Kevin Johnson at 2011-12-14 15:47:04:

I'm going to go ahead and actually voice my contrary opinion. Don't get me wrong, it is a very lovely intro and effective montage, but I think the glowing affection for it ends up diminishing the actual movie. Up I would say is Pixar's best, strongest, and most ambitious film, and it works in tremendous ways. I think there's much more to learn and enjoy from the full of the film than 10 minutes - the effectiveness of the silent businessman who wants to take his house; the amazing interplay between Carl, the kid, the bird, and the dog (probably the best "ragtag" team in the last 10 years); the very final shot - which brought me to tears much more strongly than the montage did. Again, it's a very good piece of the film, but I'm frankly disappointed that so many people heaped so much praise on that part and paid less attention to the rest of the film.

Scott at 2011-12-14 17:52:27:

Kevin, I actually know some people who were put off by the Carl & Ellie marriage life sequence, too much emotion. But for the most part, I think it's fair to say the response was quite positive. And I hear your point: Have people so focused on this sequence, they forget the pure quality of the rest of the film? Speaking personally, it worked precisely the opposite for me pretty much because of what Tim said: It completely locked me into Carl's plight. And I carried his memory of Ellie as evidence in the married life sequence as my memory, so every time Carl 'talked' to Ellie or found something to remind him of her, those emotions from that early sequence came back. I think "Up" may be Pixar's best movie. As you say in a way, it's their most ambitious film because it tackles the most fundamental issue of existence: That we die. Then after Ellie is gone, it becomes an amazing story of resurrection, Carl's metamorphosis from an old man simply playing out the string of his days, to discovering a new family with Russell and Doug. And that ending scene you mention? Oh, heavens yes. After Carl, Russell and Doug sit there eating ice cream, counting cars, Carl happily filling the role of Russell's surrogate father, to cut away through the clouds to show the house back atop Paradise Falls, that is one of the most perfect moments in a denouement I can remember. Gives me chills just to think about it. So I would say this: If you are in conversation with someone about the movie "Up," and all they can remember or choose to talk about is the married life sequence, invite them to watch the movie again. Only this time pay attention to all the myriad of details which make the movie so special, everything from the little subplot with Ellie's Book of Adventure to the grape soda badge to the many times someone crosses their heart. It's Pixar at its finest. And by the way, I am waiting on final approval of a transcript for an interview I did with Mary Coleman, head of the Pixar's story department. When I get it, I will have a series of posts in which we will all learn a lot more about Pixar's approach to story. And a wonderful screenwriting detail about "Up" I doubt many people know.

George Thomas at 2011-12-14 20:45:03:

I must agree that "UP" is one of Pixar's best, and one of my top favorite films. Very few movies can have me laughing and weeping at the same time. This montage scene, as you mentioned Scott, gives us Carl's memories of his adult life with Ellie and the importance of the House to those memories. But this scene would lose some of its emotional impact if it weren't for the scenes proceeding it. Not only have they been married for a long time, but they have been best friends since they were kids, and thus the importance of the House as their first meeting place. Also the call-back to the balloon tied to the stick when the other is not feeling well and the "cross your heart" reference - and the adventure book and dream of going to Paradise Falls. So this scene already is playing to set-ups from the previous ones. If the previous scenes to this are like the seeds, then this montage scene is like the roots to Carl's (and thus the story's) emotional journey. Having the wedding scene with Ellie's and Carl's families reinforces their personalities by showing their obviously vastly different upbringings. It shows the attachment to the House by showing the hard work they put into it. The set-up for the confrontation over the mailbox. Sets-up the symbolism of the two chairs, side-by-side. It shows Carl's love of balloons. And in this same scene (and throughout the movie in little places) sets up Ellie's love of birds. I noticed this is not in the script, but it is in the movie. The first time Carl shows off his cart of balloons, Ellie comes out with a bird. Also there's the bird on the mantle piece. I believe this is another subtle set-up for Carl deciding to help save Kevin (the bird). Also in the nursery, its Ellie who paints the stork carrying the baby bundle on the wall - a G-rated way to say they're trying to have a baby, but at the same time its another Ellie/bird moment. The montage also sets up that they have no children - a hole in their hearts. Carl wishes to be a father but is without a child. Later . . . enter Russell, a boy without a father. I also love the series of neck-ties to show the progression of time. Ending on a bow-tie ("Bowties are cool!") In the end of the montage scene, the script specifically mentions Carl's balloon is the color BLUE. Is this to reflect his mood? An absolutely beautiful scene that sets-up mounds of emotionally charged information from which the rest of the movie's motivations grow.

Scott at 2011-12-15 01:19:54:

Wow, George, I never noticed the bird dynamic. And because it's not in the script, but in the movie, I have to think that was a conscious choice as the film moved toward completion [Mary Coleman at Pixar told me they never really 'lock' a script, they make changes in the film way up toward date of deliver]. The thing is, whether conscious or not, there is a way in which we, as storytellers, tap into something deeper than what we bring to a story rationally. That's because stories are organic, they exist as living entities. So let's say the birds meme was not intentional at all. I would choose to look at that as the filmmakers tapping into the collective unconscious. I any event, that is a great observation and I thank you for it!

Alan(Myer) Wong at 2011-12-15 13:15:48:

In the DVD there're plenty in depth sharing by the story team about film making choices. Re-watch the film with commentary in each of the PIXAR DVD helps me to pay attention on those subtle details in these art pieces. Remember young little Carl adventuring before he met Young Ellie? In one of the alternative version, Carl was scared by Ellie who yell for protecting a bird (Sorry that I couldn't remember so precisely, but that was to show her care and love of birds). In later version when the story team tried to make the story more subtle and condense, they merge the ideas and some remain as subtle visual hints, like you've mentioned in this sequence. I love how the team signify their emotion in various visual and audio hints, such as each little props they've been using for decades, the use of forms and colors (Ellie-round and pink, Carl in frame isolated from the world, his squareness-immobility, dull colors, Russel-round,like a bouncing ball in bright colors), and the use of character theme song. Whenever it comes to memories about Ellie, the melody, the light and color, the props all relate and reminding us and Carl that she's still with Carl. When I re-watch this sequences, finding the scissors and tapes beside Ellie's bed when she passed their Book of Adventure to Carl, it really makes me in tears, that Carl was so depressed and couldn't aware the message and hope by Ellie, to find a new adventure. It's until the very end that Carl finally realize her wish and she's always be there. Up is my favorite film by PIXAR. Hope to read more of the thoughts in GITS!