![]() ![]() In “Finding Dory,” the Ellen DeGeneres-voiced blue tang is living happily on the reef with the two clownfish she helped reunite, Albert Brooks’ worrywart, Marlin, and his son, Nemo (newcomer Hayden Rolence), when she suddenly recalls her childhood with her loving parents (Diane Keaton and Eugene Levy). It’s almost like one window in the house got left open on the first movie and I really needed it to be shut.” “That idea just kept in my mind for the rest of that year while I was finishing ‘John Carter.’ I realized there was a real story here that needs to be resolved. And I worried that she could forget Marlin and Nemo the next day strolling along, and she’d be back to Square One, and I can’t sit well with that. Because I created her, I knew she had all this sense of loss without knowing why. She still doesn’t know where she’s from, she has such abandonment issues. “So I watched it, maybe for the first time, objectively like an audience member, and I was so worried about Dory at the end of it. “I hadn’t watched ‘Nemo’ in maybe six or seven years - because I watched it so many times in ’03 - and I was asked to watch it again because they were going to do a 3-D exhibition of it, and they wanted to know what I thought,” he explains. “After ‘Nemo,’ I was ready to move on and do robots and go to Mars, and it’s very interesting how the brain works,” says Andrew Stanton, the co-writer/director of that film and the new “Finding Dory,” who in the interim made the almost as beloved Oscar-winner “WALL-E” and the not-so-adored live-action “John Carter.” For most of the 13 years since one of Pixar Animation’s biggest hits, “Finding Nemo,” came out, not a whole lot of thought went into making a sequel to the Academy Award-winning fish story.
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