"Anyone in the hallway in the studio now feels they can speak up about the movie because they feel invested in it, they feel like anyone, if you're working in the studio, that's my film too," says director Byron Howard. "And that camaraderie&ellips; that care goes a huge way in making a film."

"We knew the film had to be great for John and for Ed who were running this place now; we wanted to make them proud of us and show them what we could do," says Howard of Bolt. "Just the sense of pride that people had in the project is so much greater when they feel like you're listening to them. So that sense of open communication came with kind of the Pixar package. I think that's why their films are so great, because they beef their stories up. They don't settle for just okay; they want to do something genuinely great."

While Williams and Howard are both longtime Disney employees, they see the Pixar influence not as a threat but an asset. "When people say, 'This feels like a Pixar movie,' we take that as a high praise, of course," says Williams. "I think people, what they really are saying is that the characters really resonate with them. There's something very rich about these characters, and I think that only comes when you really open yourself up to criticism, and when you take the notes, and when you are willing to dispense with ideas and build something better."

Although Lasseter may be the father of Pixar, he is also the first to admit that Disney has always had an influence on Pixar's films. "It's interesting because Pixar films are made in the model of Walt Disney and the films he made," says Lasseter. "These movies are absolutely for everybody. They have humor, they have heart, and they're very smart stories. When you do something right, as Steve Jobs always said, they could really last for a very, very long time."

Animators in the Director's Chairs and Story Makers in the Recording Studio

In terms of exactly what a filmmaker-driven versus executive-driven studio looks like, the making of Bolt probably couldn't be a better example. Not only is Bolt the first Disney animated feature to be produced by John Lasseter, it also marks Williams' (a 14-year veteran of Disney story and development) and Howard's (a Disney animator since 1994) directorial debut as well as longtime Disney storyman Mark Walton's move into the role of voice actor.

As for how those moves up the ladder of influence and involvement have gone, says Bolt producer Clark Spenser, "Chris and Byron have done an amazing job of dividing responsibilities on this film and communicating with one another to make this an extraordinary film. They're both very much involved in the story process, and then Chris oversees editorial—the recording sessions with the actors, and layout. It then passes to Byron who handles all of the animation side. And then it goes back to Chris for lighting and effects."

"Under their guidance, Bolt has turned out to be Disney's most sophisticated computer-animated film to date," Spenser adds. "Our studio has taken a massive leap, I think on all levels, whether it's the way the camera is moving or in the quality of the animation. It's been really fun to work with Chris and Byron on this terrific project, and in helping Disney set the stage for a new era of innovation and excellence."

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