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“Just because the code is binary doesn't mean our directors or programmers genders have to be.”
The CGI-Bin is where Pixar and other computer animation studios put their aborted, malformed concept ideas and other assorted wastes of electricity; sort of like wastebaskets, rubbish bins, trash cans, recycling receptacles, trash compactors, garbage disposals, land fills or retirement homes. However, The CGI-Bin is far more sinister than just a simple graphics disposal.
There is only one CGI Bin. The NSA has it in the basement, next to the memory hole and the taxidermied angel that Teddy Roosevelt shot for sport. Many users think they learned how those directories work, somewhere along the way to their twin computer science and electrical engineering Ph.D.s. But what they know is all a lie.
edit But how does it really work?
Everyone has seen that telltale "500 Internal Server Error" occasionally when browsing the internet. The majority of these errors happen from within 'cgi-bin' directories. You see, when Steve Jobs invented the CGI bin, he wasn't thinking clearly (not that he ever thinks clearly, but I digress). He accidentally built a limit into the amount of bad art that the dumps could contain. Through experimentation, it has been found that only 500 renderings may be stored in one dump.
Hence, with dumps filling up all over the place, and with less and less people using 'cgi-bin' directories, Bad Art has fewer places to go. Sometimes, it makes it out into the internet in its true form, causing widespread dislike of 3D modelling websites, art websites that distribute it, and 3D art in general. Even worse, some studios choose not to utilize The CGI Bin and instead just publish whatever they create. It is because of this lack of consideration for the internet and the world as a whole that we have movies like Madagascar.
edit Discarded ideas that got into the bin
In the late 90's/early 2000's, Pixar was working on a film involving cyborg dinosaurs, with more colorful plumage than a bird of paradise trapped in a Crayola factory fire, and with more fast-moving mechanical parts than a 6-car pile up on the Autobahn. The dinosaurs duke it in upper orbit with surgically implanted jet packs and lots of 3D product placement from Smith and Wesson, before settling the score, claw-and-teeth, in the primeval jungles of a terraformed Mars featuring entirely new forms of plant life created with the help of Monsanto's genetic engineers and NASA's astro-botanists. Surprisingly, it never got past the storyboard stage, creatively inhibited by the technological restraints of the time they instead went with a film about talking crabs that walk very slowly sideways for 2 hours picking up plastic garbage from the bottom of the sea.
At the same time, DreamWorks studios was also working on a film about talking crabs, only for slightly older more politically apathetic and physically exhausted audiences; instead it is set in mermaid Angelina Jolie's thong and with the crabs voiced by 8 out of work comedians from the 80's. Rather than animate a bunch of movement, it mostly consists of the crabs sitting about delivering there their stand up routines; and rather than come up with new characters the animators just traced the actors faces. Critics and concerned parents noted that although there are plenty of fish in the sea, none of them are going to look like Will Smith or Angelina Jolie. Although McDonalds was pleased that they at least avoided making chickens or cows look sexy, ultimately PETA and the PTA managed to get the plug pulled on the film for promoting bestiality.
Following the success of Cars 2, John Lasseter was approached with 3 ideas by an old crone; one of those employees of the female persuasion whom is neither virgin princess, dead mother, nor witch whore. One was for the story of a terminally ill child and their doctor seeking a cure to cancer in a rain forest under attack by the clear cut farming needed to produce happy meals. Next, an adaptation of Old Yeller, an Newbery award winning classic which somehow featured cute marketable animals yet acknowledged the existence of death and madness. Third the story of Admiral Grace Hopper featuring a talking moth played by Patton Oswalt, who secretly did all of the work but received none of the credit from the insular world of man. Distracted by a text on his mobile John Lasseter instead went with a movie about talking cell phones, realizing that they didn't even have to move the characters mouths and that the product placement alone would get it half bankrolled.
edit The Future of the CGI-Bin
Audiences are becoming increasingly impatient, having blue balls for the technological singles bar, and are mostly underwhelmed by faux 3d and sweat stained VR head gear; finding anything less than the holographic 0g ballet, and replicant petting zoo passé. Gone are the stone age days of being amazed by Claymation T-101 and ED 209.