Pete Docter Net Worth

Pete Docter Net Worth 2018, Biography/Wiki, Married/Wedding

Pete Docter net worth: Pete Docter is an American film director, screenwriter, animator, producer, and voice actor with a net worth of $5 million. The American film is connected with Pixar Animation Studios. Docter has composed the films Toy Story, Toy Story 2, Monsters, Inc., WALLE, Upward, and Inside Out. He’s also directed the movies Monsters, Inc., Upward, and Inside Out. Docter has supplied voice work for the pictures Monsters, Inc., The Incredibles, Wall E, Upward, and Inside Out. The American film has functioned as an executive producer on the pictures Brave and Monsters University.

Pete Docter Net Worth $5 Million

Quick Facts

Birth date:	October 9, 1968
Birth place:	Bloomington, Minnesota, U.S.
Height:	6' 4½" (1.94 m)
Profession:	Writer, Director, Actor
Education:	California Institute of the Arts
Nationality:	American
Spouse:	Amanda Docter
Children:	Elie Docter, Nicholas Docter
Parents:	Rita Docter, Dave Docter
Siblings:	Kari Docter, Kirsten Docter
Awards:	Academy Award for Best Animated Feature Film, BAFTA Award for Best Animated Film, Hugo Award for Best Dramatic Presentation, Long Form, Nebula Award for Best Script, Bodil Award for Best American Film, Robert Award for Best American Film, Annie Award for Outstanding Writing in an Animated Feature Production
Nominations:	Academy Award for Best Original Screenplay, Academy Award for Best Short Film (Animated), Critics' Choice Movie Award for Best Screenplay, BAFTA Award for Best Original Screenplay, Hugo Award for Best Dramatic Presentation, Satellite Award for Best Original Screenplay, NAACP Image Award for Outstanding Writing in a Motion Picture, David di Donatello for Best Foreign Film, Hellenic Film Academy Award for Best Foreign Language Film, Online Film Critics Society Award for Best Original Screenplay
Movies:	Inside Out, Monsters, Inc., Up, WALL-E, The Incredibles, Toy Story 2, Toy Story, Mike's New Car, Toy Story 4, Dug's Special Mission, Party Central, Mr. Incredible and Pals, Riley's First Date?, George & A.J., Next Door

imdb.com/name/nm0230032
en.wikipedia.org/wiki/?curid=163448


Interesting Facts

#	Fact
1	He started at Pixar at the age of 21, and began work the day after his college graduation, the tenth employee the company hired, and its third animator.
2	As of 2015, all three of his films have focused on the main protagonist protecting a child character in one way or another. (Sully protecting Boo in Monsters, Inc. (2001), Carl protecting Russell in Up (2009), and Joy & the other emotions working to guide Riley in Inside Out (2015).
3	Pete's father has German ancestry, while Pete's maternal grandparents, George Anton Kanne and Ida Josephine Margrethe Frederiksen, were Danish.
4	Youngest sister Kari Docter plays cello for the Metropolitan Opera Orchestra.
5	Younger sister Kirsten Docter plays viola for the Cavani String Quartet.
6	Grew up in Bloomington, Minnesota.
7	Parents are Dr. Dave and Dr. Rita Doctor.
8	Comes from a very musical family, plays several instruments.



Trademarks

#	Trademark
1	His films often feature the main character protecting a child in some way.



Quotes

#	Quote
1	I don't think people in any way, shape, or form like to be lectured to. When people go to a movie, they want to see some sort of experience of themselves on the screen. They don't come to be taught. So in that sense, and in terms of any sort of beliefs, I don't want to feel as though I'm ever lecturing or putting an agenda forth.
2	Work hard! In the end, passion and hard work beats out natural talent.
3	'Monsters,' everybody has the thought of monsters in your closet as a kid, and more importantly, the idea of becoming a parent. We're always kind of looking for those emotional nuggets. They're always at the heart of the story.
4	When I was in middle school, I liked to make cartoons.
5	I love to go to the airports and just put on, like, dark glasses, so nobody can tell I'm staring at them, and just draw people.
6	Walt Disney wasn't making films for kids. Neither were the Muppets. A lot of the great, really cool films, they weren't making them for kids.
7	Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
8	In a regular theatre, you'd be kind of moving your eye from one character 5 feet over to the right on the cut. In IMAX, suddenly that's like 20 feet. So I would love to do something. I think I would really want to take the massive screen into consideration so that it would be done properly.
9	I think, in Japan, animation isn't relegated to being a genre unto itself. It's just a medium by which you can tell any number of stories, be it horror or action or adventure or drama or whatever, and we're trying to do that as well. Every film that you go see from Pixar, we're hoping is a little bit of a surprise.
10	When people go to the theater, they don't want to think 'I know exactly what I'm gonna get,' and then they get it and then they walk out. I think you want to walk in going 'I don't really know what this is about,' and have the fun of discovering it.
11	The way we work at Pixar is we write the script, but then we quickly move on into story reel, which is basically like a comic-book version of the film. And then we do our own dialogue and music and sound effects, all in an effort to be able to basically sit in the theater and watch the movie before we shoot it, essentially.]
12	'Toy Story' we found, sorta by accident, because we didn't know what we were doing, the idea of being replaced by somebody. Everybody has that fear, or encounters this jealousy at some point.
13	'In-between' is sort of - an animator does the key poses. He'll do extremes, you know, like a character reaching out for a glass of water and then another one of him drinking. And the in-betweener has to do all the drawings that goes between those two. You know it could be 12, 23 whatever in-betweens.
14	In some ways, I feel like the strength of animation is in its simplicity and caricature, and in reduction. It's like an Al Hirschfeld caricature, where he'll use, like, three lines, and he'll capture the likeness of someone so strongly that it looks more like them than a photograph. I think animation has that same power of reduction.
15	I remember as a kid having a balloon and accidentally letting the string go and watching it just float off and into the sky until it disappeared. And there's something about that, even, that feels very much like what life is, you know, that it's fleeting, and it's temporal.
16	I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
17	It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
18	I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.
19	I like doing everything. That's why I came to Pixar, as opposed to Disney or any other studio - it's small. At the time I started, I was, like, the 10th person in the animation group, and we all had to do everything. That's the way I like it, keeping it fresh.
20	I loved 'Dumbo.' I watched Bugs Bunny time and again. The Muppets were big, too. All of those, they have this real, not darkness but poignancy, that's what makes it stick with you.



Pictures

All Peter Hans Docter pictures »

Won Awards

Nominated Awards

2^nd Place Awards

3^rd Place Awards



Filmography