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This is Toy Story, Disney Studios,
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February 4th, 1995.
Recording Tim Allen as Buzz.
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So, this is that beginning section
where you must have written.
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Do you read me?
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Buzz Lightyear to Star Command.
Come in, Star Command.
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Star Command, come in.
Do you read me?
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Why don't they answer?
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ANGUS MACLANE: When we were making
Toy Story, the first one,
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it was just director John Lasseter
and a very small group of us
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coming up with
the characters and situations.
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And, of course, the toy version of Buzz.
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And now we're about to release a film
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about the origin story
of this Buzz Lightyear character.
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We get to grapple with this question,
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"Who is Buzz Lightyear?"
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I'm Buzz Lightyear, Space Ranger,
Universe Protection Unit.
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His job in the first films is to show up
and basically push Woody's buttons.
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He's the best of the best,
and he knows it.
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He understands everything
in all the manuals,
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he's studied the hardest.
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Woody, are you all right?
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He's the strongest, he's the fastest,
he's the estest.
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(TOYS GASP)
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Buzz is the most upright citizen...
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We will not rest
until he's safe in Andy's room!
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And takes his policing job
very, very, very seriously.
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Watch yourself!
Halt! Who goes there?
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He's the straight guy,
he's the very literal guy.
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Everything that's on the box
is the sum total of his knowledge.
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BUZZ: I protect the galaxy
from the threat of invasion.
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He doesn't understand that he's the toy
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based off of this character
on the big screen,
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He thinks he is that character.
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Very impressed
with Andy's new toy.
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- Toy?
- T-O-Y. Toy.
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Excuse me, I think the word
you're searching for is "Space Ranger."
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And the comedy all comes from that
disagreement over the nature of reality.
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(GASPING)
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(GAGGING)
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It was Woody's movie,
but you need one for the other to work.
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It's a dance.
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Good morning, I'm Pete.
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Today we'll learn how to animate
in less than two minutes.
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We type in the magic UNIX commands.
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In 1990, Pixar had done
a bunch of short films.
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I knew that the goal was
to eventually do a feature,
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and the thought was,
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"Let's do an intermediate step,
we'll do a Christmas special."
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Using characters
from one of the short films, Tin Toy.
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That just seemed like
a very appealing, fun world,
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the world of toys. Seeing things from
the toys' point of view, way down low.
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The thrill was this must be
what it feels like to be this small
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on the floor and encounter
a giant reckless baby.
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At the same time, Disney said,
"Hey, you know what?
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"We'd be willing to spring for a feature.
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"What do you want to do?"
And we were like, "I have no idea."
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So we thought, what if
we just use the Christmas special
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that we are writing as the first act
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and then we'll just go from there,
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because we had no idea
what we were doing.
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In animation at that time,
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it was musical, musical... Only musicals.
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So the idea that we could do
some other kind of storytelling
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was really attractive.
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One of the first things that happened,
in our story, was that
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Tinny met this other ventriloquist doll,
the old established toy.
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And this new toy comes
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and is now threatening
this old toy's place in Andy's room.
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This new cool, amazing tin toy?
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So we're like,
"Okay, that doesn't quite work."
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What was the toy we all wanted as kids?
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We wanted action figures, you know,
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with, like karate chop action
or exploding briefcases,
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all kind of like, these moving parts.
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Tinny had to go up on the shelf,
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and his part was taken over by this
brand new character that we were creating,
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named Buzz Lightyear.
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Initially, Buzz was more of
a golden age space hero from the '30s.
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I did all these things that almost looked
like water heaters with fins on them.
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Things that were based
on Roman legionnaire helmets
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and all that older, classic stuff.
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LAUREN GAYLORD: We have
so many drawings of Buzz
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that sometimes it's hard to differentiate.
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This is one that we have
nicknamed Big Hair Buzz.
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It's a distinguishing part of this
stage of character design,
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because in the end
Buzz has no hair.
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DOCTER: Buzz Lightyear wasn't always
called Buzz Lightyear.
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He was even called Lunar Larry.
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One of the suits has, like, the LL on it.
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This is from an early animation test.
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Woody is Slim, and the character
that would become Buzz is Tecor,
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But it looks like they weren't
necessarily satisfied with that
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because on this particular script, they've
made all these other acronyms for him.
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He could have been TOLAR or MICROZ.
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JEFF PIDGEON: And then one of them
was Tempus from Morph.
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I don't know if we use that
for more than that one test.
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Hey, pal, whatcha doin'?
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I'm Tempus from Morph...
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Yeah, what's this button?
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Say, you weren't
thinkin' of flyin', were ya'?
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- Well...
- You know, Andy loves toys that can fly.
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BUZZ: Really?
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When we look
at the final drawings,
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we think that was
the right Buzz to choose.
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But how did we get there?
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So fun to just see all the iterations.
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Just warming up still. Yes.
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When I came on, John Lasseter
wanted to have a contemporary new toy
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and asked if we could do
something more like an astronaut.
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So we looked at NASA.
We looked at the astronauts.
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Same time, we're going to the toy stores,
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we're taking things apart, figuring out
how they work, how they articulate.
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And the wings needed to function
like we're going to make this thing.
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So I came up with the way that they would
swing out to the side.
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I thought you could make that.
I can see a toy being built with that.
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The minute we said
12 inches like G.I. Joe, "Yes".
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The minute we said new, "Yes".
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Let's give him karate chop action, "Yes".
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The minute Bob Pauley said
"What if we make it white
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and give it
a little accent with color?"
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we are all like, "Yes."
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And he should have some declarative thing
that he says.
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To infinity and beyond!
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That just made everybody laugh.
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We loved that it made no sense. (CHUCKLES)
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There is no beyond infinity.
Infinity is infinite.
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Henceforth there is
no beyond infinity.
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Felt like it really captured
the essence of who he was.
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LEE UNKRICH: They had a sense of who
Buzz was and who they wanted him to be.
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But once the decision was made
to cast Tim Allen as Buzz,
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so much of his character
just clicked into place.
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It was actually Tim Allen's idea to play
Buzz like an average street cop.
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They've been watching Sid in the backyard,
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the mean kid, blow up
the Combat Carl with the M-80.
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- I coulda stopped him.
- Right.
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What's going on?
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So instead of being this unrealistic,
kind of,
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"I'll save you, eager young space cadet,"
kind of guy,
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he's playing it more like, "Yeah,
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"I'm going to be hanging out
around the corner."
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There's a kid over in that house
who needs us.
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Now let's get you out of this thing.
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DOCTER: He's a bit more realistic.
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He's a little more earthbound.
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No, no, no. Go, go.
Just go. I'll catch up.
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And it really shaped the way
we wrote the character,
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the way we thought of him,
in major ways.
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Sheriff!
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Sheriff?
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There you are.
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PAULEY: When we were designing Buzz,
I thought we had something.
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You know, it was cool.
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But we didn't have a clue that this was
going to become some kind of phenomenon,
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that Woody and Buzz
would be household names.
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To infinity and beyond.
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(SPEAKING IN OTHER LANGUAGES)
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Space Ranger.
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WOODY: Buzz, this is the Oscars.
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It's supposed to be formal.
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Well, that would explain
all the penguins then
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The whole thing was shocking.
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I remember when the film came out
and driving down the freeway and be like,
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"There's a billboard for Toy Story."
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And it was really wild to see Buzz go up
on the International Space Station.
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That was wow.
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You created this character
who wants to be in space,
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and now he's literally gone further
than most of us ever will.
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For us to think
we would get to do anything more
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would have been just crazy thinking.
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Buzz Lightyear mission log.
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The local sheriff and I seem to be at
a huge refueling station of some sort.
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Buzz was kind of a deluded sidekick,
and somehow he really spoke to kids.
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I'm not sure exactly what that means.
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We tried to design a toy
that would be really cool for Andy,
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that Andy would set aside Woody for.
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PAULEY: Turns out that we created a toy
that in the movie was a good character,
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but also actually a pretty darn good toy
in reality.
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JENNIFER TAN: He is the toy
that all the kids want.
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There's always an interest in continuing
the exploration of Buzz as a toy.
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How else can we have fun with Buzz?
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He's this superhero that every kid
either wants to be like
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or wants to be friends with.
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Buzz appeals to adults
and kids of all ages,
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of all genders,
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And that's why you see Buzz everything.
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There's Buzz costumes, Buzz sneakers.
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We work on action figures,
pencil toppers, apparel...
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TAN: Buzz backpacks,
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lunchboxes, juice boxes, paper towels,
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anything you can think of.
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Stickers on bananas, socks.
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I love my Buzz and Woody socks.
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I love how Buzz is everywhere
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and people have
made their versions of him.
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UNKRICH: A lot of it's handcrafted.
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A lot of it's not coming out of factories.
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It's just people making cool little
wooden pull toys or puppets.
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People just love the characters.
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PAULEY: I guess, in a way, the design
worked out, and it looks good
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because you can be still so far off
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and you know
there's a Buzz in there somewhere.
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SUSMAN: I have seen some bizarre ones.
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They look like
Buzz was put in a microwave.
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It's not really the real Buzz,
but you can tell it's Buzz Lightyear.
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MACLANE: When I started working at Pixar,
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I was just blown away
by the Buzz Lightyear character.
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His square personality,
I always thought, was hilarious.
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00:12:11,439 --> 00:12:13,816
DOCTER: Angus became
the go-to Buzz animator.
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If I'm having trouble,
I can go to Angus,
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not only with technical things,
but with artistic choices.
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Like, what kind of expressions
he makes,
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- and hand gestures.
- (GASPING)
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And I'd always wondered what was the show
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or the movie
that Buzz Lightyear came from.
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And so that was something that was always
cooking in the back of my head.
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Terrain seems a bit unstable.
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SUSMAN: Lightyear and Toy Story
are intrinsically connected.
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Andy, the kid in Toy Story, is so excited
to get this Buzz Lightyear doll.
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Why is he so excited?
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Well, we all thought that he was excited
because he probably went to see a movie.
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And we're saying that
that movie is Lightyear.
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MACLANE: Then it was trying to figure out,
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"Well, what kind of story
are we telling with Buzz?"
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And the character is more than just
the character in the Toy Story world.
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It's a different character.
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There's a general way that Buzz moves
through the world, a confidence,
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This way!
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A belief in himself.
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I'm Buzz Lightyear. I'm always sure.
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But we have to feel like
he has this inner life.
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SUSMAN: Having an iconic character
to start from doesn't solve it for us.
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It makes it a little easier,
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but there's a whole lot
of discovery we have to do.
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And the stakes are even higher
when you're reimagining
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such a beloved character
like Buzz Lightyear.
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I think the texture is the next thing,
and then lighting. Which...
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STANTON: The biggest thing
a director does...
238
00:13:48,953 --> 00:13:51,872
This is nice and elegant,
but it has to be pushed up just a hair.
239
00:13:51,956 --> 00:13:54,124
You're a coach, you're a cheerleader...
240
00:13:54,291 --> 00:13:55,501
It feels pretty great.
241
00:13:55,584 --> 00:13:56,919
I love the gesture of the nose.
242
00:13:57,002 --> 00:14:00,589
You're a vision keeper
and you're a navigator.
243
00:14:02,967 --> 00:14:05,970
There's a lot of times
you're just at the bow of the ship
244
00:14:06,053 --> 00:14:09,348
where there's just a ton of fog,
and you're saying, "There's land there,
245
00:14:09,431 --> 00:14:11,392
"Believe me,
I promise you we'll get there."
246
00:14:12,226 --> 00:14:14,854
I think the action
is actually just the steam.
247
00:14:14,937 --> 00:14:21,777
A lot of great sci-fi hinges
on a real world parable or a deeper truth.
248
00:14:21,861 --> 00:14:24,280
So I was trying to find
what's the deeper truth?
249
00:14:28,492 --> 00:14:31,161
When you're making a movie,
it takes such a long time.
250
00:14:32,496 --> 00:14:35,749
You need to find something you can
latch onto that feels personal.
251
00:14:38,335 --> 00:14:43,007
This campus is
one of the inspirations for the movie.
252
00:14:43,090 --> 00:14:45,593
I have different memories
from different years
253
00:14:45,676 --> 00:14:48,387
that go back 20, almost 22 years now.
254
00:14:49,013 --> 00:14:51,181
That's where I brought my daughter to work
255
00:14:51,265 --> 00:14:54,393
for the very first time
when she was six months old.
256
00:14:54,476 --> 00:14:56,395
We finished the movie there.
257
00:14:57,062 --> 00:14:59,523
That's the last time
I saw that person alive.
258
00:14:59,607 --> 00:15:02,067
Having been at the studio for a long time,
259
00:15:02,151 --> 00:15:05,487
the sense of time passing
was first and foremost in my mind.
260
00:15:07,156 --> 00:15:10,910
When you work on films,
the perceived time passes differently.
261
00:15:12,786 --> 00:15:16,916
You do these four-year jumps,
these five-year jumps,
262
00:15:16,999 --> 00:15:20,002
When you stick your head out of the hole,
you go, "What happened?"
263
00:15:20,085 --> 00:15:22,796
Everyone else is like,
"All kinds of things happened."
264
00:15:25,549 --> 00:15:27,426
The pandemic certainly added to that.
265
00:15:29,470 --> 00:15:30,910
DEAN KELLY: It's like Groundhog Day.
266
00:15:30,971 --> 00:15:33,849
We have our deadlines
and then my kid's school year.
267
00:15:33,933 --> 00:15:36,268
That's how you knew
that time was passing.
268
00:15:37,102 --> 00:15:40,940
At Pixar, we've been lucky to be able
to work through this pandemic.
269
00:15:41,023 --> 00:15:44,568
SUSMAN: Immersed back in our families
in ways that we hadn't been.
270
00:15:44,652 --> 00:15:49,031
KELLY: Looking at it now, it's evident
that the pandemic influenced Buzz's story.
271
00:15:49,114 --> 00:15:53,369
Being able to overcome these odds,
but also know that you're not alone
272
00:15:53,452 --> 00:15:55,579
and trying to do
what you need to get done.
273
00:15:56,830 --> 00:16:01,001
It's amazing to see how connected we are
and how separated we are at the same time.
274
00:16:02,544 --> 00:16:04,964
"That would be
an interesting problem for Buzz.
275
00:16:05,047 --> 00:16:06,632
"Could he be in a situation where
276
00:16:06,715 --> 00:16:09,593
"he was traveling through time
at a different rate than others?"
277
00:16:09,677 --> 00:16:10,719
It's looking good.
278
00:16:10,803 --> 00:16:13,013
I don't want to overwork
the dough on that stuff.
279
00:16:13,514 --> 00:16:14,515
- All right.
- Great.
280
00:16:14,598 --> 00:16:16,076
- Hey, welcome, everybody.
- MAN: Same.
281
00:16:16,100 --> 00:16:20,813
MACLANE: The Pixar story process
is simultaneously regimented
282
00:16:22,356 --> 00:16:23,732
and also chaos.
283
00:16:23,816 --> 00:16:27,277
The first few years of the film,
it's actually the story department
284
00:16:27,361 --> 00:16:30,239
and editorial kind of building the film
from scratch.
285
00:16:31,865 --> 00:16:35,369
In story, we're drawing every single thing
that's on the page
286
00:16:35,452 --> 00:16:36,954
in a very cinematic way,
287
00:16:37,037 --> 00:16:40,582
and we get to see how each part
of the script is working or not working.
288
00:16:41,417 --> 00:16:44,294
BUZZ: I'm not sure you could
classify this as wallowing.
289
00:16:44,378 --> 00:16:47,256
It's interesting how quickly
it starts to feel like a movie.
290
00:16:47,339 --> 00:16:50,718
Couple of frames in and you're like,
"Okay, this is what this is."
291
00:16:50,801 --> 00:16:53,053
He's like, "Hang in there, guys."
And then...
292
00:16:53,137 --> 00:16:55,389
(IMITATES EXPLOSION) Blast!
293
00:16:55,472 --> 00:16:58,809
We're constantly revising our movie,
294
00:16:58,892 --> 00:17:00,185
our story, our script.
295
00:17:00,310 --> 00:17:02,813
HEADLEY: You never think,
"That's good, we're finished."
296
00:17:02,896 --> 00:17:05,232
There are holes that are
just filled with stuff
297
00:17:05,315 --> 00:17:07,484
that aren't
going to be a part of the movie.
298
00:17:07,568 --> 00:17:11,280
MACLANE: Unpacking why things are funny,
why things work is part of the job.
299
00:17:12,114 --> 00:17:15,659
We have to get to the next bit,
and I feel like the next bit is
300
00:17:15,743 --> 00:17:17,703
Zurg holding Buzz, right?
301
00:17:17,786 --> 00:17:18,787
So he turns...
302
00:17:19,413 --> 00:17:22,624
What if it's a reaction,
like Zurg's like... And he reacts?
303
00:17:22,708 --> 00:17:25,461
That way. Just so we know
that something is wrong.
304
00:17:25,544 --> 00:17:28,380
What's great about science fiction
is you can do anything.
305
00:17:31,800 --> 00:17:37,681
We've written so many sequences that
don't exist anymore, that are just so fun.
306
00:17:38,307 --> 00:17:41,268
Laser heists and sticky space situations,
307
00:17:41,518 --> 00:17:43,437
falling from great heights,
308
00:17:43,520 --> 00:17:44,688
killer robots.
309
00:17:44,855 --> 00:17:46,940
All these things
that you're trying out,
310
00:17:47,024 --> 00:17:49,234
and ultimately none of that matters.
311
00:17:49,318 --> 00:17:52,780
What matters is what's happening
with these characters in this moment,
312
00:17:52,863 --> 00:17:55,741
how they're changing from
these people into these people.
313
00:17:57,826 --> 00:17:59,328
Ready, Captain Lightyear?
314
00:17:59,411 --> 00:18:01,455
Ready as I'll ever be,
Commander Hawthorne.
315
00:18:01,538 --> 00:18:03,457
- To infinity...
- And beyond.
316
00:18:03,540 --> 00:18:04,958
- (IMITATES EXPLOSION)
- (GASPS)
317
00:18:05,042 --> 00:18:06,126
(GRUNTS) No.
318
00:18:06,210 --> 00:18:08,462
ANGUS MACLANE: Buzz in this film
is a Space Ranger.
319
00:18:09,046 --> 00:18:13,342
He is a human from Earth,
dedicated to Star Command.
320
00:18:17,346 --> 00:18:19,515
CHRIS EVANS: The movie begins
with Buzz Lightyear
321
00:18:19,598 --> 00:18:22,017
and his people on this giant, giant ship.
322
00:18:26,021 --> 00:18:30,859
They stop on a detour 'cause they notice
a planet that has some resources.
323
00:18:34,530 --> 00:18:37,658
Buzz Lightyear Mission Log.
Stardate 3-9-0-1.
324
00:18:37,741 --> 00:18:41,161
Sensors have detected potential lifeforms
on an uncharted planet.
325
00:18:41,787 --> 00:18:44,456
There seems to be no sign
of intelligent life anywhere.
326
00:18:45,541 --> 00:18:48,836
EVANS: The ship gets attacked,
then, as they're trying to take off,
327
00:18:48,919 --> 00:18:52,089
Buzz is responsible for the ship crashing.
328
00:18:53,841 --> 00:18:56,510
MACLANE: He spends an entire film
trying to get back home.
329
00:18:57,886 --> 00:19:00,430
Not only is it his fault,
based on his actions,
330
00:19:00,514 --> 00:19:03,559
but he had the opportunity to be assisted.
He could've had help.
331
00:19:03,642 --> 00:19:05,686
I'm better off just doing the job myself.
332
00:19:07,312 --> 00:19:10,482
In trying to return home,
333
00:19:11,483 --> 00:19:16,697
Buzz would have to be doing tests
that would cause him to time travel.
334
00:19:22,661 --> 00:19:25,080
COMPUTER: Approaching 50% hyperspeed.
335
00:19:25,164 --> 00:19:28,458
It takes him about four or five minutes
to do one of these missions
336
00:19:28,542 --> 00:19:30,961
while everybody else on the planet
ages four years.
337
00:19:31,044 --> 00:19:35,340
He is aging at a different rate
than all of his friends,
338
00:19:35,424 --> 00:19:39,219
and he sees them grow old
as he continually fails
339
00:19:39,303 --> 00:19:41,263
to make up for the big mistake.
340
00:19:42,097 --> 00:19:45,392
That social dislocation
was the most captivating to all of us.
341
00:19:45,726 --> 00:19:46,935
Thought we'd lost you, Buzz.
342
00:19:47,019 --> 00:19:48,520
Alisha? What happened?
343
00:19:49,438 --> 00:19:50,480
Time dilation.
344
00:19:50,564 --> 00:19:51,648
What?
345
00:19:51,732 --> 00:19:53,150
Time dilation is quite simple.
346
00:19:53,233 --> 00:19:55,277
As you approached hyperspeed,
347
00:19:55,360 --> 00:19:57,738
your time slowed relative to our own.
348
00:19:57,821 --> 00:20:00,908
I'm glad you asked me about time dilation,
because I am a physicist.
349
00:20:01,158 --> 00:20:03,744
Right? So the faster...
350
00:20:04,328 --> 00:20:05,495
Oh, boy.
351
00:20:05,579 --> 00:20:07,497
The faster you travel,
352
00:20:07,581 --> 00:20:11,001
relative to something
that is not traveling at that speed,
353
00:20:11,084 --> 00:20:16,131
your time slows down
because time is relative and...
354
00:20:16,215 --> 00:20:20,260
The faster you you go toward...
Approaching the speed of light,
355
00:20:20,886 --> 00:20:26,058
the less time passes for you
relativistically.
356
00:20:26,642 --> 00:20:29,186
Now, nobody actually can hit
the speed of light.
357
00:20:29,269 --> 00:20:31,355
You would become infinite mass.
358
00:20:31,438 --> 00:20:34,358
Would explode type of thing...
Like, you wouldn't be.
359
00:20:35,275 --> 00:20:36,735
That makes no sense.
360
00:20:36,818 --> 00:20:39,947
You really should get somebody
really smart in here for this.
361
00:20:42,491 --> 00:20:46,912
Station, this is Angus MacLane and
Galyn Susman with Pixar Animation.
362
00:20:46,995 --> 00:20:48,080
Do you hear us?
363
00:20:48,163 --> 00:20:49,331
How do you hear us?
364
00:20:50,040 --> 00:20:52,626
The time dilations is real.
365
00:20:52,709 --> 00:20:54,670
Because the speed of light is the same
366
00:20:54,753 --> 00:20:57,714
no matter who's looking,
who's observing it,
367
00:20:57,798 --> 00:21:00,425
that time progresses more slowly
368
00:21:00,509 --> 00:21:03,053
for people and objects
that are moving fast
369
00:21:03,136 --> 00:21:05,222
compared to the objects
that are not moving fast.
370
00:21:05,305 --> 00:21:08,034
MAN: Station, this is Houston ACR.
That concludes the event. Thank you.
371
00:21:08,058 --> 00:21:09,538
MACLANE: Thank you.
SUSMAN: Thank you.
372
00:21:11,270 --> 00:21:13,355
That's what time dilation is.
373
00:21:13,438 --> 00:21:14,982
And I don't want any letters.
374
00:21:16,316 --> 00:21:19,278
MARGARET SPENCER:
One of the biggest nuts to crack
375
00:21:19,444 --> 00:21:21,363
was why Buzz cares so much.
376
00:21:21,446 --> 00:21:23,490
Something that really helped us out was
377
00:21:23,573 --> 00:21:26,994
the creation of this character, Alisha,
the partner,
378
00:21:27,077 --> 00:21:29,830
somebody who we could track aging
as he was staying the same.
379
00:21:30,872 --> 00:21:33,500
UZO ADUBA: Alisha is a dynamic...
380
00:21:33,583 --> 00:21:34,793
That's an order.
381
00:21:34,876 --> 00:21:36,420
Capable leader.
382
00:21:36,503 --> 00:21:38,672
I'm gonna grant you four minutes
to be off-planet,
383
00:21:38,755 --> 00:21:40,799
but then you come right back to us.
384
00:21:40,924 --> 00:21:43,760
Trying to advance and save the universe
385
00:21:43,844 --> 00:21:46,471
along with her friend, Buzz Lightyear.
386
00:21:46,805 --> 00:21:49,349
Okay, but maybe
we should think about this.
387
00:21:49,433 --> 00:21:52,185
The great tragedy of it is
388
00:21:52,269 --> 00:21:56,481
because he was so focused
and so consumed with the mission...
389
00:21:56,565 --> 00:21:59,651
- That's what Space Rangers do.
- At what cost, Buzz?
390
00:21:59,735 --> 00:22:02,237
Are you willing to lose
another four years?
391
00:22:02,863 --> 00:22:05,824
He missed all of her life.
392
00:22:08,035 --> 00:22:12,247
SUSMAN: What Alisha represents
is the life well-lived,
393
00:22:12,748 --> 00:22:13,957
that he never had.
394
00:22:15,667 --> 00:22:17,169
Buzz Lightyear to the rescue.
395
00:22:18,337 --> 00:22:21,590
Buzz Lightyear, the character design
is extraordinarily iconic.
396
00:22:22,215 --> 00:22:25,635
And I wanted to celebrate
and get away from that design.
397
00:22:26,928 --> 00:22:30,307
SUSMAN: Trying to get the right balance
398
00:22:30,390 --> 00:22:35,354
of the Buzz people are expecting to see
when they walk into the theater
399
00:22:36,730 --> 00:22:40,025
with enough new, different mystery...
400
00:22:40,567 --> 00:22:42,486
"I'm now the protagonist,
401
00:22:43,862 --> 00:22:45,781
"and have my own story and growth."
402
00:22:45,864 --> 00:22:48,992
That balance is really tricky.
403
00:22:50,035 --> 00:22:51,453
He will step out of the ship.
404
00:22:51,536 --> 00:22:54,498
And if you remember
all the way back in Toy Story,
405
00:22:54,581 --> 00:22:56,708
when we first met Buzz,
406
00:22:56,792 --> 00:23:00,587
you pan up and you see his face,
well, we have a shot very similar to that,
407
00:23:00,670 --> 00:23:03,632
to try to help get people into
the, "Okay, this is Buzz"...
408
00:23:03,715 --> 00:23:05,985
I will explore further
the oddities of this strange planet.
409
00:23:06,009 --> 00:23:07,636
This is kind of the Buzz we know,
410
00:23:07,719 --> 00:23:10,972
but this is not the Buzz we know.
Because it's a different Buzz.
411
00:23:13,016 --> 00:23:15,102
And the stakes are even higher
412
00:23:15,185 --> 00:23:17,729
when you're taking
a beloved character like Buzz Lightyear
413
00:23:17,813 --> 00:23:19,648
and you're reimagining him.
414
00:23:19,731 --> 00:23:24,403
There's somebody out there
with a Buzz Lightyear tattoo on their arm.
415
00:23:24,486 --> 00:23:26,947
I don't want that person
coming up to me later and be like,
416
00:23:27,030 --> 00:23:28,865
"Look, man,
you ruined my childhood.
417
00:23:28,949 --> 00:23:30,409
"You ruined my arm." You know.
418
00:23:32,160 --> 00:23:34,663
SUSMAN: Character design starts
from the Toy Story Buzz,
419
00:23:35,330 --> 00:23:39,709
but Toy Story Buzz
has this ginormous chin.
420
00:23:40,377 --> 00:23:42,712
That's just not real.
That's not human.
421
00:23:42,796 --> 00:23:44,506
Nobody has a chin that big.
422
00:23:44,589 --> 00:23:46,550
To get the Buzz Lightyear
from the toy
423
00:23:46,633 --> 00:23:50,303
to now this actual human action hero,
424
00:23:50,387 --> 00:23:52,055
he becomes a Space Ranger.
425
00:23:52,139 --> 00:23:54,266
But we also see his heart grow.
426
00:23:56,726 --> 00:24:00,981
To tell that story,
there had to be stakes and issues
427
00:24:01,064 --> 00:24:03,817
that a man would deal with
and not a toy.
428
00:24:05,902 --> 00:24:09,614
When I design a character,
it's usually an emotional reason first.
429
00:24:10,574 --> 00:24:14,953
Then later we can start talking about
shape and why he did certain things.
430
00:24:15,036 --> 00:24:19,249
But as an artist, I can't say,
"Oh, this is how we made him vulnerable."
431
00:24:20,000 --> 00:24:22,252
Somehow putting your heart
into something,
432
00:24:22,335 --> 00:24:24,129
as humans, we just know that.
433
00:24:26,047 --> 00:24:27,716
That's very ethereal.
434
00:24:29,342 --> 00:24:31,595
DEAN HEEZEN: The art of caricature
is all about pushing
435
00:24:31,678 --> 00:24:34,389
the shapes and certain features.
436
00:24:34,473 --> 00:24:37,767
Taking what's there in real life
and emphasizing it.
437
00:24:38,560 --> 00:24:43,231
We were laughing 'cause when we tried
the big chin, and the round eyes,
438
00:24:43,315 --> 00:24:45,275
and the severe brows,
439
00:24:45,358 --> 00:24:49,446
those proportions, it was hard
not to make him look like a jerk.
440
00:24:50,655 --> 00:24:54,075
The biggest thing is,
in our film Buzz has hair.
441
00:24:54,159 --> 00:24:57,621
NOLTE: We never saw Buzz Lightyear
without his... They call it a snood,
442
00:24:57,704 --> 00:24:59,539
the purple thing he wears on his head.
443
00:24:59,623 --> 00:25:00,790
Thank goodness for Google.
444
00:25:00,874 --> 00:25:02,501
Snoods. I'm like, "What is that?"
445
00:25:02,584 --> 00:25:04,669
I look it up.
"Okay, that's what that is."
446
00:25:05,587 --> 00:25:07,756
MACLANE: So he's got hair.
We work with the hair.
447
00:25:07,839 --> 00:25:10,217
The hair was first.
What's the hair gonna look like?
448
00:25:10,300 --> 00:25:12,677
His chin is pretty defining.
Got to have the chin.
449
00:25:12,761 --> 00:25:15,430
He's got the little curly cue,
which is like a dimple chin.
450
00:25:15,514 --> 00:25:16,848
He's got big, round eyes.
451
00:25:16,932 --> 00:25:19,768
How do you work them
into the stylization of the world?
452
00:25:20,143 --> 00:25:22,479
He's got a barrel chest and narrow waist.
453
00:25:22,896 --> 00:25:25,732
NOLTE: What did he look like
underneath the space suit?
454
00:25:26,483 --> 00:25:28,401
And that was an exploration too.
455
00:25:28,985 --> 00:25:31,571
Angus wanted him to feel
a little bit more vulnerable,
456
00:25:31,655 --> 00:25:32,781
a little more relatable.
457
00:25:32,864 --> 00:25:34,115
I can't get out of this.
458
00:25:34,616 --> 00:25:38,411
So I can't get a sense of...
I can't get any emotion out of it.
459
00:25:38,495 --> 00:25:40,497
Story-wise,
it's about the birth of a hero,
460
00:25:40,580 --> 00:25:42,374
not a hero that became a bigger hero.
461
00:25:43,625 --> 00:25:47,712
I would start him off as John Glenn
and turn him into Han Solo.
462
00:25:49,130 --> 00:25:52,759
The most difficult aspect is the head,
and you're totally nailing that.
463
00:25:53,677 --> 00:25:55,512
NOLTE: Once we got approved in art,
464
00:25:55,595 --> 00:25:59,099
that goes on into
the character modeling rig department.
465
00:26:00,809 --> 00:26:02,811
Very, very, very collaborative discovery.
466
00:26:05,480 --> 00:26:09,776
We just pass it around like a football,
always after the same goal of
467
00:26:09,859 --> 00:26:12,696
maintaining the appeal
that was in the original art
468
00:26:12,779 --> 00:26:14,656
but discovering new problems.
469
00:26:15,782 --> 00:26:18,577
Just feeling a little harsh,
right in there.
470
00:26:19,828 --> 00:26:22,747
We've got an established character
that everyone knows and loves.
471
00:26:22,831 --> 00:26:27,919
It was up to us to go back
and flesh out this whole world
472
00:26:28,003 --> 00:26:29,879
that we've never encountered.
473
00:26:29,963 --> 00:26:33,174
We've just got little bits and pieces
of it through toy Buzz.
474
00:26:33,258 --> 00:26:38,054
So we had tried a lot of different
callbacks and homages like Lunar Larry.
475
00:26:38,138 --> 00:26:40,807
That's where we get this
sort of orangish red color.
476
00:26:41,891 --> 00:26:44,853
We made sure to call back
to the original Buzz Lightyear suit,
477
00:26:44,936 --> 00:26:48,064
so we still have buttons on it.
Got the wing logo,
478
00:26:48,148 --> 00:26:50,275
the wrist communicator,
all that stuff.
479
00:26:50,358 --> 00:26:52,736
The gear, you know. Angus loves the gear.
480
00:26:52,819 --> 00:26:54,154
He loves all the stuff.
481
00:26:54,237 --> 00:26:56,323
We gave him lots of cool accessories.
482
00:26:58,533 --> 00:27:02,078
That he promptly loses immediately,
'cause that's what would really happen.
483
00:27:02,370 --> 00:27:04,247
ALEXANDER: Angus cares about everything.
484
00:27:04,331 --> 00:27:08,376
And when I say he cares about everything,
literally everything.
485
00:27:10,170 --> 00:27:12,547
NOLTE: "Does that lever have
some sort of ribbing on it
486
00:27:12,631 --> 00:27:15,467
"so your thumb would be
able to slide it easy?"
487
00:27:15,550 --> 00:27:19,471
Whether it's how deep a panel line is or
488
00:27:19,554 --> 00:27:22,057
even belt buckles, lots of belt buckles.
489
00:27:29,856 --> 00:27:32,942
MACLANE: I arrive at a picture
of the whole
490
00:27:33,026 --> 00:27:35,278
through a series of connected details.
491
00:27:36,821 --> 00:27:38,698
I really wanted things to be tactile.
492
00:27:38,782 --> 00:27:42,285
You should be able to feel
like you can touch this thing.
493
00:27:42,369 --> 00:27:45,246
Buttons, switches.
494
00:27:45,330 --> 00:27:48,875
More just making a world
that feels believable and lived in.
495
00:27:48,958 --> 00:27:51,419
That will allow
the emotional story to come forward.
496
00:27:51,503 --> 00:27:55,006
You might also see that he's,
through years of being an animator,
497
00:27:55,090 --> 00:27:58,426
is kind of obsessed with
the performance of hands in the movie.
498
00:27:59,386 --> 00:28:01,137
I'd be curious if we could build the hands
499
00:28:01,221 --> 00:28:03,765
so that the index finger was
aligned like that.
500
00:28:05,141 --> 00:28:08,770
Angus wants that hand to say
exactly what a character is feeling.
501
00:28:15,485 --> 00:28:19,531
To him, a hand pose can signify
how much power
502
00:28:19,614 --> 00:28:22,283
and strength a person has.
503
00:28:22,367 --> 00:28:24,536
Depending on how you pose the thumb,
504
00:28:24,619 --> 00:28:27,747
it can show whether that person
is a strong character or not.
505
00:28:33,420 --> 00:28:34,629
MACLANE: I like toys a lot.
506
00:28:35,964 --> 00:28:37,716
I have strong opinions about them.
507
00:28:40,051 --> 00:28:43,513
And so for a lot of the big ships,
I just built them out of LEGO bricks.
508
00:28:44,139 --> 00:28:45,849
I want something like this.
509
00:28:47,559 --> 00:28:50,395
GREGORY PELTZ:
LEGO bricks are Angus' medium.
510
00:28:50,478 --> 00:28:52,564
He does all these awesome mockups.
511
00:28:52,647 --> 00:28:54,691
Here's how he sketched it
out in LEGO bricks.
512
00:28:55,275 --> 00:28:56,776
And then I did my pass on it.
513
00:29:00,363 --> 00:29:05,869
This is the 15th ship Buzz uses
to test this light speed fuel.
514
00:29:07,036 --> 00:29:09,956
PELTZ: It's a movie that's full of
cool stuff to make toys out of,
515
00:29:10,039 --> 00:29:12,417
that was made by people who love toys.
516
00:29:12,834 --> 00:29:15,170
This is the best one.
This is the best thing.
517
00:29:17,255 --> 00:29:20,800
And Angus remembers details
on movies that are insane.
518
00:29:20,884 --> 00:29:23,303
He has an encyclopedic
knowledge of cinema.
519
00:29:23,386 --> 00:29:26,097
Chased through a trolley graveyard.
520
00:29:26,181 --> 00:29:29,642
Little more Me, Myself and Irene,
than Raising Arizona.
521
00:29:30,226 --> 00:29:31,853
Gandalf. "Fly, you fools."
522
00:29:31,936 --> 00:29:33,146
Indiana Jones. Scooby-Doo.
523
00:29:33,229 --> 00:29:34,540
Shawshank. Beautiful Mind-ing it.
524
00:29:34,564 --> 00:29:36,608
You need to Double Impact it a little bit.
525
00:29:36,691 --> 00:29:37,942
Like, he remembers...
526
00:29:38,985 --> 00:29:39,986
not just lines.
527
00:29:40,069 --> 00:29:42,155
No, Kaa from Jungle Book...
528
00:29:42,238 --> 00:29:43,340
HEADLEY: Sorry, I'll use his name
529
00:29:43,364 --> 00:29:45,426
that's a different animation cycle.
That's like...
530
00:29:45,450 --> 00:29:49,037
HEADLEY: He remembers the timing
of where roughly it happens in a movie.
531
00:29:49,120 --> 00:29:52,165
He's like, "I think it was at
two minutes into the second act,
532
00:29:52,248 --> 00:29:54,542
"you'll see this happen
and this musical cue."
533
00:29:54,626 --> 00:29:56,795
And you're like,
"Wow, that's so specific."
534
00:29:56,878 --> 00:29:59,047
A million small details
that you have to focus on,
535
00:29:59,130 --> 00:30:01,424
and you can make all
of the elements awesome.
536
00:30:01,508 --> 00:30:04,260
And then when you watch the movie,
it may not be awesome.
537
00:30:04,344 --> 00:30:06,346
There are a million things
that can go wrong,
538
00:30:06,429 --> 00:30:07,722
and you won't even know.
539
00:30:07,806 --> 00:30:09,140
It's a crazy, crazy thing.
540
00:30:09,474 --> 00:30:11,267
It's wonderful and it's horrible.
541
00:30:11,601 --> 00:30:12,811
All directors go insane.
542
00:30:17,607 --> 00:30:21,277
The first thing I directed was a play
when I was in kindergarten.
543
00:30:21,402 --> 00:30:25,281
And I have to say I may have obsessed
a little bit too much about the costumes.
544
00:30:26,574 --> 00:30:30,245
Even though there weren't swords involved
in Snow White and the Seven Dwarfs,
545
00:30:30,328 --> 00:30:32,580
in my version, there were a lot of swords.
546
00:30:34,833 --> 00:30:39,587
Design and acting and performing
and movies was just my thing.
547
00:30:42,340 --> 00:30:45,218
I was really obsessed with things.
548
00:30:47,470 --> 00:30:48,972
When I finally came to Pixar,
549
00:30:50,181 --> 00:30:51,182
I wasn't the only one.
550
00:30:52,559 --> 00:30:55,228
Buzz Lightyear to Star Command.
Come in, Star Command.
551
00:31:10,577 --> 00:31:13,079
HEADLEY: I have a working theory
on storytelling,
552
00:31:13,204 --> 00:31:15,290
and why we enjoy stories, is because
553
00:31:15,373 --> 00:31:18,543
primarily we're dumb
and we can't remember things.
554
00:31:18,626 --> 00:31:23,256
And so we need to have the same lessons
taught to us over and over again,
555
00:31:23,756 --> 00:31:25,341
so that we remember to be decent,
556
00:31:25,425 --> 00:31:28,261
and we remember that
we're a part of a community.
557
00:31:29,929 --> 00:31:33,975
And it's certainly a way that I learn
and carry things with me through life.
558
00:31:35,018 --> 00:31:37,896
SUSMAN: I was always driven
by making a picture.
559
00:31:38,187 --> 00:31:41,900
But there was something about
the collaboration of different skills
560
00:31:41,983 --> 00:31:46,529
that come together when you do a film
that was just so much more
561
00:31:46,613 --> 00:31:49,657
rewarding and entertaining,
562
00:31:49,741 --> 00:31:53,536
and I could see doing that
every day for the rest of my life.
563
00:31:54,537 --> 00:31:56,623
When you've worked at Pixar for 10 years,
564
00:31:56,706 --> 00:32:01,294
you get a really cool bronze statue
of Buzz Lightyear.
565
00:32:03,838 --> 00:32:08,092
PETE: Buzz represents
a certain amount of tradition,
566
00:32:08,176 --> 00:32:09,928
but he's also kind of the new guy.
567
00:32:11,262 --> 00:32:13,806
There's something so aspirational
about Buzz.
568
00:32:15,433 --> 00:32:19,187
If you want to acknowledge a decade spent
569
00:32:19,270 --> 00:32:23,107
and at the same time say,
"To infinity and beyond,"
570
00:32:23,191 --> 00:32:25,234
you've got lots more to do together,
571
00:32:25,318 --> 00:32:27,570
what better character than Buzz?
572
00:32:41,793 --> 00:32:43,461
EVANS: Gonna say it like the classic,
573
00:32:43,544 --> 00:32:44,921
- "To infinity..."
- EVANS: Sure.
574
00:32:45,254 --> 00:32:47,465
To infinity and beyond!
575
00:32:52,512 --> 00:32:54,097
No one can touch Tim Allen, really.
576
00:33:00,436 --> 00:33:02,689
Question. Are we saying...
Because as a...
577
00:33:02,772 --> 00:33:05,483
Just so we're clear about it,
now is an admission section.
578
00:33:05,566 --> 00:33:06,776
As a Toy Story fan...
579
00:33:12,782 --> 00:33:16,661
Are we saying it like the way Buzz...
580
00:33:16,828 --> 00:33:17,954
Okay. Copy.
581
00:33:23,126 --> 00:33:24,293
"To infinity..."
582
00:33:26,754 --> 00:33:29,132
Sorry. I'm so sorry.
583
00:33:30,717 --> 00:33:32,802
I'm excited. That was just a good one.
584
00:33:32,927 --> 00:33:34,554
(LAUGHS)
585
00:33:34,637 --> 00:33:37,640
Sorry. I couldn't even continue.
I was like...
586
00:33:45,690 --> 00:33:46,983
Oh, my gosh.
587
00:33:54,115 --> 00:33:55,324
It's crazy.
588
00:34:02,832 --> 00:34:05,793
I sort of come out wild. OMG.