Thank you very much for accepting our interview invitation. First of all, I am truly a huge fan of yours work. The work you do for Pixar is incredible, and every project makes a significant impact in visual storytelling.

Let me start with the question I’m most curious about: What is your favorite aspect of your work?
Patrick Lin: I really enjoy collaborating with the Lighting DP to design a cinematic film language for our movies. And I love working with my incredibly talented layout team to create not just beautiful, but also meaningful shots that enhance the story and support the emotions of the characters. It is also super fun collaborating with the Director and Editor to put all those shots together into a cohesive scene that keeps the story moving forward in an engaging and entertaining way. It’s like putting together a Lego set, and the joy comes from the entire process. It’s tough to pick just one favorite part!

Which project have you most enjoyed working on so far, and what made it special for you?
PL: Working on ‘Win or Lose’ was an absolute blast! Compared to a feature film, we had a tiny crew, which made us super collaborative. On top of that, the entire show was made during the pandemic! Even though everyone was working from home, our team was
closer than ever. Carrie Hobson, Michael Yates, and David Lally, our show’s directors and producer, are incredibly trusting and encouraging. They pushed us break the rules and try new ideas, both with our production process and creatively. It made the show
so much fun to work on, and I think that really shines through when you watch it. At Pixar, you’ve had the opportunity to work with many talented individuals. Who is one person you especially enjoyed collaborating with, and why? I really enjoyed working with Pete Docter. I worked on three out of his four feature films, two of which I served as his cinematographer. His films are always inventive, fun, emotional and thought provoking. On top of that, he is one of the nicest guy you can meet.

Looking back, if you could have added a different touch to any scene from your projects, which scene would that be and what would you change?
PL: I would love to revisit the opening car chase and the cat Squeaker rescue scene in The Incredibles. That was the first sequence that went into production, and Director Brad Bird really wanted me to stick to the storyboard’s staging and timing. So I think a lot of the camera moves are a bit too fast. In addition, to match the storyboard, we have to do a lot of cheats in our 3D sets, which make some shots feel fake and CG. Comparing that to the final battle at the end of the movie, which is the last scene we filmed. I was able to work closely with story to previs the entire scene in 3D first before going into production. I think the camera movement, lens choices, composition and staging are more natural and organic as a result.
Pixar creates films that explore diverse cultures and countries. For future projects, which country or culture would you like to explore, and is there a special reason behind your choice?
Being Chinese, I’d love to see more movies that showcase Asian culture. But I’m already incredibly grateful for the chance to work on our short film ‘Bao’ with director Domee Shi. One of my favorite directors is Japanese filmmaker Yasujiro Ozu and the cinematography of ‘Boa’ is a love letter to his distinctive visual style.

We always end our interviews with a classic question: What is your favorite Disney film? In your case, however, it might be more fitting to ask about Pixar. 🙂 What is your favorite Pixar film, and does it hold any special meaning for you?
‘Coco’ is my favorite Pixar film. Not only that the movie is visually stunning and emotionally rich, the theme of family, lineage and respect of one’s ancestors also resonate deeply with my Chinese culture, making it a very special film to me.