Ratatouille is a (2007) animated Disney/Pixar film about a rat (Rémy) who longs to follow in the footsteps of his hero, the late Chef Auguste Gusteau — at one time considered to be the greatest chef in Paris. After discovering an unusual way through which he can control the actions of the hapless Linguini, who was working as a garbage boy in the kitchen of Gusteau's restaurant at the time, he is given the ultimate opportunity to show the world what he can do.
- Written and Directed by Brad Bird.
- [frame freezes as Remy bursts frantically through a window carrying a book over his head] [voiceover] This is me. I think it's apparent I need to rethink my life a little bit. What's my problem? First of all, I'm a rat, which means life is hard. And second, I have a highly developed sense of taste and smell.
- I know this sounds insane, but, well, the truth sounds insane sometimes. But that doesn't mean it's not the...the truth. And the truth is, I have no talent at all. But this rat, he's the one behind these recipes. He's the cook. The real cook. He's been hiding under my toque. He's been controlling my actions. He's the reason I can cook the food that's exciting everyone. The reason Ego is outside that door. You've been giving me credit for his gift. I know it's a hard thing to believe, but, hey, you believed I could cook, right? Look, this works. It's crazy, but it works. We can be the greatest restaurant in Paris, and this rat, this brilliant little chef, can lead us there.
- In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that, in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new, an extra-ordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: 'Anyone can cook.' But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.
- Gusteau: [as a book illustration] If you are hungry, go up and look around, Rémy. Why do you wait and mope?
- Rémy: Well, I just lost my family…all my friends. Probably forever.
- Gusteau: How do you know?
- Rémy: I…uh…you are an illustration. Why am I talking to you?
- Gusteau: Oh, you just lost your family, all your friends. You are lonely.
- Rémy: Yeah…well, you're dead.
- Gusteau: Ah, but that is no match for wishful thinking! If you focus on what you left behind, you will never be able to see what lies ahead. Now go up and look around!
- [Rémy's about to eat a bread crumb in someone's house when Gusteau appears before him.]
- Gusteau: What are you doing?!
- Rémy: I'm hungry! I don't know where I am, I don't know when I'll find food again!
- Gusteau: Rémy, you are better than that. You are a cook! A cook makes. A thief takes. You're not a thief.
- Rémy: But I am hungry.
- Gusteau: Rémy, food will come. Food always comes to those who love to cook.
- [Remy and Gusteau are talking about Linguini]
- Gusteau: What do I always say, Remy? Anyone can cook.
- Rémy: Well yeah, anyone can. That doesn't mean that anyone should.
- Gusteau: Well, that is not stopping him. See?
- [Linguini has accidentally spilled a pot of soup and is attempting to cover up his mistake by throwing random ingredients into it.]
- Rémy: What?! What is he doing?! No...no! No, this is terrible; he's ruining the soup, and nobody's noticing?! It's your restaurant! Do something!
- Gusteau: What can I do? I am a figment of your imagination.
- Rémy: But he's ruining the soup!! We gotta tell someon-- [slips and falls]
- [Linguini has trapped Rémy in a jar.]
- Linguini: What should I do now?
- Skinner: Kill it!
- Linguini: Now?
- Skinner: No, not in the kitchen! Are you mad?
- Anton Ego: What is it Ambrister?
- Ambrister: Gusteau's...
- Anton Ego: Finally closing, is it?
- Ambrister: No
- Anton Ego: More financial troubles?
- Ambrister: No, it's...it's...
- Anton Ego: Announced a new line of microwave egg-rolls, what!? what?!, spit it out!
- Ambrister: It's come back, it's...popular.
- Anton Ego: [partly spits out a mouthful of wine, before checking the label, then roughly swallowing the rest of the wine] I haven't reviewed Gusteau's in years.
- Ambrister: No sir
- Anton Ego: My last review condemned it to the tourist trade.
- Ambrister: Yes sir.
- Anton Ego: I said: "Gusteau has finally found his rightfully place in history right along side another equally famous chef; Monsieur Boyardee".
- Ambrister: Touché
- Anton Ego: That is were it left it, that was my last word. The. Last. Word.
- Ambrister: [cowering] Yes
- Anton Ego: Then tell me Ambrister; how could it be popular.
- Horst: It's your recipe. How can you not know your own RECIPE?!
- Larousse: What if we SERVE THEM WHAT THEY ORDER?!
- Colette: WE WILL MAKE IT! Just tell us what you did.
- Linguini: I don't KNOW what I did!
- Mustafa: [taking Ego's order] Do you know what you'd like this evening, sir?
- Anton Ego: Yes, I think I do. After reading a lot of overheated puffery about your new cook, you know what I'm craving? A little perspective. That's it. I'd like some fresh, clear, well seasoned perspective. Can you suggest a good wine to go with that?
- Mustafa: With what, sir?
- Anton Ego: Perspective. Fresh out, I take it?
- Mustafa: I am, uh...
- Anton Ego: Very well. Since you're all out of perspective and no one else seems to have it in this BLOODY TOWN, I'll make you a deal. You provide the food, I'll provide the perspective, which would go nicely with a bottle of Cheval Blanc 1947.
- Mustafa: I'm afraid... your dinner selection?
- Anton Ego: [stands up angrily] Tell your chef Linguini that I want whatever he dares to serve me. Tell him to hit me with his best SHOT.
- He's dying to become a chef.
- A Comedy with Great Taste.
- A Rat in a Kitchen... Cooking?!?!?!
- Patton Oswalt — Rémy
- Lou Romano — Linguini
- Janeane Garofalo — Colette
- Ian Holm — Skinner
- Peter Sohn — Émile
- Brad Garrett — Gusteau
- Brian Dennehy — Django
- Peter O'Toole — Anton Ego
- Will Arnett — Horst
- Julius Callahan — Lalo
- James Remar — Larousse
- John Ratzenberger — Mustafa
- Teddy Newton — Talon Labarthe
- Tony Fucile — Pompidou
- Jake Steinfeld — Git
- Brad Bird — Ambrister Minion
- Stéphane Roux — the narrator of the cooking channel
- Thomas Keller — the male dining patron who asks what's new
- Winston I. Steve Barnum — the chef friendly male
- I think our goal is to get the impression of something rather than perfect photographic reality. It’s to get the feeling of something so I think that our challenge was the computer basically wants to do things that are clean and perfect and don’t have any history to them. If you want to do something that’s different than that you have to put that information in there and the computer kind of fights you. It really doesn’t want to do that and Paris is a very rich city that has a lot of history to it and it’s lived in. Everything’s beautiful but it’s lived in. It has history to it, so it has imperfections and it’s part of why it’s beautiful is you can feel the history in every little nook and cranny. For us every single bit of that has to be put in there. We can’t go somewhere and film something. If there’s a crack in there, we have to design the crack and if you noticed the tiles on the floor of the restaurant, they’re not perfectly flat, they’re like slightly angled differently, and they catch light differently. Somebody has to sit there and angle them all separately so we had to focus on that a lot. And it was a movie about good food and the food had to look delicious and its data. How do you define what makes food look good. It’s actually a bunch of really subtle little complicated things and everybody worked really hard on it.
- Brad Bird 
- I entered this movie as director kind of late. I was asked to come on the project a little less than a year and a half ago, so several characters had been cast before I got there. Famous people like Ian Holm, Brian Dennehy, and Brad Garrett were already on board and there were also some Pixar people who happened to have perfect voices, like Lou Romano who did Linguini. He was production designer on The Incredibles. And Pete Sohn is a young, very gifted story guide and animator who worked on Iron Giant and Incredibles and he did the voice of Emile, who is Remy’s brother. So those guys are in-house and they were already involved in the project and I didn’t see any reason to change what was perfect. I re-cast a couple characters and there was a lot of difficulty in casting Remy and I heard Patton Oswalt on the radio and I thought he’d be perfect. I brought Peter O’Toole on and when I was first writing the character of Anton Ego that was the voice I heard in my mind and I was just hoping that he would say yes and he did. But Janeane Garofalo we cast after I came on and she does Colette and a lot of people can’t even recognize her because she so completely disappears into this role, which is a testament to how great an actress she is, and I’m really happy with the voice track on this film because it put the challenge to the animators to come up to the quality and be inspired by the voices – and I think they did.
- Brad Bird 
- It was six years ago and you look at the scope of your film and we knew it would be about rats and we knew we needed the rats to be able to move in certain ways. Pixar’s never really done a film with four-legged critters in it to any great extent, so I was excited because some of Disney’s great classical animated films have critters running around like this. We threw down to the tools group, who writes our code because it’s all proprietary software, that we need this to be phenomenal so we actually experimented for about a year in sort of a dead end, but it was always going to be promising and something special. Brad Bird made several things work that weren’t working. We figured that once we got them outfitted correctly with the right technical setup so that they could squash and stretch beyond what’s been done before in animation, that in the hands of a director like Brad who knows animation inside and out, that it would be phenomenal. As far as the food looking great, we hoped we would pull it off and I think we did. I think appetizing food in a film like this is a surprise and if people come out hungry, which I’ve heard has happened, then that’s a testament to that
- Brian Lewis [:* Brad Bird ]