Pixar Strives for Balance Between Sequels and New Stories
With Elio, Pixar introduces its 29th feature film — an intergalactic adventure that breaks away from the tide of sequels dominating Hollywood. One year after the blockbuster success of Inside Out 2, Elio stands out with its rare originality, following a young boy’s unexpected journey across the galaxy. The film carries a unique value in an industry increasingly reliant on established franchises.
But bringing Elio to life wasn’t smooth sailing. The film underwent notable production changes, including a major rewrite and a directorial switch. Initially helmed by Coco co-director Adrian Molina, the project was eventually passed on to a new team: Madeline Sharafian and Domee Shi. Despite these challenges, the movie made it to theatres on June 18, sparking curiosity about Pixar’s current creative philosophy.
Behind the Scenes: A Team of Storytellers
In a recent interview, key members of the Elio team offered insights into the studio’s evolving approach. Pete Docter, Pixar’s Chief Creative Officer and the visionary behind Monsters, Inc., Up, Inside Out, and Soul, shared his thoughts as a producer on Elio. Joining him were Mary Alice Drumm, a producer whose past credits include Brave, The Good Dinosaur, and Coco; and the directing duo — Domee Shi and Madeline Sharafian.
Domee Shi is no stranger to acclaim, having won an Oscar for her short film Bao and directed Turning Red. She also contributed to the story development of Toy Story 4, Onward, and Elemental. Madeline Sharafian, meanwhile, earned an Oscar nomination for her short Burrow and worked on the animated series We Bare Bears. Elio marks her debut as a feature-length director.
Together, the team underlined Pixar’s ongoing effort to strike a balance between franchise sequels and original storytelling — a mission that remains vital to the studio’s identity.
A Different Kind of Gamble: The Batman Reboot
While Pixar forges ahead with new narratives, another story from the world of cinema highlights the tension between creative risk and studio expectations. In 2003, Warner Bros. tasked Christopher Nolan with reviving the Batman franchise after the catastrophic reception of Batman & Robin. Partnering with screenwriter David S. Goyer, Nolan sought to reimagine the Dark Knight from scratch.
Gone were the neon lights and cartoonish aesthetics. Batman Begins, released in 2005, introduced a darker, more grounded version of the caped crusader. Featuring Christian Bale in the lead role, the film earned $356 million globally and set the stage for its billion-dollar sequels: The Dark Knight and The Dark Knight Rises.
But Nolan’s fresh take wasn’t embraced right away. According to Goyer, Warner executives were uneasy about one bold narrative choice — Bruce Wayne doesn’t don the iconic cape and cowl until nearly an hour into the film. This deliberate pacing clashed with the studio’s desire for immediate action and threatened the film’s perceived commercial viability.
Creative Patience Pays Off
Warner’s concern reflected a broader industry fear: that delaying the superhero payoff might frustrate audiences and hurt box office returns. However, Nolan and Goyer believed that rushing into the Batman persona undermined the emotional weight of his transformation. In hindsight, their gamble paid off — the trilogy’s success redefined superhero storytelling.
Much like Elio at Pixar, Batman Begins shows that taking creative risks, even when they go against conventional studio instincts, can ultimately lead to something groundbreaking. Whether it’s a space-travelling boy or a grieving billionaire in a bat suit, what matters most is giving the story room to breathe.
Both projects — one animated, the other live-action — serve as reminders that powerful storytelling often lies beyond the safety of formulas.
