Toy Story Movie Quotes

The future says: Dear mortals; I know you are busy with your colourful lives; I have no wish to waste the little time that remains On arguments and heated debates; But before I can appear Please, close your eyes, sit still And listen carefully To what I am about to say; I haven't happened yet, but I will. I can't pretend it's going to be Business as usual. Things are going to change. I'm going to be unrecognisable. Please, don't open your eyes, not yet. I'm not trying to frighten you. All I ask is that you think of me Not as a wish or a nightmare, but as a story You have to tell yourselves - Not with an ending In which everyone lives happily ever after, Or a B-movie apocalypse, But maybe starting with the line 'To be continued...' And see what happens next. Remember this; I am not Written in stone But in time - So please don't shrug and say What can we do? It's too late, etc, etc, etc. Dear mortals, You are such strange creatures With your greed and your kindness, And your hearts like broken toys; You carry fear with you everywhere Like a tiny god In its box of shadows. You love festivals and music And good food. You lie to yourselves Because you're afraid of the dark. But the truth is: you are in my hands And I am in yours. We are in this together, Face to face and eye to eye; We're made for each other. Now those of you who are still here; Open your eyes and tell me what you see.

When did the mammals get confusing? Who can’t look at a baby and a puppy and see the differences? You can’t leave babies at home alone with a chew toy when you go to the movies. Babies will not shimmy under the covers to sleep on your feet when you’re cold. Babies, for all their many unarguable charms, will not run with you in the park, or wait by the door for your return, and, as far as I can tell, they know absolutely nothing of unconditional love.

candor could not be more crucial to our creative process. Why? Because early on, all of our movies suck. That’s a blunt assessment, I know, but I make a point of repeating it often, and I choose that phrasing because saying it in a softer way fails to convey how bad the first versions of our films really are. I’m not trying to be modest or self-effacing by saying this. Pixar films are not good at first, and our job is to make them so—to go, as I say, “from suck to not-suck.” This idea—that all the movies we now think of as brilliant were, at one time, terrible—is a hard concept for many to grasp. But think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise-driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must’ve seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don’t get them right on the first pass.

...to be an American adult has always been to be a symbolic figure in someone else’s coming-of-age story. And that’s no way to live. It is a kind of moral death in a culture that claims youthful self-invention as the greatest value. We can now avoid this fate. The elevation of every individual’s inarguable likes and dislikes over formal critical discourse, the unassailable ascendancy of the fan, has made children of us all. We have our favorite toys, books, movies, video games, songs, and we are as apt to turn to them for comfort as for challenge or enlightenment.

The public offering occurred exactly one week after Toy Story’s opening. Jobs had gambled that the movie would be successful, and the risky bet paid off, big-time. As with the Apple IPO, a celebration was planned at the San Francisco office of the lead underwriter at 7 a.m., when the shares were to go on sale. The plan had originally been for the first shares to be offered at about $14, to be sure they would sell. Jobs insisted on pricing them at $22, which would give the company more money if the offering was a success. It was, beyond even his wildest hopes. It exceeded Netscape as the biggest IPO of the year. In the first half hour, the stock shot up to $45, and trading had to be delayed because there were too many buy orders. It then went up even further, to $49, before settling back to close the day at $39. Earlier that year Jobs had been hoping to find a buyer for Pixar that would let him merely recoup the $50 million he had put in. By the end of the day the shares he had retained—80% of the company—were worth more than twenty times that, an astonishing $1.2 billion. That was about five times what he’d made when Apple went public in 1980.

The idea that John Lasseter pitched was called “Toy Story.” It sprang from a belief, which he and Jobs shared, that products have an essence to them, a purpose for which they were made. If the object were to have feelings, these would be based on its desire to fulfill its essence. The purpose of a glass, for example, is to hold water; if it had feelings, it would be happy when full and sad when empty. The essence of a computer screen is to interface with a human. The essence of a unicycle is to be ridden in a circus. As for toys, their purpose is to be played with by kids, and thus their existential fear is of being discarded or upstaged by newer toys. So a buddy movie pairing an old favorite toy with a shiny new one would have an essential drama to it, especially when the action revolved around the toys’ being separated from their kid. The original treatment began, “Everyone has had the traumatic childhood experience of losing a toy. Our story takes the toy’s point of view as he loses and tries to regain the single thing most important to him: to be played with by children. This is the reason for the existence of all toys. It is the emotional foundation of their existence.

So what did you and Landon do this afternoon?” Minka asked, her soft voice dragging him back to the present. Angelo looked up to see that Minka had already polished off two fajitas. Damn, the girl could eat. “Landon gave me a tour of the DCO complex. I did some target shooting and blew up a few things. He even let me play with the expensive surveillance toys. I swear, it felt more like a recruiting pitch to get me to work there than anything.” Minka’s eyes flashed green, her full lips curving slightly. Damn, why the hell had he said it like that? Now she probably thought he was going to come work for the DCO. Even if he wanted to, he couldn’t, not after just reenlisting for another five years. The army wasn’t the kind of job where you could walk into the boss’s office and say, “I quit.” Thinking it would be a good idea to steer the conversation back to safer ground, he reached for another fajita and asked Minka a question instead. “What do you think you’ll work on next with Ivy and Tanner? You going to practice with the claws for a while or move on to something else?” Angelo felt a little crappy about changing the subject, but if Minka noticed, she didn’t seem to mind. And it wasn’t like he had to fake interest in what she was saying. Anything that involved Minka was important to him. Besides, he didn’t know much about shifters or hybrids, so the whole thing was pretty damn fascinating. “What do you visualize when you see the beast in your mind?” he asked. “Before today, I thought of it as a giant, blurry monster. But after learning that the beast is a cat, that’s how I picture it now.” She smiled. “Not a little house cat, of course. They aren’t scary enough. More like a big cat that roams the mountains.” “Makes sense,” he said. Minka set the other half of her fourth fajita on her plate and gave him a curious look. “Would you mind if I ask you a personal question?” His mouth twitched as he prepared another fajita. He wasn’t used to Minka being so reserved. She usually said whatever was on her mind, regardless of whether it was personal or not. “Go ahead,” he said. “The first time we met, I had claws, fangs, glowing red eyes, and I tried to kill you. Since then, I’ve spent most of the time telling you about an imaginary creature that lives inside my head and makes me act like a monster. How are you so calm about that? Most people would have run away already.” Angelo chuckled. Not exactly the personal question he’d expected, but then again Minka rarely did the expected. “Well, my mom was full-blooded Cherokee, and I grew up around all kinds of Indian folktales and legends. My dad was in the army, and whenever he was deployed, Mom would take my sisters and me back to the reservation where she grew up in Oklahoma. I’d stay up half the night listening to the old men tell stories about shape-shifters, animal spirits, skin-walkers, and trickster spirits.” He grinned. “I’m not saying I necessarily believed in all that stuff back then, but after meeting Ivy, Tanner, and the other shifters at the DCO, it just didn’t faze me that much.” Minka looked at him with wide eyes. “You’re a real American Indian? Like in the movies? With horses and everything?” He laughed again. The expression of wonder on her face was adorable. “First, I’m only half-Indian. My dad is Mexican, so there’s that. And second, Native Americans are almost nothing like you see in the movies. We don’t all live in tepees and ride horses. In fact, I don’t even own a horse.” Minka was a little disappointed about the no-horse thing, but she was fascinated with what it was like growing up on an Indian reservation and being surrounded by all those legends. She immediately asked him to tell her some Indian stories. It had been a long time since he’d thought about them, but to make her happy, he dug through his head and tried to remember every tale he’d heard as a kid.

Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.

We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.

And yet, candor could not be more crucial to our creative process. Why? Because early on, all of our movies suck. That’s a blunt assessment, I know, but I make a point of repeating it often, and I choose that phrasing because saying it in a softer way fails to convey how bad the first versions of our films really are. I’m not trying to be modest or self-effacing by saying this. Pixar films are not good at first, and our job is to make them so—to go, as I say, “from suck to not-suck.” This idea—that all the movies we now think of as brilliant were, at one time, terrible—is a hard concept for many to grasp. But think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise-driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must’ve seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don’t get them right on the first pass. And this is as it should be. Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback and the iterative process—reworking, reworking, and reworking again, until a flawed story finds its throughline or a hollow character finds its soul.

Then the heavy lifting began. For the next six months, our employees rarely saw their families. We worked deep into the night, seven days a week. Despite two hit movies, we were conscious of the need to prove ourselves, and everyone gave everything they had. With several months still to go, the staff was exhausted and starting to fray. One morning in June, an overtired artist drove to work with his infant child strapped into the backseat, intending to deliver the baby to day care on the way. Some time later, after he’d been at work for a few hours, his wife (also a Pixar employee) happened to ask him how drop-off had gone—which is when he realized that he’d left their child in the car in the broiling Pixar parking lot. They rushed out to find the baby unconscious and poured cold water over him immediately. Thankfully, the child was okay, but the trauma of this moment—the what-could-have-been—was imprinted deeply on my brain. Asking this much of our people, even when they wanted to give it, was not acceptable. I had expected the road to be rough, but I had to admit that we were coming apart. By the time the film was complete, a full third of the staff would have some kind of repetitive stress injury. In the end, we would meet our deadline—and release our third hit film. Critics raved that Toy Story 2 was one of the only sequels ever to outshine the original, and the total box office would eventually top $500 million. Everyone was fried to the core, yet there was also a feeling that despite all the pain, we had pulled off something important, something that would define Pixar for years to come. As Lee Unkrich says, “We had done the impossible. We had done the thing that everyone told us we couldn’t do. And we had done it spectacularly well. It was the fuel that has continued to burn in all of us.” T

Soon, I found myself criss-crossing the country with Steve, in what we called our “dog and pony show,” trying to drum up interest in our initial public offering. As we traveled from one investment house to another, Steve (in a costume he rarely wore: suit and tie) pushed to secure early commitments, while I added a professorial presence by donning, at Steve’s insistence, a tweed jacket with elbow patches. I was supposed to embody the image of what a “technical genius” looks like—though, frankly, I don’t know anyone in computer science who dresses that way. Steve, as pitch man, was on fire. Pixar was a movie studio the likes of which no one had ever seen, he said, built on a foundation of cutting-edge technology and original storytelling. We would go public one week after Toy Story opened, when no one would question that Pixar was for real. Steve turned out to be right. As our first movie broke records at the box office and as all our dreams seemed to be coming true, our initial public offering raised nearly $140 million for the company—the biggest IPO of 1995. And a few months later, as if on cue, Eisner called, saying that he wanted to renegotiate the deal and keep us as a partner. He accepted Steve’s offer of a 50/50 split. I was amazed; Steve had called this exactly right. His clarity and execution were stunning. For me, this moment was the culmination of such a lengthy series of pursuits, it was almost impossible to take in. I had spent twenty years inventing new technological tools, helping to found a company, and working hard to make all the facets of this company communicate and work well together. All of this had been in the service of a single goal: making a computer-animated feature film. And now, we’d not only done it; thanks to Steve, we were on steadier financial ground than we’d ever been before. For the first time since our founding, our jobs were safe. I

Now, though, as we assembled the crew to work on our second film, A Bug’s Life, drawing on people who’d been key to Toy Story’s evolution, I discovered we’d completely missed a serious, ongoing rift between our creative and production departments. In short, production managers told me that working on Toy Story had been a nightmare. They felt disrespected and marginalized—like second-class citizens. And while they were gratified by Toy Story’s success, they were very reluctant to sign on to work on another film at Pixar. I was floored. How had we missed this? The answer, at least in part, was rooted in the role production managers play in making our films. Production managers are the people who keep track of the endless details that ensure that a movie is delivered on time and on budget. They monitor the overall progress of the crew; they keep track of the thousands of shots; they evaluate how resources are being used; they persuade and cajole and nudge and say no when necessary. In other words, they do something essential for a company whose success relies on hitting deadlines and staying on-budget: They manage people and safeguard the process. If there was one thing we prided ourselves on at Pixar, it was making sure that Pixar’s artists and technical people treated each other as equals, and I had assumed that that same mutual respect would be afforded to those who managed the productions. I had assumed wrong. Sure enough, when I checked with the artists and technical staff, they did believe that production managers were second-class and that they impeded—not facilitated—good filmmaking by overcontrolling the process, by micromanaging. Production managers, the folks I consulted told me, were just sand in the gears.

We advertise good friendships as part of the Complete Teenage Experience, because good friendships make for great stories. Content creators romanticize adolescent friendships the same way Hallmark movies treat love: there is a lid for every pot, a yin for every yang, and a savior for every screwup. Turn on any Netflix original movie about teenagers or read any great YA book, and you will see that the perfect sidekick (funny! supportive! quirky! endlessly loyal!) is a fixture in each teen’s life. In reality, middle school friendships play out less like Netflix originals, and more like those toy commercials that came on during Saturday morning cartoons when we were kids. As an only child, I remember yearning to have the same fun those kids were having, begging my parents for the Barbie Jeep or Hot Wheels Track until they gave in. But soon after ripping the toy from its packaging, I came to the stark realization that it was nothing like advertised. Those kids were only pretending to have fun, the set designers made the toys seem infinitely cooler than they actually were, and more often than not, we didn’t even have the right-sized batteries. What a colossal disappointment! Especially when those kids on TV looked like they were having the time of their lives.

The idea that this technology is a new business model for animation is bullshit. Good luck with that! The artists and storytellers will want to continue to grow the technology, so this year’s technology will be obsolete in ten years.” Katzenberg was right, of course. No matter how much technology you throw at the art of making an animated movie, a good one will always be expensive. Pixar made Toy Story for around $20 million (a number that doesn’t include what Disney spent on it for promotion and distribution). Pixar’s 2013 movie, Monsters University, is rumored to have cost around $200 million, marketing included.

To reiterate, it is the focus on people—their work habits, their talents, their values—that is absolutely central to any creative venture. And in the wake of Toy Story 2, I saw that more clearly than I ever had. That clarity, in turn, led me to make some changes. Looking around, I realized we had a few traditions that didn’t put people first. For example, we had a development department, as do all movie studios, that was charged with seeking out and developing ideas to make into films. Now I saw that this made no sense. Going forward, the development department’s charter would be not to develop scripts but to hire good people, figure out what they needed, assign them to projects that matched their skills, and make sure they functioned well together. To this day, we keep adjusting and fiddling with this model, but the underlying goals remain the same: Find, develop, and support good people, and they in turn will find, develop, and own good ideas.

Anyone who has read enough, explored enough and experienced enough, somewhere in his/ her life will realize that the life is repeating itself again and again and again. He/she will soon understand there is nothing new to discover, all quests of human life have been experience and discovered in the past and all we do to play the game over and over to gain a different result, like an idiot who watches movie several time and hope to see a different ending. In such age, people no to remain enthusiastic, they need to still be excited about the story, which they have heard more than millions of times. Hence, intellectuals and creators create new toys for them. The toys that practically has the same purpose and affect the same result, but ordinary human does not need to know that. They need to be interested to play, because if we stop, the world will stop, and then the age of nothingness will end. And we cannot let that happen can we?

In his early twenties, Jobs almost single-handedly introduced the world to the first computer that could sit on your desk and actually do something all by itself. He revolutionized music and the ears of a generation with a spiffy little music player called the iPod and a wide selection of songs at the iTunes store. He funded and nurtured a company called Pixar that made the most amazing computer-animated movies—Toy Story, Cars, and Finding Nemo—bringing to life imaginary characters like never before. Though

I’m not trying to be modest or self-effacing by saying this. Pixar films are not good at first, and our job is to make them so—to go, as I say, “from suck to not-suck.” This idea—that all the movies we now think of as brilliant were, at one time, terrible—is a hard concept for many to grasp. But think about how easy it would be for a movie about talking toys to feel derivative, sappy, or overtly merchandise-driven. Think about how off-putting a movie about rats preparing food could be, or how risky it must’ve seemed to start WALL-E with 39 dialogue-free minutes. We dare to attempt these stories, but we don’t get them right on the first pass. And this is as it should be. Creativity has to start somewhere, and we are true believers in the power of bracing, candid feedback and the iterative process—reworking, reworking, and reworking again, until a flawed story finds its throughline or a hollow character finds its soul.

Once, I was having lunch with the president of another movie studio, who told me that his biggest problem was not finding good people; it was finding good ideas. I remember being stunned when he said that—it seemed patently false to me, in part because I’d found the exact opposite to be true on Toy Story 2. I resolved to test whether what seemed a given to me was, in fact, a common belief. So for the next couple of years I made a habit, when giving talks, of posing the question to my audience: Which is more valuable, good ideas or good people? No matter whether I was talking to retired business executives or students, to high school principals or artists, when I asked for a show of hands, the audiences would be split 50-50. (Statisticians will tell you that when you get a perfect split like this, it doesn’t mean that half know the right answer—it means that they are all guessing, picking at random, as if flipping a coin.) People think so little about this that, in all these years, only one person in an audience has ever pointed out the false dichotomy. To me, the answer should be obvious: Ideas come from people.

On the most basic level, Toy Story 2 was a wakeup call. Going forward, the needs of a movie could never again outweigh the needs of our people. We needed to do more to keep them healthy. As soon as we wrapped the film, we set about addressing the needs of our injured, stressed-out employees and coming up with strategies to prevent future deadline pressures from hurting our workers again. These strategies went beyond ergonomically designed workstations, yoga classes, and physical therapy. Toy Story 2 was a case study in how something that is usually considered a plus—a motivated, workaholic workforce pulling together to make a deadline—could destroy itself if left unchecked. Though I was immensely proud of what we had accomplished, I vowed that we would never make a film that way again. It was management’s job to take the long view, to intervene and protect our people from their willingness to pursue excellence at all costs. Not to do so would be irresponsible.

To decide which film to make first, Marvel convened focus groups. But they weren’t convened in order to ask a random cross-section of people which story lines and characters they would most like to see onscreen. Instead, Marvel brought together groups of children, showed them pictures of its superheroes, and described their abilities and weapons. Then they asked the kids which ones they would most like to play with as a toy. The overwhelming answer, to the surprise of many at Marvel, was Iron Man. “That’s what brought Iron Man to the front of the line,” said a person who helped to decide which movie Marvel would self-produce first.

For five straight years, we’d fought to do Toy Story our way. We’d resisted the advice of Disney executives who believed that since they’d had such success with musicals, we too should fill our movie with songs.

Books, and later music and movies, became the best and most reliable way for me to stay regulated. I didn’t understand back then but I spent my first three decades on this planet feeling overwhelmed and seeking approval for the calm alone time that so many Autistics seem to require. What my mom didn’t understand, and what others were judging, was my response to the instinct to protect my overwhelmed brain was to shut down and read. It was the only way I knew to regulate myself. There were no stim toys and fidgets. Nobody was encouraging me to get up and take a walk. And one can only escape to the bathroom so many times.