But I'm also the master of ceremonies for our Halloween celebration.

At Pixar, we take not being serious on Halloween pretty seriously.

It feels like a bunch of kids playing in a place of work, where, of course, you should be able to do that,

especially in a place that's trying to tell stories the way we do.

And Halloween is this really cool, almost improv opportunity.

You see a lot of people sitting at their desk animating, dressed up, sitting there dialing in some animation on Buzz.

And we all get together in the atrium, have lunch.

People come up on stage; they can show off the craftsmanship of what they made.

If they want to do, like, a little interaction with the host or a performance in character, that can be really great.

Stuff's happening all over; it's just very fun chaos.

A lot of people use their favorite character from a movie they worked on or that we just did as inspirations.

Jake Brooks came dressed as Marlin, with all these long balloons around him, plus this swaying sea anemone.

And then he was holding his son, dressed up as Nemo, inside.

Sonoko Konishi is this amazing craftswoman.

And she makes full-on, theme-park-grade versions of our characters.

Baby Kevin from the end of "Up".

This amazing, furry Remy.

One year, she came as Mike Wazowski at the beginning of "MU", so just like, this adorable, little, one-eyed monster.

We used to give away these prizes at Halloween that had a dollar amount.

They were, like, actually valuable; you might be jealous of the person who won one of them.

But I thought we might be able to better reinforce what Halloween is actually about here if the prizes at the end weren't so valuable;

if they were these grassroots, improvisational things that were an extension of the fun part.

The first year, the grand prize was that Ed Catmull, the president of our company and creator of foundational concepts in computer graphics,

would serve as technical support for the next crazy computer question that your parents have.

So, next time, when any parent calls you up and is like, "The sound doesn't work and my printer is out of ink,"

we have them call up the president of our company, and he can try to debug what's going on.

The coolest costume prize craft-wise?

We'll take pictures of you from every possible angle

so we can have you 3D-printed and put on a trophy that we've put in the trophy case right next to the Oscars.

I'm like, well, we'd better keep winning Oscars or I'm gonna crowd 'em all out with these tchotchkes.

There has been smaller ones, like, you and whoever you've dressed up with get to mow the lawn at Pixar on the riding lawn mower.

Or you immediately get to come with me and we're gonna throw watermelons off the roof.

One of the prizes one year is a catered lunch in the Pixar elevator.

Probably the biggest spectacle of a prize that we ever did was this idea that we're gonna have this big, huge, red button.

You push this button, and all of a sudden, the atrium just goes haywire.

A wacky, wild, inflatable tube man busted out of a gift-wrapped box and started waving around.

We set off an enormous confetti cannon with orange and black confetti.

And then out of our main theater comes the entire Berkeley Marching Band, dressed up as skeletons.

I think a little bit of chaos is really important to balance out all the rationality and rigidity it takes to get something really difficult done.

Halloween just happens to be a day to do a lot more of the chaotic, crazy stuff.