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Sarah Freeman as Hannah , Sid's younger sister. Production Development The entrance to Pixar's studio lot in Emeryville, California Director John Lasseter's first experience with computer animation was during his work as an animator at Walt Disney Feature Animation , when two of his friends showed him the lightcycle scene from Tron. It was an eye-opening experience which awakened Lasseter to the possibilities offered by the new medium of computer-generated animation. But when Tim Burton , who used to work at Disney, wanted to buy back the rights to The Nightmare Before Christmas , Disney struck a deal allowing him to make it as a Disney movie outside the studio. This opened the door for Pixar to make their movies outside Disney. Catmull and fellow Pixar co-founder Alvy Ray Smith had long wanted to produce a computer-animated feature, but only in the early 90s were the computers cheap and powerful enough to make this possible. They later learned that Katzenberg intended that if Disney were to make a film with Pixar, it would be outside Schneider's purview, which aggravated Schneider. Catmull, Smith, and Guggenheim were joined by Bill Reeves head of animation research and development , Jobs, and Lasseter. They brought with them an idea for a half-hour television special called A Tin Toy Christmas. They reasoned that a television program would be a sensible way to gain experience before tackling a feature film. They considered it even more difficult to sell Lasseter and the junior animators on the idea of working with Disney, who had a bad reputation for how they treated their animators, and Katzenberg, who had built a reputation as a micromanaging tyrant. I am a tyrant. But I'm usually right. Lasseter felt he would be able to work with Disney and the two companies began negotiations. Disney could also kill the film at any time with only a small penalty. These early negotiations would become a point of contention between Jobs and Eisner for many years. Under studio head Jeffrey Katzenberg , Woody was the main villain, abusing the other toys until they rallied against him; however, after Disney executives saw the storyboards they relinquished creative control to Pixar. Lasseter decided Tinny was "too antiquated", and the character was changed to a military action figure, and then given a space theme. In addition, the green and purple color scheme on Lightyear's suit was inspired by Lasseter and his wife, Nancy, whose favorite colors were green and purple respectively. Originally, Woody was a ventriloquist's dummy with a pull-string hence the name Woody. However, character designer Bud Luckey suggested that Woody could be changed to a cowboy ventriloquist dummy. John Lasseter liked the contrast between the Western and the science fiction genres and the character immediately changed. Eventually, all the ventriloquist dummy aspects of the character were deleted, because the dummy was designed to look "sneaky and mean. Toy Story's script was strongly influenced by the ideas of screenwriter Robert McKee. The members of Pixar's story team—Lasseter, Stanton, Docter and Joe Ranft —were aware that most of them were beginners at writing for feature films. None of them had any feature story or writing credits to their name besides Ranft, who had taught a story class at CalArts and did some storyboard work prior. His principles, grounded in Aristotle 's Poetics , dictated that a character emerges most realistically and compellingly from the choices that the protagonist makes in reaction to his problems. Whedon found that the script wasn't working but had a great structure, and added the character of Rex and sought a pivotal role for Barbie. Among the late additions was the encounter between Buzz and the alien squeaky toys at Pizza Planet, which emerged from a brainstorming session with a dozen directors, story artists, and animators from Disney. Lasseter claimed Hanks "has the ability to take emotions and make them appealing. Even if the character, like the one in A League of Their Own , is down-and-out and despicable. In early screen tests, Pixar impressed Disney with the technical innovation but convincing Disney of the plot was more difficult. At each presentation by Pixar, Katzenberg would tear much of it up, giving out detailed comments and notes. Katzenberg's big push was to add more edginess to the two main characters. In the meantime, the crew would shift to television commercials while the head writers worked out a new script. Although Lasseter kept morale high by remaining outwardly buoyant, the production shutdown was "a very scary time," recalled story department manager BZ Petroff. The Pixar team was pleased that the move would give them an open door to counseling from Disney's animation veterans. Schneider, however, continued to take a dim view of the project and would later go over Katzenberg's head to urge Eisner to cancel it. He and the other story artists would then draw the shots on storyboards. Whedon came back to Pixar for part of the shutdown to help with revising, and the script was revised in two weeks as promised. Jobs did not insert himself much into the creative process, respecting the artists at Pixar and instead managing the relationship with Disney. It also included a more adult-oriented staff meeting amongst the toys rather than a juvenile group discussion that had existed in earlier drafts. Buzz Lightyear's character was also changed slightly "to make it more clear to the audience that he really doesn't realize he's a toy. Jobs demanded more funds to complete the film right and insisted that Disney was liable for the cost overruns. Katzenberg was not willing, and Ed Catmull was able to reach a compromise. This is a story that can only really be told with three-dimensional toy characters. Some of the shots in this film are so beautiful. Every leaf and blade of grass had to be created. We had to give the world a sense of history. So the doors are banged up, the floors have scuffs. Each character was either created out of clay or was first modeled off of a computer-drawn diagram before reaching the computer animated design. Lasseter wanted to impress Disney with a number of things in the test that could not be done in traditional, hand-drawn animation, such as Woody's yellow plaid shirt with red stripes, the reflections in Buzz's helmet and the decals on his space suit, or Venetian blind shadows falling across Andy's room. The art department gave each shot its color scheme and general lighting. To make the medium feel as familiar as possible, they sought to stay within the limits of what might be done in a live-action film with real cameras, dollies, tripods, and cranes. Lasseter opted against Disney's approach of assigning an animator to work on a character throughout a film, but made certain exceptions in scenes where he thought acting was particularly critical. Once a sequence of hand-built poses or " keyframes " was created, the software would build poses for the frames in-between. They then added shading, lighting, visual effects, and finally used computer processors to render the film to its final design. A few surfaces in Toy Story came from real objects: Each completed shot then went into rendering on a "render farm" of Sun Microsystems computers that ran 24 hours a day. The film required , machine hours and , frames of animation in total. To fit a 1. Toy Story soundtrack Disney was concerned with Lasseter's position on the use of music. Unlike other Disney films of the time, Lasseter did not want the film to be a musical, saying it was a buddy film featuring "real toys. It's about people who won't admit what they want, much less sing about it. Buddy movies are about sublimating, punching an arm, 'I hate you. Characters breaking into song is a great shorthand. It takes some of the onus off what they're asking for. The edited Toy Story was due to Newman and Gary Rydstrom in late September for their final work on the score and sound design, respectively. Editing and pre-release It was difficult for crew members to perceive the film's quality during much of the production process when the finished footage was in scattered pieces and lacked elements like music and sound design. Unkrich decided to cut right into the scene where Sid is interrogating the toys because the creators of the movie thought the audience would be loving Buzz and Woody at that point. Jobs decided that the release of Toy Story that November would be the occasion to take Pixar public. Response cards from the audience were encouraging, but were not top of the scale, adding further question as to how audiences would respond. Michael Eisner, who attended the screening, told Lasseter afterward that the film needed to end with a shot of Woody and Buzz together, reacting to the news of the puppy. The dueling premieres highlighted a festering issue between the companies: The film was also shown at the Berlin International Film Festival out of competition from February 15 to 26, How can a kid, sitting through a one-and-a-half-hour movie with an army of recognizable toy characters, not want to own one? There, a Toronto-based company with a factory based in China, Thinkway Toys, became interested. Although Thinkway was a small player in the industry, mainly producing toy banks in the form of film characters, it was able to scoop up the worldwide master license for Toy Story toys simply because no one else wanted it. Producer Ralph Guggenheim claimed that Mattel did not allow the use of the toy as "They [Mattel] philosophically felt girls who play with Barbie dolls are projecting their personalities onto the doll. If you give the doll a voice and animate it, you're creating a persona for it that might not be every little girl's dream and desire. Joe mainly because Sid was going to blow one up , but they did license Mr. When designs for Slinky were sent to Betty James Richard James 's wife she said that Pixar had improved the toy and that it was "cuter" than the original. The Toy Story films and characters will always hold a very special place in our hearts and we're so excited to be bringing this landmark film back for audiences to enjoy in a whole new way thanks to the latest in 3-D technology. With Toy Story 3 shaping up to be another great adventure for Buzz, Woody and the gang from Andy's room, we thought it would be great to let audiences experience the first two films all over again and in a brand new way. The lead stereographer Bob Whitehill oversaw this process and sought to achieve an effect that affected the emotional storytelling of the film: When I would look at the films as a whole, I would search for story reasons to use 3-D in different ways. In Toy Story, for instance, when the toys were alone in their world, I wanted it to feel consistent to a safer world. And when they went out to the human world, that's when I really blew out the 3-D to make it feel dangerous and deep and overwhelming. Toy Story was released on October 2, Toy Story 2 was instead released January 22, This release sold two million copies. The 10th Anniversary release was the last version of Toy Story to be released before taken out of the Disney Vault lineup along with Toy Story 2. They were also released on Blu-ray 3D in a complete trilogy box set. Reception Critical response Yes, we worry about what the critics say. Yes, we worry about what the opening box office is going to be. Yes, we worry about what the final box office is going to be. But really, the whole point why we do what we do is to entertain our audiences. The greatest joy I get as a filmmaker is to slip into an audience for one of our movies anonymously, and watch people watch our film. Because people are percent honest when they're watching a movie.
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