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I was encouraged to try stuff and take responsibility for things that felt big, which was a heady experience for a young person and helped nurture my confidence. I felt invited to be fully myself, whoever that might be. Being at an all-girls school was an incredible gift. You know motto “They can because they think they can.” Westlake was really true to that idea. We all share stories of family members and loved ones who’ve sacrificed for us, and I hope knowing that can better connect us with each other. Storytelling is one of the best tools we have for teaching empathy, and I hope those who watch this film have that sense expanded in them-for Asian Americans, for the elderly, and for immigrants as well. What do you hope audiences take away from watching this short? Wind is inspired by everything she did to feed and educate them, and eventually, when my father grew older, to put together enough to send him to the U.S. My grandmother was left a single mother taking care of her children. When the Korean War started, she and my father and his brothers fled south, not realizing that they would end up separated from my grandfather.
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Wind is inspired by my grandmother’s own story. More broadly, it represents a place where opportunity is scarce and hope seems like a distant light on the horizon. That sparked a curiosity about what it would be like for a family to live in a place like that. The chasm the boy and his grandmother live in represents a world left devastated after some disaster, like a war. I started with the question of what it would be like to live in a state of constant falling. In my case I both directed and worked directly on shots as a simulation artist. The SparkShorts are made with small teams, so everyone’s responsibilities and opportunities expand beyond their usual scope, and everyone helps out however they can. SparkShorts is a program at Pixar designed to encourage a new set of diverse storytellers to experiment with new storytelling and production techniques. What is the idea behind SparkShorts, the umbrella under which you made Wind? On Wind, I stepped into the director’s role and guided the project from beginning to end. Typically this work comes on the production side of the film, after writing and story decisions have been made. I typically work in simulation, using computer physics simulations to add motion and detail to things that are too difficult to animate by hand, like clothing and hair-how they wrinkle, bend, and move with a character and the air.
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I’ve been at Pixar for more than 15 years, so I’ve had the chance to work on a lot of great films: Ratatouille, Up, Inside Out, Cars 3, Coco, Finding Dory, Incredibles 2, Toy Story 4, Onward, and Soul. I’m currently working on Luca, slated for release this summer, and Win or Lose, Pixar’s first original episodic series due on Disney+ in 2023. Tobias at HW that I first started learning and playing with 3D animation software, sparking an interest that would eventually lead to my path to Pixar. I owe a lot of my career to my time at HW! It was in a computer lab with Dr.
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That’s why we are also investing in carbon sequestration, policy change, and tangible projects to build a more sustainable food system for people and our planet. While we are proud of delivering 30 million pounds of produce, we know there is so much more work to be done. To do that, we have teamed up with IDEO and the World Wildlife Fund to build a technology product that can help us do what we are doing at a much larger scale. Farmlink is on a mission to bring an end to this absurdity.
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Every year, we are growing enough food to feed every person on this planet, yet nearly a third of that goes to waste while so many people struggle to keep food on the table. At the same time, millions of people in this country go hungry and nearly a billion people around the world face food insecurity. As the end of the pandemic draws near, what’s the future for Farmlink?Įven before the pandemic, 20 billion pounds of fresh produce a year were going to waste on farms in the United States alone.