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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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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
00:13:48,996 --> 00:13:51,915
This is nice and elegant,
but it has to be pushed up just a hair.
239
00:13:51,999 --> 00:13:54,167
You're a coach, you're a cheerleader...
240
00:13:54,334 --> 00:13:55,544
It feels pretty great.
241
00:13:55,627 --> 00:13:56,962
I love the gesture of the nose.
242
00:13:57,045 --> 00:14:00,632
...you're a vision keeper
and you're a navigator.
243
00:14:03,010 --> 00:14:06,013
There's a lot of times
you're just at the bow of the ship
244
00:14:06,096 --> 00:14:09,391
where there's just a ton of fog,
and you're saying, "There's land there,
245
00:14:09,474 --> 00:14:11,435
"Believe me,
I promise you we'll get there."
246
00:14:12,269 --> 00:14:14,897
I think the action
is actually just the steam.
247
00:14:14,980 --> 00:14:21,820
A lot of great sci-fi hinges
on a real world parable or a deeper truth.
248
00:14:21,904 --> 00:14:24,323
So I was trying to find
what's the deeper truth?
249
00:14:28,535 --> 00:14:31,204
When you're making a movie,
it takes such a long time.
250
00:14:32,539 --> 00:14:35,792
You need to find something you can
latch onto that feels personal.
251
00:14:38,378 --> 00:14:43,050
This campus is
one of the inspirations for the movie.
252
00:14:43,133 --> 00:14:45,636
I have different memories
from different years
253
00:14:45,719 --> 00:14:48,430
that go back 20, almost 22 years now.
254
00:14:49,056 --> 00:14:51,224
That's where I brought my daughter to work
255
00:14:51,308 --> 00:14:54,436
for the very first time
when she was six months old.
256
00:14:54,519 --> 00:14:56,438
We finished the movie there.
257
00:14:57,105 --> 00:14:59,566
That's the last time
I saw that person alive.
258
00:14:59,650 --> 00:15:02,110
Having been at the studio for a long time,
259
00:15:02,194 --> 00:15:05,530
the sense of time passing
was first and foremost in my mind.
260
00:15:07,199 --> 00:15:10,953
When you work on films,
the perceived time passes differently.
261
00:15:12,829 --> 00:15:16,959
You do these four-year jumps,
these five-year jumps,
262
00:15:17,042 --> 00:15:20,045
When you stick your head out of the hole,
you go, "What happened?"
263
00:15:20,128 --> 00:15:22,839
Everyone else is like,
"All kinds of things happened."
264
00:15:25,592 --> 00:15:27,469
The pandemic certainly added to that.
265
00:15:29,513 --> 00:15:30,931
DEAN KELLY: It's like Groundhog Day.
266
00:15:31,014 --> 00:15:33,892
We have our deadlines
and then my kid's school year.
267
00:15:33,976 --> 00:15:36,311
That's how you knew
that time was passing.
268
00:15:37,145 --> 00:15:40,983
At Pixar, we've been lucky to be able
to work through this pandemic.
269
00:15:41,066 --> 00:15:44,611
SUSMAN: Immersed back in our families
in ways that we hadn't been.
270
00:15:44,695 --> 00:15:49,074
KELLY: Looking at it now, it's evident
that the pandemic influenced Buzz's story.
271
00:15:49,157 --> 00:15:53,412
Being able to overcome these odds,
but also know that you're not alone
272
00:15:53,495 --> 00:15:55,622
and trying to do
what you need to get done.
273
00:15:56,873 --> 00:16:01,044
It's amazing to see how connected we are
and how separated we are at the same time.
274
00:16:02,587 --> 00:16:05,007
"That would be
an interesting problem for Buzz.
275
00:16:05,090 --> 00:16:06,675
"Could he be in a situation where
276
00:16:06,758 --> 00:16:09,636
"he was traveling through time
at a different rate than others?"
277
00:16:09,720 --> 00:16:10,762
It's looking good.
278
00:16:10,846 --> 00:16:13,056
I don't want to overwork
the dough on that stuff.
279
00:16:13,557 --> 00:16:14,558
-All right.
-Great.
280
00:16:14,641 --> 00:16:16,059
-Hey, welcome, everybody.
-MAN: Same.
281
00:16:16,143 --> 00:16:20,856
MACLANE: The Pixar story process
is simultaneously regimented
282
00:16:22,399 --> 00:16:23,775
and also chaos.
283
00:16:23,859 --> 00:16:27,320
The first few years of the film,
it's actually the story department
284
00:16:27,404 --> 00:16:30,282
and editorial kind of building the film
from scratch.
285
00:16:31,908 --> 00:16:35,412
In story, we're drawing every single thing
that's on the page
286
00:16:35,495 --> 00:16:36,997
in a very cinematic way,
287
00:16:37,080 --> 00:16:40,625
and we get to see how each part
of the script is working or not working.
288
00:16:41,460 --> 00:16:44,337
BUZZ: I'm not sure you could
classify this as wallowing.
289
00:16:44,421 --> 00:16:47,299
It's interesting how quickly
it starts to feel like a movie.
290
00:16:47,382 --> 00:16:50,761
Couple of frames in and you're like,
"Okay, this is what this is."
291
00:16:50,844 --> 00:16:53,096
He's like, "Hang in there, guys."
And then...
292
00:16:53,180 --> 00:16:55,432
(IMITATES EXPLOSION) Blast!
293
00:16:55,515 --> 00:16:58,852
We're constantly revising our movie,
294
00:16:58,935 --> 00:17:00,228
our story, our script.
295
00:17:00,353 --> 00:17:02,856
HEADLEY: You never think,
"That's good, we're finished."
296
00:17:02,939 --> 00:17:05,275
There are holes that are
just filled with stuff
297
00:17:05,358 --> 00:17:07,527
that aren't
going to be a part of the movie.
298
00:17:07,611 --> 00:17:11,323
MACLANE: Unpacking why things are funny,
why things work is part of the job.
299
00:17:12,157 --> 00:17:15,702
We have to get to the next bit,
and I feel like the next bit is
300
00:17:15,786 --> 00:17:17,746
Zurg holding Buzz, right?
301
00:17:17,829 --> 00:17:18,830
So he turns...
302
00:17:19,456 --> 00:17:22,667
What if it's a reaction,
like Zurg's like... And he reacts?
303
00:17:22,751 --> 00:17:25,504
That way. Just so we know
that something is wrong.
304
00:17:25,587 --> 00:17:28,423
What's great about science fiction
is you can do anything.
305
00:17:31,843 --> 00:17:37,724
We've written so many sequences that
don't exist anymore, that are just so fun.
306
00:17:38,350 --> 00:17:41,311
Laser heists and sticky space situations,
307
00:17:41,561 --> 00:17:43,480
falling from great heights,
308
00:17:43,563 --> 00:17:44,731
killer robots.
309
00:17:44,898 --> 00:17:46,983
All these things
that you're trying out,
310
00:17:47,067 --> 00:17:49,277
and ultimately none of that matters.
311
00:17:49,361 --> 00:17:52,823
What matters is what's happening
with these characters in this moment,
312
00:17:52,906 --> 00:17:55,784
how they're changing from
these people into these people.
313
00:17:57,869 --> 00:17:59,371
Ready, Captain Lightyear?
314
00:17:59,454 --> 00:18:01,498
Ready as I'll ever be,
Commander Hawthorne.
315
00:18:01,581 --> 00:18:03,500
-To infinity...
-And beyond.
316
00:18:03,583 --> 00:18:05,001
-(IMITATES EXPLOSION)
-(GASPS)
317
00:18:05,085 --> 00:18:06,169
(GRUNTS) No.
318
00:18:06,253 --> 00:18:08,505
ANGUS MACLANE: Buzz in this film
is a Space Ranger.
319
00:18:09,089 --> 00:18:13,385
He is a human from Earth,
dedicated to Star Command.
320
00:18:17,389 --> 00:18:19,558
CHRIS EVANS: The movie begins
with Buzz Lightyear
321
00:18:19,641 --> 00:18:22,060
and his people on this giant, giant ship.
322
00:18:26,064 --> 00:18:30,902
They stop on a detour 'cause they notice
a planet that has some resources.
323
00:18:34,573 --> 00:18:37,701
Buzz Lightyear Mission Log.
Stardate 3-9-0-1.
324
00:18:37,784 --> 00:18:41,204
Sensors have detected potential lifeforms
on an uncharted planet.
325
00:18:41,830 --> 00:18:44,499
There seems to be no sign
of intelligent life anywhere.
326
00:18:45,584 --> 00:18:48,879
EVANS: The ship gets attacked,
then, as they're trying to take off,
327
00:18:48,962 --> 00:18:52,132
Buzz is responsible for the ship crashing.
328
00:18:53,884 --> 00:18:56,553
MACLANE: He spends an entire film
trying to get back home.
329
00:18:57,929 --> 00:19:00,473
Not only is it his fault,
based on his actions,
330
00:19:00,557 --> 00:19:03,602
but he had the opportunity to be assisted.
He could've had help.
331
00:19:03,685 --> 00:19:05,729
I'm better off just doing the job myself.
332
00:19:07,355 --> 00:19:10,525
In trying to return home,
333
00:19:11,526 --> 00:19:16,740
Buzz would have to be doing tests
that would cause him to time travel.
334
00:19:22,704 --> 00:19:25,123
COMPUTER: Approaching 50% hyperspeed.
335
00:19:25,207 --> 00:19:28,501
It takes him about four or five minutes
to do one of these missions
336
00:19:28,585 --> 00:19:31,004
while everybody else on the planet
ages four years.
337
00:19:31,087 --> 00:19:35,383
He is aging at a different rate
than all of his friends,
338
00:19:35,467 --> 00:19:39,262
and he sees them grow old
as he continually fails
339
00:19:39,346 --> 00:19:41,306
to make up for the big mistake.
340
00:19:42,140 --> 00:19:45,435
That social dislocation
was the most captivating to all of us.
341
00:19:45,769 --> 00:19:46,978
Thought we'd lost you, Buzz.
342
00:19:47,062 --> 00:19:48,563
Alisha? What happened?
343
00:19:49,481 --> 00:19:50,523
Time dilation.
344
00:19:50,607 --> 00:19:51,691
What?
345
00:19:51,775 --> 00:19:53,193
Time dilation is quite simple.
346
00:19:53,276 --> 00:19:55,320
As you approached hyperspeed,
347
00:19:55,403 --> 00:19:57,781
your time slowed relative to our own.
348
00:19:57,864 --> 00:20:00,951
I'm glad you asked me about time dilation,
because I am a physicist.
349
00:20:01,201 --> 00:20:03,787
Right? So the faster...
350
00:20:04,371 --> 00:20:05,538
Oh, boy.
351
00:20:05,622 --> 00:20:07,540
The faster you travel,
352
00:20:07,624 --> 00:20:11,044
relative to something
that is not traveling at that speed,
353
00:20:11,127 --> 00:20:16,174
your time slows down
because time is relative and...
354
00:20:16,258 --> 00:20:20,303
The faster you you go toward...
Approaching the speed of light,
355
00:20:20,929 --> 00:20:26,101
the less time passes for you
relativistically.
356
00:20:26,685 --> 00:20:29,229
Now, nobody actually can hit
the speed of light.
357
00:20:29,312 --> 00:20:31,398
You would become infinite mass.
358
00:20:31,481 --> 00:20:34,401
Would explode type of thing...
Like, you wouldn't be.
359
00:20:35,318 --> 00:20:36,778
That makes no sense.
360
00:20:36,861 --> 00:20:39,990
You really should get somebody
really smart in here for this.
361
00:20:42,534 --> 00:20:46,955
Station, this is Angus MacLane and
Galyn Susman with Pixar Animation.
362
00:20:47,038 --> 00:20:48,123
Do you hear us?
363
00:20:48,206 --> 00:20:49,374
How do you hear us?
364
00:20:50,083 --> 00:20:52,669
The time dilations is real.
365
00:20:52,752 --> 00:20:54,713
Because the speed of light is the same
366
00:20:54,796 --> 00:20:57,757
no matter who's looking,
who's observing it,
367
00:20:57,841 --> 00:21:00,468
that time progresses more slowly
368
00:21:00,552 --> 00:21:03,096
for people and objects
that are moving fast
369
00:21:03,179 --> 00:21:05,265
compared to the objects
that are not moving fast.
370
00:21:05,348 --> 00:21:08,018
MAN: Station, this is Houston ACR.
That concludes the event. Thank you.
371
00:21:08,101 --> 00:21:09,394
MACLANE: Thank you.
SUSMAN: Thank you.
372
00:21:11,313 --> 00:21:13,398
That's what time dilation is.
373
00:21:13,481 --> 00:21:15,025
And I don't want any letters.
374
00:21:16,359 --> 00:21:19,321
MARGARET SPENCER:
One of the biggest nuts to crack
375
00:21:19,487 --> 00:21:21,406
was why Buzz cares so much.
376
00:21:21,489 --> 00:21:23,533
Something that really helped us out was
377
00:21:23,616 --> 00:21:27,037
the creation of this character, Alisha,
the partner,
378
00:21:27,120 --> 00:21:29,873
somebody who we could track aging
as he was staying the same.
379
00:21:30,915 --> 00:21:33,543
UZO ADUBA: Alisha is a dynamic...
380
00:21:33,626 --> 00:21:34,836
That's an order.
381
00:21:34,919 --> 00:21:36,463
...capable leader.
382
00:21:36,546 --> 00:21:38,715
I'm gonna grant you four minutes
to be off-planet,
383
00:21:38,798 --> 00:21:40,842
but then you come right back to us.
384
00:21:40,967 --> 00:21:43,803
Trying to advance and save the universe
385
00:21:43,887 --> 00:21:46,514
along with her friend, Buzz Lightyear.
386
00:21:46,848 --> 00:21:49,392
Okay, but maybe
we should think about this.
387
00:21:49,476 --> 00:21:52,228
The great tragedy of it is
388
00:21:52,312 --> 00:21:56,524
because he was so focused
and so consumed with the mission...
389
00:21:56,608 --> 00:21:59,694
-That's what Space Rangers do.
-At what cost, Buzz?
390
00:21:59,778 --> 00:22:02,280
Are you willing to lose
another four years?
391
00:22:02,906 --> 00:22:05,867
...he missed all of her life.
392
00:22:08,078 --> 00:22:12,290
SUSMAN: What Alisha represents
is the life well-lived,
393
00:22:12,791 --> 00:22:14,000
that he never had.
394
00:22:15,710 --> 00:22:17,212
Buzz Lightyear to the rescue.
395
00:22:18,380 --> 00:22:21,633
Buzz Lightyear, the character design
is extraordinarily iconic.
396
00:22:22,258 --> 00:22:25,678
And I wanted to celebrate
and get away from that design.
397
00:22:26,971 --> 00:22:30,350
SUSMAN: Trying to get the right balance
398
00:22:30,433 --> 00:22:35,397
of the Buzz people are expecting to see
when they walk into the theater
399
00:22:36,773 --> 00:22:40,068
with enough new, different mystery...
400
00:22:40,610 --> 00:22:42,529
"I'm now the protagonist,
401
00:22:43,905 --> 00:22:45,824
"and have my own story and growth."
402
00:22:45,907 --> 00:22:49,035
That balance is really tricky.
403
00:22:50,078 --> 00:22:51,496
He will step out of the ship.
404
00:22:51,579 --> 00:22:54,541
And if you remember
all the way back in Toy Story,
405
00:22:54,624 --> 00:22:56,751
when we first met Buzz,
406
00:22:56,835 --> 00:23:00,630
you pan up and you see his face,
well, we have a shot very similar to that,
407
00:23:00,713 --> 00:23:03,675
to try to help get people into
the, "Okay, this is Buzz"...
408
00:23:03,758 --> 00:23:05,969
I will explore further
the oddities of this strange planet.
409
00:23:06,052 --> 00:23:07,679
This is kind of the Buzz we know,
410
00:23:07,762 --> 00:23:11,015
but this is not the Buzz we know.
Because it's a different Buzz.
411
00:23:13,059 --> 00:23:15,145
And the stakes are even higher
412
00:23:15,228 --> 00:23:17,772
when you're taking
a beloved character like Buzz Lightyear
413
00:23:17,856 --> 00:23:19,691
and you're reimagining him.
414
00:23:19,774 --> 00:23:24,446
There's somebody out there
with a Buzz Lightyear tattoo on their arm.
415
00:23:24,529 --> 00:23:26,990
I don't want that person
coming up to me later and be like,
416
00:23:27,073 --> 00:23:28,908
"Look, man,
you ruined my childhood.
417
00:23:28,992 --> 00:23:30,452
"You ruined my arm." You know.
418
00:23:32,203 --> 00:23:34,706
SUSMAN: Character design starts
from the Toy Story Buzz,
419
00:23:35,373 --> 00:23:39,752
but Toy Story Buzz
has this ginormous chin.
420
00:23:40,420 --> 00:23:42,755
That's just not real.
That's not human.
421
00:23:42,839 --> 00:23:44,549
Nobody has a chin that big.
422
00:23:44,632 --> 00:23:46,593
To get the Buzz Lightyear
from the toy
423
00:23:46,676 --> 00:23:50,346
to now this actual human action hero,
424
00:23:50,430 --> 00:23:52,098
he becomes a Space Ranger.
425
00:23:52,182 --> 00:23:54,309
but we also see his heart grow.
426
00:23:56,769 --> 00:24:01,024
To tell that story,
there had to be stakes and issues
427
00:24:01,107 --> 00:24:03,860
that a man would deal with
and not a toy.
428
00:24:05,945 --> 00:24:09,657
When I design a character,
it's usually an emotional reason first.
429
00:24:10,617 --> 00:24:14,996
Then later we can start talking about
shape and why he did certain things.
430
00:24:15,079 --> 00:24:19,292
But as an artist, I can't say,
"Oh, this is how we made him vulnerable."
431
00:24:20,043 --> 00:24:22,295
Somehow putting your heart
into something,
432
00:24:22,378 --> 00:24:24,172
as humans, we just know that.
433
00:24:26,090 --> 00:24:27,759
That's very ethereal.
434
00:24:29,385 --> 00:24:31,638
DEAN HEEZEN: The art of caricature
is all about pushing
435
00:24:31,721 --> 00:24:34,432
the shapes and certain features.
436
00:24:34,516 --> 00:24:37,810
Taking what's there in real life
and emphasizing it.
437
00:24:38,603 --> 00:24:43,274
We were laughing 'cause when we tried
the big chin, and the round eyes,
438
00:24:43,358 --> 00:24:45,318
and the severe brows,
439
00:24:45,401 --> 00:24:49,489
those proportions, it was hard
not to make him look like a jerk.
440
00:24:50,698 --> 00:24:54,118
The biggest thing is,
in our film Buzz has hair.
441
00:24:54,202 --> 00:24:57,664
NOLTE: We never saw Buzz Lightyear
without his... They call it a snood,
442
00:24:57,747 --> 00:24:59,582
the purple thing he wears on his head.
443
00:24:59,666 --> 00:25:00,833
Thank goodness for Google.
444
00:25:00,917 --> 00:25:02,544
Snoods. I'm like, "What is that?"
445
00:25:02,627 --> 00:25:04,712
I look it up.
"Okay, that's what that is."
446
00:25:05,630 --> 00:25:07,799
MACLANE: So he's got hair.
We work with the hair.
447
00:25:07,882 --> 00:25:10,260
The hair was first.
What's the hair gonna look like?
448
00:25:10,343 --> 00:25:12,720
His chin is pretty defining.
Got to have the chin.
449
00:25:12,804 --> 00:25:15,473
He's got the little curly cue,
which is like a dimple chin.
450
00:25:15,557 --> 00:25:16,891
He's got big, round eyes.
451
00:25:16,975 --> 00:25:19,811
How do you work them
into the stylization of the world?
452
00:25:20,186 --> 00:25:22,522
He's got a barrel chest and narrow waist.
453
00:25:22,939 --> 00:25:25,775
NOLTE: What did he look like
underneath the space suit?
454
00:25:26,526 --> 00:25:28,444
And that was an exploration too.
455
00:25:29,028 --> 00:25:31,614
Angus wanted him to feel
a little bit more vulnerable,
456
00:25:31,698 --> 00:25:32,824
a little more relatable.
457
00:25:32,907 --> 00:25:34,158
I can't get out of this.
458
00:25:34,659 --> 00:25:38,454
So I can't get a sense of...
I can't get any emotion out of it.
459
00:25:38,538 --> 00:25:40,540
Story-wise,
it's about the birth of a hero,
460
00:25:40,623 --> 00:25:42,417
not a hero that became a bigger hero.
461
00:25:43,668 --> 00:25:47,755
I would start him off as John Glenn
and turn him into Han Solo.
462
00:25:49,173 --> 00:25:52,802
The most difficult aspect is the head,
and you're totally nailing that.
463
00:25:53,720 --> 00:25:55,555
NOLTE: Once we got approved in art,
464
00:25:55,638 --> 00:25:59,142
that goes on into
the character modeling rig department.
465
00:26:00,852 --> 00:26:02,854
Very, very, very collaborative discovery.
466
00:26:05,523 --> 00:26:09,819
We just pass it around like a football,
always after the same goal of
467
00:26:09,902 --> 00:26:12,739
maintaining the appeal
that was in the original art
468
00:26:12,822 --> 00:26:14,699
but discovering new problems.
469
00:26:15,825 --> 00:26:18,620
Just feeling a little harsh,
right in there.
470
00:26:19,871 --> 00:26:22,790
We've got an established character
that everyone knows and loves.
471
00:26:22,874 --> 00:26:27,962
It was up to us to go back
and flesh out this whole world
472
00:26:28,046 --> 00:26:29,922
that we've never encountered.
473
00:26:30,006 --> 00:26:33,217
We've just got little bits and pieces
of it through toy Buzz.
474
00:26:33,301 --> 00:26:38,097
So we had tried a lot of different
callbacks and homages like Lunar Larry.
475
00:26:38,181 --> 00:26:40,850
That's where we get this
sort of orangish red color.
476
00:26:41,934 --> 00:26:44,896
We made sure to call back
to the original Buzz Lightyear suit,
477
00:26:44,979 --> 00:26:48,107
so we still have buttons on it.
got the wing logo,
478
00:26:48,191 --> 00:26:50,318
the wrist communicator,
all that stuff.
479
00:26:50,401 --> 00:26:52,779
The gear, you know. Angus loves the gear.
480
00:26:52,862 --> 00:26:54,197
He loves all the stuff.
481
00:26:54,280 --> 00:26:56,366
We gave him lots of cool accessories.
482
00:26:58,576 --> 00:27:02,121
That he promptly loses immediately,
'cause that's what would really happen.
483
00:27:02,413 --> 00:27:04,290
ALEXANDER: Angus cares about everything.
484
00:27:04,374 --> 00:27:08,419
And when I say he cares about everything,
literally everything.
485
00:27:10,213 --> 00:27:12,590
NOLTE: "Does that lever have
some sort of ribbing on it
486
00:27:12,674 --> 00:27:15,510
"so your thumb would be
able to slide it easy?"
487
00:27:15,593 --> 00:27:19,514
Whether it's how deep a panel line is or
488
00:27:19,597 --> 00:27:22,100
even belt buckles, lots of belt buckles.
489
00:27:29,899 --> 00:27:32,985
MACLANE: I arrive at a picture
of the whole
490
00:27:33,069 --> 00:27:35,321
through a series of connected details.
491
00:27:36,864 --> 00:27:38,741
I really wanted things to be tactile.
492
00:27:38,825 --> 00:27:42,328
You should be able to feel
like you can touch this thing.
493
00:27:42,412 --> 00:27:45,289
Buttons, switches.
494
00:27:45,373 --> 00:27:48,918
More just making a world
that feels believable and lived in.
495
00:27:49,001 --> 00:27:51,462
That will allow
the emotional story to come forward.
496
00:27:51,546 --> 00:27:55,049
You might also see that he's,
through years of being an animator,
497
00:27:55,133 --> 00:27:58,469
is kind of obsessed with
the performance of hands in the movie.
498
00:27:59,429 --> 00:28:01,180
I'd be curious if we could build the hands
499
00:28:01,264 --> 00:28:03,808
so that the index finger was
aligned like that.
500
00:28:05,184 --> 00:28:08,813
Angus wants that hand to say
exactly what a character is feeling.
501
00:28:15,528 --> 00:28:19,574
To him, a hand pose can signify
how much power
502
00:28:19,657 --> 00:28:22,326
and strength a person has.
503
00:28:22,410 --> 00:28:24,579
Depending on how you pose the thumb,
504
00:28:24,662 --> 00:28:27,790
it can show whether that person
is a strong character or not.
505
00:28:33,463 --> 00:28:34,672
MACLANE: I like toys a lot.
506
00:28:36,007 --> 00:28:37,759
I have strong opinions about them.
507
00:28:40,094 --> 00:28:43,556
And so for a lot of the big ships,
I just built them out of LEGO bricks.
508
00:28:44,182 --> 00:28:45,892
I want something like this.
509
00:28:47,602 --> 00:28:50,438
GREGORY PELTZ:
LEGO bricks are Angus' medium.
510
00:28:50,521 --> 00:28:52,607
He does all these awesome mockups.
511
00:28:52,690 --> 00:28:54,734
Here's how he sketched it
out in LEGO bricks.
512
00:28:55,318 --> 00:28:56,819
And then I did my pass on it.
513
00:29:00,406 --> 00:29:05,912
This is the 15th ship Buzz uses
to test this light speed fuel.
514
00:29:07,079 --> 00:29:09,999
PELTZ: It's a movie that's full of
cool stuff to make toys out of,
515
00:29:10,082 --> 00:29:12,460
that was made by people who love toys.
516
00:29:12,877 --> 00:29:15,213
This is the best one.
This is the best thing.
517
00:29:17,298 --> 00:29:20,843
And Angus remembers details
on movies that are insane.
518
00:29:20,927 --> 00:29:23,346
He has an encyclopedic
knowledge of cinema.
519
00:29:23,429 --> 00:29:26,140
Chased through a trolley graveyard.
520
00:29:26,224 --> 00:29:29,685
Little more Me, Myself and Irene,
than Raising Arizona.
521
00:29:30,269 --> 00:29:31,896
Gandalf. "Fly, you fools."
522
00:29:31,979 --> 00:29:33,189
Indiana Jones. Scooby-Doo.
523
00:29:33,272 --> 00:29:34,524
Shawshank. Beautiful Mind-ing it.
524
00:29:34,607 --> 00:29:36,651
You need to Double Impact it a little bit.
525
00:29:36,734 --> 00:29:37,985
Like, he remembers...
526
00:29:39,028 --> 00:29:40,029
not just lines.
527
00:29:40,112 --> 00:29:42,198
No, Kaa from Jungle Book...
528
00:29:42,281 --> 00:29:43,324
HEADLEY: Sorry, I'll use his name
529
00:29:43,407 --> 00:29:45,409
...that's a different animation cycle.
That's like...
530
00:29:45,493 --> 00:29:49,080
HEADLEY: He remembers the timing
of where roughly it happens in a movie.
531
00:29:49,163 --> 00:29:52,208
He's like, "I think it was at
two minutes into the second act,
532
00:29:52,291 --> 00:29:54,585
"you'll see this happen
and this musical cue."
533
00:29:54,669 --> 00:29:56,838
And you're like,
"Wow, that's so specific."
534
00:29:56,921 --> 00:29:59,090
A million small details
that you have to focus on,
535
00:29:59,173 --> 00:30:01,467
and you can make all
of the elements awesome.
536
00:30:01,551 --> 00:30:04,303
And then when you watch the movie,
it may not be awesome.
537
00:30:04,387 --> 00:30:06,389
There are a million things
that can go wrong,
538
00:30:06,472 --> 00:30:07,765
and you won't even know.
539
00:30:07,849 --> 00:30:09,183
It's a crazy, crazy thing.
540
00:30:09,517 --> 00:30:11,310
It's wonderful and it's horrible.
541
00:30:11,644 --> 00:30:12,854
All directors go insane.
542
00:30:17,650 --> 00:30:21,320
The first thing I directed was a play
when I was in kindergarten.
543
00:30:21,445 --> 00:30:25,324
And I have to say I may have obsessed
a little bit too much about the costumes.
544
00:30:26,617 --> 00:30:30,288
Even though there weren't swords involved
in Snow White and the Seven Dwarfs,
545
00:30:30,371 --> 00:30:32,623
in my version, there were a lot of swords.
546
00:30:34,876 --> 00:30:39,630
Design and acting and performing
and movies was just my thing.
547
00:30:42,383 --> 00:30:45,261
I was really obsessed with things.
548
00:30:47,513 --> 00:30:49,015
When I finally came to Pixar,
549
00:30:50,224 --> 00:30:51,225
I wasn't the only one.
550
00:30:52,602 --> 00:30:55,271
Buzz Lightyear to Star Command.
Come in, Star Command.
551
00:31:10,620 --> 00:31:13,122
HEADLEY: I have a working theory
on storytelling,
552
00:31:13,247 --> 00:31:15,333
and why we enjoy stories, is because
553
00:31:15,416 --> 00:31:18,586
primarily we're dumb
and we can't remember things.
554
00:31:18,669 --> 00:31:23,299
And so we need to have the same lessons
taught to us over and over again,
555
00:31:23,799 --> 00:31:25,384
so that we remember to be decent,
556
00:31:25,468 --> 00:31:28,304
and we remember that
we're a part of a community.
557
00:31:29,972 --> 00:31:34,018
And it's certainly a way that I learn
and carry things with me through life.
558
00:31:35,061 --> 00:31:37,939
SUSMAN: I was always driven
by making a picture.
559
00:31:38,230 --> 00:31:41,943
But there was something about
the collaboration of different skills
560
00:31:42,026 --> 00:31:46,572
that come together when you do a film
that was just so much more
561
00:31:46,656 --> 00:31:49,700
rewarding and entertaining,
562
00:31:49,784 --> 00:31:53,579
and I could see doing that
every day for the rest of my life.
563
00:31:54,580 --> 00:31:56,666
When you've worked at Pixar for 10 years,
564
00:31:56,749 --> 00:32:01,337
you get a really cool bronze statue
of Buzz Lightyear.
565
00:32:03,881 --> 00:32:08,135
PETE: Buzz represents
a certain amount of tradition,
566
00:32:08,219 --> 00:32:09,971
but he's also kind of the new guy.
567
00:32:11,305 --> 00:32:13,849
There's something so aspirational
about Buzz.
568
00:32:15,476 --> 00:32:19,230
If you want to acknowledge a decade spent
569
00:32:19,313 --> 00:32:23,150
and at the same time say,
"To infinity and beyond,"
570
00:32:23,234 --> 00:32:25,277
you've got lots more to do together,
571
00:32:25,361 --> 00:32:27,613
what better character than Buzz?
572
00:32:41,836 --> 00:32:43,504
EVANS: Gonna say it like the classic,
573
00:32:43,587 --> 00:32:44,964
-"To infinity..."
-EVANS: Sure.
574
00:32:45,297 --> 00:32:47,508
To infinity and beyond!
575
00:32:52,555 --> 00:32:54,140
No one can touch Tim Allen, really.
576
00:33:00,479 --> 00:33:02,732
Question. Are we saying...
Because as a...
577
00:33:02,815 --> 00:33:05,526
Just so we're clear about it,
now is an admission section.
578
00:33:05,609 --> 00:33:06,819
As a Toy Story fan...
579
00:33:12,825 --> 00:33:16,704
Are we saying it like the way Buzz...
580
00:33:16,871 --> 00:33:17,997
Okay. Copy.
581
00:33:23,169 --> 00:33:24,336
"To infinity..."
582
00:33:26,797 --> 00:33:29,175
Sorry. I'm so sorry.
583
00:33:30,760 --> 00:33:32,845
I'm excited. That was just a good one.
584
00:33:32,970 --> 00:33:34,597
(LAUGHS)
585
00:33:34,680 --> 00:33:37,683
Sorry. I couldn't even continue.
I was like...
586
00:33:45,733 --> 00:33:47,026
Oh, my gosh.
587
00:33:54,158 --> 00:33:55,367
It's crazy.
588
00:34:02,875 --> 00:34:05,836
I sort of come out wild. OMG.