing a character's personality; thus, the idea was rejected.
A term coined by Lasseter, a "story summit" was a crash exercise that would yield a finished story in only two days. Development artist Ricky Nierva drew a concept sketch of a rounded, one-eyed monster as a concept for the character, and everyone was generally receptive to it.
He considered it his first experience in writing a feature film. He explained, "I would sit with Pete [Docter] and David Silverman and we would talk about a scene and they would tell me what they were looking for.
I would make some suggestions and then go off and write the sequence. We'd get together again and review it and then hand it off to a story artist.
Here's where the collaborative process really kicked in. The board artist was not beholden to my work and could take liberties here and there. Sometimes, I would suggest an idea about making the joke work better visually. Once the scene moved on to animation, the animators would plus the material even further.
He screen tested for the role and was interested, but when Pete Docter was unable to make contact with him, he took it as a "no". Goodman interpreted the character to himself as the monster equivalent of a National Football League player. Animation[ edit ] The "door vault" scene is one of the film's most elaborate sets. In Novemberearly in the production of Monsters, Inc.
Billy Crystal discusses his chemistry with ‘Monsters University’ co-star John Goodman
He faced a difficult challenge, however, in dealing with Sulley's sheer mass; traditionally, animators conveyed a figure's heaviness by giving it a slower, more belabored movement, but Kahrs was concerned that such an approach to a central character would give the film a "sluggish" feel. The history of film was a great class with him because we watched movies and he would talk about them. Did you feel that way before this?
Yes, I felt it when we made the first movie. I just fell in love with him. What I loved about coming back to him was that I got to play him at a special time in his life. I got to play him at 18, or so.
And I totally relate to him. And then, when he handles disappointment, he handles it really well and he finds a way out. I think that makes him an adult. How special were the lake scene and the cabin scene to do? I loved the funny, but when those moments happened, I was really very pleased. I have to say that I was moved because they stopped feeling like animated characters to me. They really felt like real people, or real monsters, with hearts and souls.
I felt very moved by the bonding of the friendship, and how Sulley helps Mike through that. I thought that was great. Part of why I also felt good was that, on the first movie, I pushed that we work together.
John and I threw aside the script, in that recording session, and we really got to act the scene out, close to each other. We were able to really act.
Together, we thought we did a good job on it. This movie is very wise, in that way. How different is the dynamic, acting in front of a microphone, as opposed to acting in front of an audience or a camera? Well, it is what it is. He could really paint the picture of whatever set we were going to be in, and what we were gonna be.
But, with the use of some computer images that they would bring up, I knew what my room looked like, and I knew what the lecture hall would looked like and the campus. They would show us rough stuff, but nothing was as beautiful as it is now. With the roars and stuff, if there was anything objectionable, it would be about something violent, or something like that. What do your grandchildren think about you being Mike? So, when the girls — who are the older ones — started to understand what I did, it happened by accident.
Billy Crystal MONSTERS UNIVERSITY Interview | Collider
We were out at a mall and some paparazzi guy jumped in front of us and took a picture, and they got scared and wanted to know what that was about, so I had to explain why. And then, I was Grandpa Mike Wazowski. You have to call him Mike Wazowski.
- New Images from MONSTERS UNIVERSITY
So then, they understood that I did that. I did that for a year. Do you think the heart of these movies is why they succeed? Well, these are truly family movies. But, all of the Disney movies, in the history of them, back to Pinocchio and Snow White, all have that moment where you need for the audience to feel something besides having a romp. When you finally saw the finished film, were there any scenes that most impressed you or any characters that you found most fun to watch?
That obstacle course scene is phenomenal. I had no idea that it was gonna look like that, when they get swollen. And I thought the two-headed guy was hilarious.
There were always constant surprises. I did this for maybe a year and a half, or two years, so I forgot that I said some of these things. Did you worry about things in the prequel being set up properly, for the later movie? It was probably a big concern because it took so long for them to figure it out. So, they were constantly aware that that might be a problem. There are so many movies that I wish I had been able to do that on, where I could fix problems, and go back and do something again.
There were several different openings of the movie that I did. I think that they settled on this field trip idea out of a story that I told them about going to my first Yankee game inand having the star of all stars, Mickey Mantle, sign my program, and then I wanted to be a Yankee. And that became that opening field trip when you see the guy at Monsters, Inc.
I had recorded two different versions of Mike being brought to college, where I played his parents and his sister, with all of them in the car, dropping him off, and how nervous he was. I never saw it. Would you ever do a sequel to the original movie, so that people can find out what happened to Boo?