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How do I send a fan mail to Andrew Stanton?
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Andrew Stanton Contact Details:
REAL NAME: Andrew Stanton
NICKNAME: Andrew Stanton
DOB: 3 December 1965 (age 57 years)
BIRTHPLACE: Rockport, Massachusetts, United States
BIRTH SIGN: Sagittarius
FATHER: Ron Stanton
MOTHER: Gloria Stanton
SPOUSE / WIFE: Julie Stanton (m. 1991)
CHILDREN: Audrey Stanton, Ben Stanton
YOUTUBE CHANNEL: https://www.youtube.com/channel/UC-MFR2AP_n6mT4l_NGoe4zQ
Fan mail address:
Pixar Animation Studios
1200 Park Avenue
Emeryville, CA 94608-3677
Andrew Stanton Bio
Andrew Stanton is a screenwriter and filmmaker born in the city of Boston in Massachusetts. It was in 1987 that he started working on the television series Mighty Mouse, the New Adventures, and it was in 1990 that he started working for Pixar Animation Studios. Because of his work in Toy Story (1995), he was nominated for an Academy Award. Finding Nemo (2003) and WALL-E (2008), both of which he wrote and directed, received the Academy Award for Best Animated Feature. He has also written and led other projects. His previous films include the 2016 release of Finding Dory and the fourth instalment of Toy Story (2019).
Andrew Christopher Stanton Jr. is an American animated film director, screenwriter, producer, and sometimes voice actor for Pixar Studios. He has won the Academy Award for Best Animated Feature Film Directing twice. Finding Nemo and WALL-E, both of which he wrote and directed, is considered his most renowned cinematic works. Both of these films garnered him Academy Awards. During an interview with Megan Basham of World Magazine, Stanton discussed his distinct vision for WALL-E, which was as follows: “(W)hat really fascinated me was the thought of the most human thing in the world being a machine because it has more interest in figuring out what the goal of existing is than actual humans. (W)What attracted me was the idea that the most human thing in the universe might be a computer.
Even though Christ instructs us to love one another, we don’t always prioritise it. The greatest commandment Christ offers us is to love. Therefore, I devised this premise that might show what I was attempting to argue: that irrational love can overcome the world’s programming. You have these two robots trying to transcend beyond their most fundamental commands, or more precisely, their programming, to feel love for one another… Stanton has begun production on his next movie, called John Carter of Mars and will be released by Disney in early 2012.
Ben is his son, and Audrey is his daughter. He has two children. His residence is located in Mill Valley. Pixar’s veteran director-writer, Oscar winner (for “Finding Nemo” and “WALL-E,” best-animated movie), and highly regarded industry figure is often considered to be the company’s most valuable player. And in 2016, he won again with the $1 billion-grossing global smash “Finding Dory,” a sequel to the blockbuster “Finding Nemo,” which he also wrote and directed. “Finding Dory” is the second Pixar film to gross over $1 billion, following “Toy Story 3,” and it was the first Pixar film to do so since “Up” (which he also co-wrote).
The native of Massachusetts joined the firm in 1990 as its second animator. He rapidly distinguished himself as good on plot and having enough bite to precisely complement the positive vision of John Lasseter, Pixar’s chief creative officer. Since that time, he has directed, written, produced, and done voice-over work for several Pixar films, including “A Bug’s Life,” “Monsters, Inc.,” “The Incredibles,” “Cars,” “WALL-E,” “Ratatouille,” “Up,” “Monsters University,” “Inside Out,” and all three “Toy Story” movies, in addition to several video games and short films.
The one hiccup in Stanton’s great run came when he took a break from Pixar and switched to directing live-action movies instead of animated ones. This decision is instructive. As a result of the failure of his first live-action film, “John Carter,” a high-budget science fiction fantasy produced by Disney in 2012, Stanton returned to the production company he had helped create. He is now engaged in the production of “Toy Story 4”. Since joining the select group of computer animation pioneers at Pixar Animation Studios in 1990, when he was the second animator and the ninth employee to do so, Andrew Stanton has been a significant contributor to the company’s creative output at Pixar Animation Studios.
After serving as a co-writer, co-director, executive producer, and story artist on all four of the prior acclaimed Pixar films, which Walt Disney Pictures presented, Stanton made his directorial debut with the record-breaking film Finding Nemo. Finding Nemo broke every box office record imaginable. Finding Nemo was honoured with the Academy Award for Best Animated Feature Film of 2003, making it the first time Pixar Animation Studios has been bestowed with this accolade for a film of this length.
Stanton was one of the four screenwriters considered for an Oscar® nomination in 1996 for their work on Toy Story. He received credit as a screenwriter on every subsequent Pixar film, including A Bug’s Life, Toy Story 2, Monsters, Inc., and Finding Nemo. Stanton received an Oscar® nomination in 1996 for his contribution to Toy Story. In addition, he was a co-director of the Pixar Animation Studios feature A Bug’s Life, which Walt Disney Pictures presented in 1998. He was the executive producer of the critically acclaimed picture Monsters, Inc., which was nominated for an Academy Award in 2001.
Stanton is a native of Rockport, Massachusetts, and he received his Bachelor of Fine Arts degree in character animation from the California Institute of the Arts (Cal Arts). During his time at Cal Arts, he completed two student films, including “A Story,” which tells the story of a boy named Melvin, a dinosaur named Ted, and a killer clown with a goon squad named Randy. In the 1980s, he began his professional career in Los Angeles by animating for Bill Kroyer’s company, Kroyer Films, and writing for Ralph Bakshi’s production of Mighty Mouse, The New Adventures. Both of these projects were produced by Ralph Bakshi (1987).
In 1990, he joined John Lasseter at the young Pixar commercial production firm, where he worked as a directing animator and director on various commercials. Lasseter founded Pixar. Before commencing preproduction on Toy Story in the early 1990s, Stanton and John Lasseter collaborated as co-directors on two Luxo, Jr. films for Sesame Street. These movies were titled “Surprise” and “Light and Heavy.”
Stanton was employed by Pixar in January of 1990, making him the studio’s second animator (John Lasseter was the first) and ninth employee overall at the time of his hiring. He has now settled down in Mill Valley, California, and has just tied the knot with Julie Stanton. He is the parent of a boy called Ben and a daughter named Audrey. In addition to his work as a director and writer for Pixar, he provided the voice for Crush, the chill turtle that appeared in Finding Nemo. Stanton was also pals with the famous animation promoters known as “Spike and Mike,” according to the book “Cutting-Edge Cartoons from the Spike and Mike Festivals” by Jerry Beck.
At one point, Spike went to Stanton’s house dressed as a superhero and introduced himself as “the Centaur.” Stanton needed to get Spike back inside the house before anyone reported the incident to the police after the dog scared the parents in the area and captured the interest of the children playing near an ice cream truck. Stanton outlined his distinct vision for WALL-E in an interview with Megan Basham of World Magazine. He said, “What attracted me was the concept of the most human entity in the world being a computer because it has more interest in figuring out what the meaning of existing is than actual humans.”
Even though Christ instructs us to love one another, we don’t always prioritise it. The greatest commandment Christ offers us is to love. Therefore, I devised this premise that might show what I was attempting to argue: that irrational love can overcome the world’s programming. You have these two robots trying to go above and beyond their most fundamental orders, or more literally, their programming, to feel love. Later, Stanton worked on his first live-action feature, which was titled John Carter and was distributed by Walt Disney Pictures in 2012, despite receiving a generally negative review. Finding Dory, the sequel to the critically acclaimed film Finding Nemo, was under his direction as director.
When the first episode of Obi-Wan Kenobi appeared on Disney Plus, fans went crazy, as if they were watching a new season of Game of Thrones every week. According to the author Andrew Stanton, many people are unaware of the difficulties associated with being on the other side of the fandom experience, even though being a fan may have perks. Between Revenge of the Sith and A New Hope is where the events of Star Wars: Obi-Wan Kenobi occur. It depicts Obi-Wan concealing off and becoming emotionally distraught due to the events in Star Wars: Episode III.
The play examines Obi-journey Wan from a low point to the much more patient, optimistic, and wise version that audiences encounter in Star Wars: Episode IV. The programme begins with Obi-Wan at the wrong position. Even though this wasn’t part of Obi-Wan Kenobi’s initial game plan, it turned out to be a structure that worked incredibly well. The programme does an excellent job of maintaining continuity across its episodes. The fact that Obi-Wan has many encounters with Darth Vader and develops a family bond with Princess Leia contributes to the increased emotional impact of Star Wars: Episode IV. According to the revelations made by Stanton to Gizmodo, the process was not simple.
“It’s like one, you’re geeking out because you get to write ‘Vader says’ this and ‘Kenobi says’ that. It’s like that.” You take a moment to reflect and think, “I can’t believe that I’m being paid to do this.” I can’t imagine someone could say such things,'” Stanton was able to recollect. “But then another part of you has to go through such a rigorous like ‘Does that fit the canon?’ ” “But then another part of you has to go through such a rigorous like “Does that fit the canon? And I feel like it’s bittersweet. Because people care, it also doesn’t allow things to travel beyond where they could make a more decadent tale when it occasionally happens. Therefore, it often severely limits what I consider more compelling story alternatives.
It may be challenging to write an engaging plot while simultaneously being faithful to the nine Star Wars films that were previously produced as part of the episodic franchise. “And so I was irritated occasionally – not a lot, but I just thought it wasn’t as conducive to [the plot],” Stanton acknowledged. “It seemed like it wasn’t as conducive to the story.” “Therefore, it makes my heart happy whenever I see that Andor is in a secure location. And it can do everything in the world it wants. I am quite pleased with some of the moments that I was able to capture.” Moses Ingram, who played Obi-Wan Kenobi, is widely regarded as one of the show’s most compelling protagonists. Therefore it’s fortunate that the Obi-Wan Kenobi series was highly appreciated overall. Because of the exceptional quality of Ingram’s performance, it was very frustrating to see the large number of bigots who came up to criticise her.
Since the Obi-Wan Kenobi narrative has been concluded, it is fortunate that Stanton will likely not be required to go through a similarly rigorous writing process now that Star Wars may continue to concentrate on fresh themes and characters. Recent developments have shown that Ewan McGregor is certain that a second season of Obi-Wan Kenobi will be produced at some point in the future. Despite this, The Mandalorian is scheduled to have another season, and Ahsoka will also have her own plot.
How can I request an autograph from Andrew Stanton?
Do you have a concern about how to send Andrew Stanton an autograph request? Please write a nice autograph request letter and attach a picture as well as a self-addressed stamped envelope. Don’t forget to use a piece of cardboard to write “DO NOT BEND” on an envelope. Please wait a few weeks or months for getting a reply from Andrew Stanton. Your signature request should be sent to the following address:
Pixar Animation Studios
1200 Park Avenue
Emeryville, CA 94608-3677
What is the best way to contact Andrew Stanton?
Do you wish to get in touch with a celebrity you applaud? One method to get your message through is to contact your favorite celebrity’s agency (publicist office). Andrew Stanton’s phone number is (510) 922-3000 and the Fax number is (510) 922-3151.
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Email id: email@example.com