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The Good Dinosaur


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The Good Dinosaur


The Good Dinosaur asks the question: What if the asteroid that forever changed life on Earth missed the planet completely and giant dinosaurs never became extinct? Pixar takes you on an epic journey into the world of dinosaurs where an Apatosaurus named Arlo makes an unlikely human friend. While traveling through a harsh and mysterious landscape, Arlo learns the power of confronting his fears and discovers what he is truly capable of.

 


Trailers

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Character Design


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Character Design


The Life Size Dinosaur

According to Production Designer Harley Jessup, the filmmakers did a deep dive into what’s known about the size of a real Apatosaurus in an effort to add authenticity to Arlo and his family. “We created a life-size printout of Arlo to help imagine his gigantic scale,” says Jessup. “Arlo is 18 feet tall and weighs about 6 tons, and Poppa, at 46 feet, is taller than the Steve Jobs  Building on Pixar’s campus. We exaggerated the size of the T-Rexes for our story, and they range from 38 to 50 feet tall, with Butch weighing in at about 45 tons.

Every Part Of The Dinosaur

A Filmmakers Journey


Arlo

The last to hatch among his siblings, 11-year-old Arlo has yet to make his mark on his family’s farm. Though he is eager to help out with chores, this sheltered Apatosaurus just can’t seem to get past his fear of everything.

 

Spot

Spot is a wild, tough and tenacious human boy who has lived alone in the wilderness for much of his life. He speaks in only grunts and growls, but his strengths are clear: he’s fearless
and confident.

 

Poppa

Brave and selfless, Poppa is a devoted husband and father, working tirelessly to make a life for his family on their farm. He has a soft spot for Arlo, his small and fearful son, and takes special care of him as he grows up.

 

Momma

A loving wife and mother, Momma is smart and quick-witted. She’s a hard worker with a lot of love for her family, and she keeps her children and their farm in order. Her quiet strength is the backbone of the family. 

 

Buck & Libby

Buck is Arlos brother: theyre the same age, but Buck is bigger, stronger and a little rambunctious. Arlo's sister Libby is a capable and willful girl who can plow a mean field.

We wanted Buck and Libby to be more capable, more brave than Arlo, says Story Supervisor Kelsey Mann. Everything comes more easily, despite the fact that theyre all the same age.

 

Pet Collector

Pet Collector is a mysterious Styracosaurus who lives in the wilderness. Like Arlo, he harbors unreasonable fears. His ability to blend into his surroundings helps—along with an unusual (but not exactly fierce) collection of forest critters he’s recruited to protect him. 

 

Butch

According to production designer Harley Jessup, the filmmakers did a deep dive into whats known about the size of a real Apatosaurus in an effort to add authenticity to Arlo and his family. We created a life-size printout of Arlo to help imagine his gigantic scale, says Jessup. Arlo is 18 feet tall and weighs about 6 tons, and Poppa, at 46 feet, is taller than the main building at Pixar. We exaggerated the size of the T-Rexes for our story, and they range from 38 to 50 feet tall, with Butch weighing in at about 45 tons.

 

Nash & Ramsey

Nash, who isn’t the sharpest of spurs and has trouble keeping track of their herd, exhibits a mischievous charm and positive attitude that makes him good company out on the range.

Ramsey loves the challenge of driving a herd of longhorns with her father, Butch, and her little brother Nash. Ramsey has a lively, outgoing personality—she likes good jokes, tells a mean story and has a soft spot for those in need.

 

Pterodactyls

The Pterodactyls are a search-and-“rescue" team of five. They like to sit back and let the often-treacherous storms in this part of the world do their dirty work, then reap the benefits of the devastation.

 

Raptors

Raptors prey on the prized herd of longhorns that belong to Butch and his Tyrannosaurus Rex family. Raptors—or Rustlers, as Butch calls them—sport wiry, feathered bodies and hardly compare in size or strength to a T-Rex. But as a group, the Raptors pose quite a threat, and even a T-Rex may need to call in reinforcements before tangling with them.  

 
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World Design


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World Design


Enviroments

The Filmmakers wanted to capture the full scope of the environments they researched. According to Production Designer Harley Jessup, their experiences in the American Northwest not only illustrated nature’s power, but also its beauty. “The area has a fantastic variety of landscapes, ranging from the Jackson Valley and the Tetons to the amazing geysers and waterfalls in Yellowstone. We studied the grasslands of Montana and the mesas in Wyoming’s Red Desert, then incorporated all of it in Arlo’s journey.”

Creating A World

Researching The Ranch

Just Listen


The River

“The river became the vehicle that would take Arlo hundreds of miles away from home, where he wakes up and begins his life quest,” says Director Peter Sohn. “That same river becomes the yellow brick road back to Arlo’s family. And that simple concept became our basic structure: he gets washed away in first act and then fights his way home throughout the second
and third acts."

 


Forest & Mountains

Their awe of natures beauty and power inspired the filmmakers to make the wilderness a character in itself and not just a setting for Arlo and Spot. The golds and reds from the aspens were incredible—and the cottonwoods—Ive never seen anything like that before, says Director Peter Sohn. The landscape is so huge. It makes you feel tiny. Theres such a simplicity to the graphic nature of the place that it felt perfect for making a giant animal like a dinosaur
feel small.

 

Homestead

Arlo’s home, a simple ranch nestled in the plains, is the heart of his long journey home. 

 

The Plains

Their awe of nature’s beauty and power inspired the filmmakers to make the wilderness a character in itself and not just a setting for Arlo and Spot. The filmmakers studied the grasslands of Montana and the mesas in Wyoming’s Red Desert, then incorporated all of it in
Arlo’s journey.

 
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Awards


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Awards


Best Animated Feature

ASIFA-Hollywood Annie Award Nominee
|
New York Film Critics Online Nominee 

Golden Globe Nominee 

San Diego Film Critics Society Nominee 

Critics’ Choice Award Nominee 

Chicago Film Critics Association Nominee 

Houston Film Critics Society Nominee 

St. Louis Film Critics Association Nominee 

Las Vegas Film Critics Association Nominee 

Florida Film Critics Circle Nominee 

Austin Film Critics Association Nominee 

North Carolina Film Critics Association Nominee 

Central Ohio Film Critics Association Nominee 

Producers Guild of America Nominee

Best Family Film

MovieGuide Award Winner

Best Edited Animated Feature Film

AMERICAN CINEMA EDITORS NOMINEE
Stephen Schaffer, ACE

Best Sound Mixing

Cinema Audio Society Award Nominee

Best Sound Editing: Sound Effects, Foley,
Dialogue & ADR In An Animation Feature


Motion Picture Sound Editors Nominee

Best Casting, Animation

CASTING SOCIETY OF AMERICA (CSA) NOMINEEs
Kevin Reher, Natalie Lyon

Outstanding Achievement, Animated Effects
in an Animated Production

ASIFA-Hollywood Annie Award Winner

Visual Effects Society Winner

Outstanding Created Environment
in an Animated Feature


Outstanding Effects Simulations
in an Animated Feature


Visual Effects Society Winner

Outstanding Achievement, Character Animation
in a Feature Production,


HOLLYWOOD ANNIE AWARD NOMINEE
Mark C. HarrisASIFA

Outstanding Achievement, Character
Animation in a Feature Production


ASIFA-HOLLYWOOD ANNIE AWARD NOMINEE
K.C. Roeyer

Outstanding Achievement, Character Design
in an Animated Feature Production


ASIFA-Hollywood Annie Award Nominee

Outstanding Achievement, Music in
an Animated Feature Production


ASIFA-Hollywood Annie Award Nominee

Outstanding Achievement, Production Design
in an Animated Feature Production


ASIFA-Hollywood Annie Award Nominee

Outstanding Achievement, Storyboarding
in an Animated Feature Production


ASIFA-HOLLYWOOD ANNIE AWARD NOMINEE
Bill Presing

Outstanding Achievement, Storyboarding
in an Animated Feature Production|

IFA-HOLLYWOOD ANNIE AWARD NOMINEE
Rosana SullivanAS

Outstanding Achievement, Storyboarding in
an Animated Feature Production

JP Vine, Tony Rosenast,
Enrico Casarosa

Outstanding Character Voice-Over Performance

NAACP IMAGE AWARDS NOMINEE
Jeffrey Wright

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Credits


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Credits


DIRECTED BY
Peter Sohn

PRODUCED BY
Denise Ream, p.g.a

EXECUTIVE PRODUCERS
John Lasseter
Lee Unkrich
Andrew Stanton

ASSOCIATE PRODUCER
Mary Alice Drumm

ORIGINAL CONCEPT AND DEVELOPMENT BY
Bob Peterson

STORY BY
Peter Sohn
Erik Benson
Meg LeFauve
Kelsey Mann
 Bob Peterson

SCREENPLAY BY
Meg LeFauve

MUSIC BY
Mychael Danna
Jeff Danna

STORY SUPERVISOR
Kelsey Mann

FILM EDITOR
Stephen Schaffer, A.C.E.

VISUAL DESIGN
Sharon Calahan, A.S.C.

SUPERVISING TECHNICAL DIRECTOR
Sanjay Bakshi

PRODUCTION DESIGNER
Harley Jessup

PRODUCTION MANAGER
Ann Brilz

SUPERVISING ANIMATOR
Michael Venturini

DIRECTOR OF PHOTOGRAPHY-LIGHTING
Sharon Calahan, A.S.C

DIRECTOR OF PHOTOGRAPHY-CAMERA
Mahyar Abousaeedi

SETS SUPERVISOR
David Munier

EFFECTS SUPERVISOR
Jon Reisch

VOLUMETRIC CLOUDS SUPERVISOR
Matthew Webb

CHARACTER SUPERVISORS
Michael Comet
Junyi Ling

SIMULATION AND CROWDS SUPERVISOR
Gordon Cameron

RENDERING AND GLOBAL TECHNOLOGY SUPERVISOR
Susan Fisher

EFFECTS SUPERVISOR
Jon Reisch

CHARACTER ART DIRECTOR
Matt Nolte

SETS ART DIRECTORS
Noah Klocek
Huy Nguyen

SHADING ART DIRECTOR
Bryn Imagire

SOUND DESIGNER
Craig Berkey

CASTING BY
Kevin Reher, C.S.A.
Natalie Lyon, C.S.A.
 

CAST
 

POPPA
Jeffrey Wright

MOMMA
Frances McDormand

YOUNG LIBBY
Maleah Padilla

YOUNG BUCK
Ryan Teeple

YOUNG ARLO
Jack McGraw

BUCK
Marcus Scribner

ARLO
Raymond Ochoa

SPOT
Jack Bright

PET COLLECTOR
Peter Sohn

THUNDERCLAP
Steve Zahn

DOWNPOUR
Mandy Freund

COLDFRONT
Steven Clay Hunter

NASH
A.J. Buckley

RAMSEY
Anna Paquin

BUTCH
Sam Elliott

BUBBHA
Dave Boat

LURLEANE
Carrie Paff

PERVIS
Calum Mackenzie Grant

EARL
John Ratzenberger