"Designing Toy Story" Featurette "SUBTITLES INCLUDED"


Uploaded by toystoryfan72 on 02.02.2010

Transcript:
 It was never a computer movie  in our sense.
 It was, "We're making a film."
  It happened that we had the   coolest pencils in the world
 because we had great computers
 and we could  construct these things
 that no one else had  the opportunity to construct.
   Don't forget this.
 The computer animation at the  time was flying metal things.
 You could do anything  with the computer
   so people did everything.
When they first started talking about computer animation
 all I saw was  this wire frame stuff,
  and I wasn't too impressed.
  At that time I couldn't have   cared less about computers.
 I just liked drawing.
 Our director,  John Lasseter,
  really had a good vision   going into this whole thing
 about what he wanted.
  There was the magical world
 of these toys coming to life,
juxtaposed with this real world that we live in.
  This suburban world.
 [Cone] For most people  you were keying off  something about your childhood
 that the sound of it,  the basic feel of it,
was like you remembered
 when you were a kid  on a Saturday morning.
[Pidgeon] In a way, the look of the whole movie is toy-like,
   even though it's grounded    in reality and believable,
 we only put in as much detail
   as we needed to    convince people it's real.
   Everything sort of became    symbols of the real world.
 [Luckey] We did many drawings.
   [chuckles]
Everything in animation takes many many drawings.
  [Pauley] Nothing's for free.   We had to design everything.
We had to be architects, interior designers,
furniture designers, industrial designers...
 ...costume designers,  hairstylists,
 and of course,  toy designers.
 That's a huge job.  I'm amazed we did it.
Star Command, come in. Do you read me?
Why don't they answer?
   [Pauley] We all know toys.
 It's something you're  familiar with,
  but you don't even   maybe recognize it.
When we built Buzz, we made sure he was put together like a toy,
 with the Phillips screw heads  and all the details,
 so it felt really believable.
 And there seems to be no sign  of intelligent life anywhere.
Hello.
 [Pidgeon] Woody was  a ventriloquist dummy,
   a sarcastic    comedic character,
 which, to some degree,  stayed.
Bud Luckey had the core concept to make him a cowboy.
   I thought a cowboy    would be more interesting,
working with a spaceman.
[Pidgeon] That sent shock waves through the movie,
   because that just    made the contrast so vivid
and so powerful.
Woody's more like, uh, rag dolls little girls used to play with,
   whereas Buzz is more like    the modern toys,
with chips and special effects. They're naturally gonna clash.
It's almost like the older detective and the young rookie.
 You are a sad, strange little  man, and you have my pity.
   Farewell.
   [Pauley] Story    is the locomotive.
  Story changes always   affect design.
 Originally, Andy and the toys  went to Pizza Putt,
 a miniature golf pizza place.
  When Buzz became a spaceman,   it was perfect for him
   to think of the restaurant    as a spaceport.
   We had to start all over,    but it was cool.
  We had a great design theme,   this rocket ship spaceport.
Re-thought everything, the guards at the door, these robots,
   uh, the crane game    with the aliens.
  Then it became   this cool spaceship.
   The themes, style and look
  of the different   video games changed.
   Even the rocket on the top    of the Pizza Planet truck.
 I found a spaceship.
It's a spaceship, Buzz.
 [Pauley] These guys are toys,
 and they have a perspective on  the world that is much lower
 and much smaller  than any human would.
   [Cone] A lot of    what I was doing,
   I'd go home    and I'd be kind of
   touching, holding,    and looking at everything.
   "That's what it's doing."    You never think about    those details.
 But from a toy's perspective,
  you had to get down   next to this stuff,
  and have it make   some kind of sense.
 It's very easy in the computer  to create something perfect.
What they really wanted from me
   was to beat up this world.
   When I got my first    business card from Pixar,
 it said "Tia Kratter,  Imperfectionist."
  Scuff marks, splats,
 scrapes, divots, dirt,  that kind of thing.
  Sid's room was easily   the funnest area to work on
   as far as    messing up things.
 I got to hammer things  and stain things,
create all kinds of divots and scratches.
 There's so much stuff.
   We've got the lava lamp    with the doll heads in it.
  You've got the waffle iron.   He's a torturer.
He's a torturer.
  When I grew up   I was more like Sid.
  I had a glue gun, duct tape,
 my dad's tool bench...  We cut everything up.
   [Cone] Stuff was generated    for the mutant toys
  because it was fun.
Like, "I got an idea for a toy."
  [Pauley] It was hard for me   not to make them too cute.
  'Cause they get really cute.
  [Cone]   After working on it,
 you realize villains  are more interesting
than the straight guys.
They have more going on, more you can explain or show about them.
 Then you realize  he's really an artist,
he's kind of a sculptor,
  even if he's twisted   and messed up.
   [Pauley] That was a great    opportunity to be Sid,
but in drawings.
We had these great tools in which we could
   describe this world    which we all believed in,
and we lived in, we grew up in.
 And tell this wonderful story
 of these toys  that everybody knows.
 They come to life.  I knew it growing up.
  I knew growing up   that there's life in things.
  [Eggleston] I remember lots   of people saying to me
   "Gosh, it looks so real."
   It's not real.    People believe it.
 That's better.
  - Ha-ha! We did it!   - [cheering]
 Yes!