Walt Disney لنکس - Peter Sohn Named New Director of Pixar’s ‘The Good Dinosaur’ 

Yesterday evening, Pixar quietly revealed on Twitter that the new director of

scheduled to be released in November 2015, is Peter Sohn. Here’s the tweet that made it official:

Our director Peter Sohn can't wait for you to meet Arlo!

s director in August 2013. Prior to the directorial shakeup, Sohn had been attached to the film as a co-director.

Sohn’s ascendancy to the director’s chair marks a victory for increased diversity within the ranks of feature animation directors. While the 37-year-old Korean-American Sohn won’t be the first Asian director of a contemporary big-budget CGI film—South Korea-born Jennifer Yuh Nelson directed DreamWorks’

—he will become Pixar’s first non-white director (Walt Disney Animation Studios, by contrast, has never had a non-white person direct any of its 50-plus full-length animated films).

A CalArts grad and 14-year Pixar veteran, Sohn has contributed extensively to the studio’s projects. He worked in the art and story departments on

Pete Sohn and characters he’s inspired (l. to r.) Russell, Emile and Squishy. (Photo via Shutterstock)

He’s definitely earned it: and after Partly Cloudy I was always curious to see if he could pull off a feature as well as a short. Oooh I hope the year’s delay pays off

He totally deserves it. Forget about diversification, he’s an incredibly skilled storyteller

Buuut…we shoudln’t forget about diversification, because it’s important to have people from different ethnic backgrounds directing films in an overwhelmingly white-dominated field.

I don’t understand why people always want to sweep things like race /gender under the rug–especially good news like this. I always see this kind of comment on articles talking about women directors, African-american directors, etc. Are people that afraid to acknowledge that diversity is important? Like, obviously talent and skill is just as important. But for me, a black girl, seeing other minorities do things like this just makes me even more hopeful that it will be me there one day…

It’s because at the end of the day whatever the ethnicity of a person is, this is still going to act and feel like a Pixar film. Nobody is going to feel a cultural influence of Sohn’s ethnic background in The Good Dinosaur. This isn’t like the “Book of Life”.

It’s not like I expect or want his ethnicity to have some sort of bearing on the film. Far from it, I’d want him to tell the stories he wants to tell. But denying or refusing to acknowledge a major issue in the industry (that a large majority of directors, producers, etc.) are held by one group/race–and don’t try to convince me that they’re just more talented than every other group, or that it’s mere coincidence–doesn’t help bring about change. Without diversity, it’s not a fair system for others trying to “make it.”

It’s just frustrating to see people trying to dodge these things by saying “I don’t care what color he is, he’s great!” Because I care. And other persons of color care. Because there’s still a dearth of women/minority directors, and it’s a major achievement for others aspiring to get where he is.

People would much rather think “You’re great!” than “You’re asian!”. This again falls into the problem where if you put too MUCH emphasis on the issue, it becomes more prominent than the product itself, and that becomes just as problematic as ignoring it.

Just like when people put more emphasis on Rebecca Sugar and Daron Nefcy being women creators and barely mentioned their shows at all.

It’s fine to put inspired by it, but if you put more emphasis on that rather than just seeing him as a great storyteller, which is what I’m sure Peter Sohn would want, then you’re just falling into the same mindset but in a different light.

Im Hispanic, that doesnt mean why the stuff I have to make has to be all Hispanic specifically, what do you want something like Tyler Perry Uncle Tom buffonery when ever an Ethic person get’s to make a major film

I never said people of ethnic backgrounds need to make products that reflect that, but that it’s those products we should focus on rather than JUST the fact that someone who is asian or black is directing a film, because if the final product is going to be your typical Disney princess film or Dreamworks underdog film, then why did it matter other than for statistics?

You shouldn’t put focus on people’s backgrounds unless it’s going to impact the story, otherwise, you’re just doing it for the sake of saying “We’re progressing!”. We’ve been progressing for a long time, just because it’s the “first director of blahblah background” doesn’t mean minorities and women are not active in the animation industry.

I’m pretty sure that non whites are already the majority of the world’s population… So what are you waiting for exactly? That statement is ridiculous.

I’m pretty sure he or she meant in America. I think it will be interesting when that happens. Then we will get to see if racism is the White disease that a lot of people seem to think it is or a disease of the dominant. I pretty well think it is the latter.

I think you’re somewhat right… Yes a Pixar film will feel like a Pixar film in the end. But depending on who your director is, they’re going to bring something unique and personal to a film. A variety of directors with different opinions and visions is a great thing.

“Buuut…we shoudln’t forget about diversification, because it’s important to have people from different ethnic backgrounds directing films in an overwhelmingly white-dominated field.”

Why, exactly, is it important? Is it going to get more people to watch the movie? Is it going to improve the quality of the movie?

And WHY are you assuming that if this guy’s successful, it’s going to help YOU somehow? Because you’re a minority, and obviously studios are unfair to minorities? That’s what you’re implying, you know.

Pal, what’s gonna get you where you wanna go in this 21st century IS YOUR ABILITY. Studio heads and directors DON’T GIVE A DAMN what ethnicity you are. If you believe otherwise, then, frankly, I think you’re making excuses for yourself. And why? In case you fail?

yay! Peter’s awesome! i wonder if they have a schedule to release it, yet? i can’t wait to see more!

Acknowledging the lack of diversity in a particular company doesn’t imply anything other than there’s a lack of diversity within the company.

We can be sure that John Lasseter doesn’t sit there and think, What white person can I make a director this time? But unknowingly, he’s perpetuating the studio’s 80-year-history of having only one group of people directing its animated films.

Diversity was less an issue in Walt’s time when the studio had just a handful of directors and produced predominantly Eurocentric stories, but with the company’s increased film slate in recent decades and the shift to multicultural characters (Pacific Islander, Native American, Asian, Arab, African-American, etc.) the lack of diversity in its directorial ranks becomes more prominent and needs to be acknowledged.

We just had the first African American director for computer animation with DreamWorks’ Rise of the Guardians (Peter Ramsey), if not the first in a big animation company.

So I applaud Amid for bringing this up. DreamWorks seems to have the idea of diversity. Wished Pixar and Disney had the same for their films.

My point is, there was no reason to point it out…unless you were implying something. But whatever, you won’t admit it even though you’ve tossed around implications of racism many times in the past. You’re not as subtle as you think.

If the studio doesn’t hire directors based on skin-color then there is nothing to be said here…because you “weren’t implying” that. Studios shouldn’t be doing that at all, hiring a director should be decided by who has the talent to direct a Disney feature. So if they happen to like the abilities of a director who happens to be white then what are they supposed to do? Say, “sorry, we can’t hire you, we need a person of culture”? That’s equally unfair.

Also, yes, the studio has grown in size…and many (a lot of) artists are from different ethnic backgrounds and some are immigrants who barely speak English. You would know that if you worked in animation. You would also notice how there are many high-ranked artist who are non-white. You leave out those facts and focus specifically on the skin color of who is the film director.

I have no doubt in my mind that there will be more diversity in the director’s position. Not because it will become possible (I believe it already is) but because there are now more artists in the studio and thus a lot more diversity and thus more opportunities to pick a director who happens to be non-white. Give it a couple years (and then you can publicize it here and feel good about yourself.)

Anyways, the only thing Disney is “perpetuating” is their style. I have yet to see them try something daring that doesn’t have the “Disney formula” assigned to it.

Not sure I follow. How do you fix a problem if you don’t acknowledge a problem? You think it’s ok that films are directed by the same white faces? Even as the films they make are diverse? That’s having it both ways, my man. They want to acknowledge the changing face of our society–without hiring directors and lead animators and writers of said changing society.

And no, I don’t think because they are diabolical racists but because they’re complacent and risk adverse. They’ve constantly promoted mostly white guys, mentored mostly white guys, and gambled on mostly white guys. Not very many minorities and women can say that. You’re right, it’s changing and eventually we will see more diversity at the very, inspite of the inertia right now. But that isn’t reason to ignore it either.

Pay attention to your words and what they mean, you make a lot of big accusations. “A problem” “they want” “they promote” “they mentor” “they gamble.” Who are you talking about? The mysterious “they” that everyone uses when talking about politics. It’s really just a way of making a fictitious enemy so that the people are given a target. “Us vs. Them.” It’s a cheap tactic used when you don’t know how to debate or compromise.

Anyways, no, I’m not saying to ignore or be apathetic about anything you find interest in, you can have your opinion…but get your facts straight. You’re taking your uninformed speculations and assume they are right. It sounds pretty ignorant.

I know and see a lot of fellow non-white and female artists who were trained and have moved up the ranks the same way the white guys do next time them. That is where we are at right now. You (and this article) seem to stretch this out into a bigger problem than it is, like we’re living in 1970s animation.

Like I said, cultural shifts in society take time and not everything catches up over night. I know it’s a long forgotten concept in this country but be patient. Yelling for or enforcing immediate change benefits no one, that’s not how anything works. You’re too late anyways, the gears have already been turning for quite some time. Let the plant grow and in a few years you’ll have a tree of diversity. It’s gonna be soon, I already see it.

Ron, be serious. There’s no mystery in who “they” are. Just recently Vanity Fair did a two page spread on the famous CalArts class of the early ’70s. That picture, as you probably know, included Tim Burton and John Lassiter. Not one was of color and only one alumnus was a woman. Just about all of Hollywood is run by white Americans. No mystery there, pal. Just a fact. And that’s fine. I’m not angry. Hell, I love working in Hollywood!! But let’s be honest, it isn’t as if there are no smart, talented, and brilliant artists, producers, writers, animators and directors qualified to lead these institutions or to produce major animated and live action films.

In fact, you yourself said there were artists of color on the ground floor and some even capable of directing big budget projects. I agree! So…. What are we waiting for exactly? (insert: crickets chirping)

Look, my hope is with Book of Life and Good Dinosaur, as well as Jennifer Lee’s success with Frozen, Hollywood will start to realize ideas and talent–not familiarity or connections or plain old complacency–determines success.

No, being patient is not enough. At no point in American history have we ever waited for change. If we wanted it we made noise and demanded enforcement of the rules until we got it. Agitation is as American as Apple pie, my brother. Why should our industry be exempt?

Yes, Vanity Fair published an image of graduates from the 70s…You know, at a time where 1) college wasn’t a requirement for work 2) there were not many minorities in college (especially not in animation) 3) race relations were a much bigger issue.

If you told me that they published an image of CalArt class of 2005 (or some year when many non-white students began attending) then sure, I’d see your point. But you’re referring to the “early 70′s.” That again shows you care more about proving your point than the reality of your evidence.

Also, yes, I did say there are non-white directors waiting to be become head directors. Why the wait? Why the wait for anyone? Job experience, moving up the ranks, networking, and all the other talents it requires to become a director. It usually takes many years (you’re lucky if you aren’t already in your for late 30s or 40s.) I don’t know if you know this but white guys have to wait and try really hard too. It’s not really “waiting” as much as it is being lucky, talented, smart, a leader, able to work with executives, ability to micro-manage, knowledge of each art department, etc. Do you realize how unlikely it is for anyone to get the director position?

I don’t see the discrimination you believe exists. I also know people who are in power that do not for one second think skin-color judges an artist’s ability. They probably wouldn’t be talking to me if they thought so.

If you’ve worked in animation or work in a studio then find out who the art directors are, the animation directors are, the supervisors, the lead character and background designers, the writers, lead storyboard artists, etc. The (other) big positions. Next step is for those people to move up. You’ll see that a lot of them are not white. In fact, I have more experience working with female lead designers who are of Asian descent than I do with white guys. Not saying I know if that’s typical of every studio but certainly it goes against your generalization.

Also, quit it with the weightless, hippie preaching (“my brother”?) If you really cared this much about the issue then what have you done about it? Make noise and demand enforcement? Go do that! Go “agitate” John Lasseter, that will surely help you and everyone else find work. But do you really think that’s how change is made? How about do your research and get experience, read other things besides Cartoon Brew (which is basically a gossip column)? You sound like someone who doesn’t know anything about the animation industry or the people in it.

It is your time to shine Peter! May you and your team work hard, and bring a strong story for us to celebrate along with you! :)

Partly Cloudy was ok, not the best story telling I’ve seen, dont think it’s even got an interesting story like some other Pixar shorts, felt like they had that short just for the sake of making some cloud characters or trying some new technologies, apart from this only production he made, I still look forward to his first feature, especially all these troubles around ‘The Good Dinosaur’.

It really is beautiful. Let that image be in the film somewhere please, it’ll be the next Pizza Planet Truck.

Heh, yes I wonder how they’re gonna sneak it in this time.

“The tribe has spoken.” – congrats Pete!

Baby steps, dont worry soon NonWhites will outnumbers Whites, and the White may be due for a payback, like Louis CK said

As somebody who is both White and non-white (Irish/Japanese, if you’re wondering)… that strikes me as very offensive and racist. Just because there have been racist caucasians in the past doesn’t mean that the current generation needs to be “punished” on a “payback day”.

It’s very North American (and widespread in Europe) to point out the lack of diversity in the workplace when Capitalism is actually the root of all discrimination (include sexism among others), no one dares criticizing it for fear of being called a commie or whatnot.

When the leading animation school in the US costs 200 K (tuition + fees) for 4 years of education, and its students fill the rank of major studios unwrapping the red carpet for them with all the media attention that comes with, I see the diversity issue as smoke and mirror.

None of them spoke out about the wage fixing cartel no matter what ethnic background comes with.

Hi, I’m a college student who technically is a member of the “prosperous” middle class. And I can assure you that the cost of Cal Ars unfortunately is not much more than other highly ranked art schools in the US. Or even mid-ranked. So if tuition is linked to the wage cartel, that must’ve been one major heist. Unfortunately, I doubt it.

Congrats to Peter Sohn! Can’t wait to see the film.

And in true internet fashion, the comments on this post range from congratulatory notes like mine to an intelligent discussion of alleged racism in the animation industry to that crazy “the non-whites will rule supreme” dude.

I feel like the design of the dinosaur’s too… simplistic… I would like to see how Nico Marlet’s take would be, since he has SO MUCH diverse designs when he did stuff for Monsters, Inc.