I’d seen Finding Nemo only once before, when it was originally released, in the spring of 2003. Children were just a gleam in my eye, as they say, and at the time I enjoyed the film simply as a highly entertaining romp, with stunning visuals and a thoroughly engaging storyline. The film went on to win the Oscar for Best Animated Feature and was second in grosses only to The Lord of the Rings: The Return of the King. According to Wikipedia it’s also the best-selling DVD of all time and was the highest grossing G-rated film ever, until it was eclipsed by Toy Story 3, another Pixar triumph.

That’s a good place to start this review, because like Finding Nemo, the Toy Story films were also conceived, written and directed by Andrew Stanton, and like Toy Story 3, Finding Nemo is a story kids immediately adore, while being completely unaware of the incredibly poignancy and emotional power it has for the parents sitting next to them. But of course I didn’t understand that back then, being callow and young.

I enjoyed Marlin, Nemo’s father, as a fine comedic character, but my appreciation went only fin deep. I didn’t understand how amazingly inspired Albert Brooks is in the role, how his comedy—being from the very beginning of his career always driven by pathos and humiliation and self-awareness and self-delusion and conflicting impulses—encapsulates the complexity and fallibility in every moment of parenting.

John Lasseter once said that no sequel would ever be made at PIXAR with out the original director’s involvement or explicit permission. It is that mandate that has caused the biggest no brainer at PIXAR, Incredibles 2, to not happen… yet.

I say yet because it almost seems as if PIXAR is now dead set on returning to all of its former glorys. Deadline is reporting that Finding Nemo Director Andrew Stanton might be returning to the ocean for another Nemo based adventure:

[Deadline has] been hearing for months that he would come aboard to direct the sequel to Disney-based Pixar‘s Finding Nemo, with the idea that Disney would give him another shot behind the camera on a live-action film.

Finding Nemo is my favorite of the PIXAR catalog and often ranks among my top five favorite films of all time. So I like to think I can speak with some authority on the film, and a sequel is kind of baffling to me.

I have immense trust in Andrew Stanton, and I don’t hate the concept of a return to the sea, it is just hard for me to see the scenario for a return. Nemo ends in kind of a perfect place, and given the character growth in the film, another adventure to find Nemo would seem rather cheap.

It is said that Stanton has a concept that Disney loves, so perhaps he cracked that code. Or maybe he is just returning to the Nemo ‘universe’ and has a whole different type of story to tell. We can only wait and see.

International Creative Management (ICM) has started zeroing in on the comic industry’s more notable assets, with the announcement of signing writer Grant Morrison. Being one of the world’s largest talent and literary agencies, ICM already boasts an impressive list of clients such as actors Jodie Foster and Al Pacino, director Woody Allen, television personality Ellen DeGeneres, author Patricia Cornwell and musician Beyoncé, to name a few.

As detailed by The Hollywood Reporter, Morrison has 20 years under his belt, penning fan-favorite works like JLA, X-Men, Doom Patrol and the current Batman and Robin. The spotlight has shined on him even more lately thanks to his ‘Batman: R.I.P.’ and Final Crisis projects, and the gaming world got a dose of Morrison thanks to his classic Arkham Asylum: A Serious Place On Serious Earth graphic novel that became the inspiration for the hit video game Batman: Arkham Asylum.

The newly formed DC Entertainment also counts on Morrison’s contributions and consulting as their goal of emulating Marvel Studios’ approach to comic movies intensifies. Other notable comic creators under ICM’s management are Spawn creator Todd McFarlane and legendary artist Neal Adams, who signed with them in August.