Book Preface

Dory was lost. Most people overlook that fact about the little Blue Tang that swam into their hearts in the original film Finding Nemo. Everyone remembers that fateful moment when a desperate clownfish father, Marlin, went charging out into the vast ocean to find his son, Nemo, and bumped into this forgetful fish who was so eager to help him, but then they tend to simply laugh off her quick aside, “My family . . . where are they?” In truth, there was a lot more implied behind that statement.

You see, Dory was looking for her family, too, only she had forgotten that fact. Dory had been lost for years, not knowing where or when that tragic separation occurred. I’ve always wanted to believe every audience member sensed that longing in her—that a fish with short-term memory loss, wandering the ocean alone, couldn’t truly be happy, that she must be lost from somewhere and missing someone. It’s why, even though she never expressed being lonely throughout the movie, no one was surprised when she broke down the moment Marlin left her, and said those indelible words, “When I look at you . . . I’m home.” I think, unconsciously, we all understood that Dory was a lost and lonely soul. This was the reason why—nearly a decade later—I was compelled to return to the ocean and address this issue. Dory somehow lost her family once, and after having found a new one, I just knew, deep down, she was afraid she’d eventually lose them as well. I felt Dory deserved to never be lost again . . . and that only she could make that change happen for herself.

This is why we went back to tell more.

So these images you are about to take in are all working off the issues of Dory’s journey—or as the Marine Life Institute motto proclaims, “Rescue, rehabilitation, and release.” Some of the art addresses the loneliness head on, while other images concern locations and characters that are part of her past, the family she never knew, as well as the future, the larger family she will inherit, all because a little forgetful blue fish conquered her perceived incapacity, fully embraced her instincts, and discovered a deeper level of self-reliance. There’s a saying, “It takes a village,” but in our case it took an aquarium, a quarantine, California coastal sea life, and the entire ocean to get there.

I want to thank all the incredible artists who helped to conceive, build, and present this story to the world. To get a second chance to dip back into the sea and visually find a way not to repeat ourselves was a thrill, a challenge, and such an honor. For me, Pixar is not a brand, it’s a specific group of artists, each with a name, a personality, a talent, and a unique point of view who, when they collaborate, make something wondrous. I’m proud that you’ll get to meet many of them in these pages. This movie exists because of them, and it’s because of them Dory was found.

Contents

Preface 7

JOHN LASSETER

Foreword 9

ANDREW STANTON

Introduction 11

STEVE PILCHER

Act One 29

105 FLASHBACKS 38

110 LOST AT SEA 40

142 LOSING DORY 41

165 DORY LEADS 42

DELETED SCENE: 115 PARENTS’ DAY 43

DELETED SCENE: 135 LOST IN PLAYGROUND 44

DELETED SCENE: 145 SLEEP SWIMMING 45

Act Two 83

207 UNDER QUARANTINE 108

215 MANIFEST DESTINY 109

240 TOUCH POOL 110

376 MEETING MARLIN 111

364 CHILDHOOD HOME 112

380 OFF TO CLEVELAND 113

DELETED SCENE: 200 SHIPPING LANES WITH TANK GANG 114

DELETED SCENE: 230 PIPE PALS 115

DELETED SCENE: 248 DORY COORDINATES 116

DELETED SCENE: 308 FLYING FISH 117

Act Three 149

392 ALL ALONE 152

402 GAME PLAN 153

405 STOP THAT TRUCK 154

415 TIME TO GO 155

420 BIG FINISH 156

440 EPILOGUE 157

Colorscript 170

Acknowledgments 175

About the Authors 177

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