hollywood system: art

July 20.

Anne, perhaps the proudest to see Toy Story in theaters, couldn't help but feel nostalgic as the Lux Animation logo appeared—a city illuminated at night—followed by the iconic lamp hopping into view, marvelously forming the Pixar logo.

This time, the introduction was set against a galaxy backdrop. Unlike before, space now features a more sophisticated design that better captures the vastness of the universe. The improved image quality was evident. Buzz Lightyear soared over a desert planet, showcasing remarkable advancements in character design. His gestures were more expressive, and the textures of his suit included stunning neon highlights and glowing lights. Each detail, from the materials used to Zurg's enhanced villainous redesign, reflected the team's commitment to innovation.

The scene transitioned seamlessly to a video game, where Billy's voice brought Rex, the dinosaur, to life. Woody, Buzz, and the rest of the classic characters returned, joined by new additions from Mattel and Hasbro. It was perfect—flawless in execution for everyone involved.

Then came Andy, playfully enacting imaginative scenes with his toys, a testament to the creativity inherent in childhood. Beneath its seemingly simple storyline, the film delved into profound themes from the perspective of toys, offering a narrative that resonated deeply. The complexity and brilliance of crafting such a meaningful story around toys became a symbol, stirring not only audiences but also filmmakers, who recognized that Pixar had done it again—a colorful, magnificent tale that captured the imagination.

The yard sale scene drew laughter from John Lasseter and several directors, who appreciated the wit, meticulous attention to detail, and even the portrayal of the dog, which was superbly crafted.

Moreover, character design has reached new heights. Humans now featured improved anatomy thanks to collaborative efforts with Autodesk and other third-party companies. Since 1994, the team has worked tirelessly on perfecting software akin to Marionette. While it wasn't flawless yet, a preliminary version significantly improved graphical quality. It was predicted that by 2000, the software would reach its second iteration.

-We used version 3.0 of Ring for various textures and achieved great progress in optimizing workflows for our team. These animations are easier to produce now, - Lasseter explained. -As you know, Marionette is the software Pixar uses to create and animate human characters. It's a state-of-the-art tool that allows animators to breathe life into 3D models with unparalleled realism. Alongside Marionette, we utilize RenderMan for image rendering, DeepCanvas for digital painting in a 3D environment, and Wild Films to streamline production. By working in 15-second scene increments, we can assemble the final film more efficiently.-

-Billy wrote an excellent script,- Anne remarked, visibly captivated by his work.

The film introduced new characters, each as endearing as the last. Anne marveled at Pixar's ability to seamlessly integrate them—Bullseye, Jessie, and Stinky Pete were all perfectly developed.

A toy museum, new designs, and the addition of iconic brands were highlights. Anne scrutinized every detail with a critical eye, knowing the stakes. When the film reached the toy store scene, she was even more amazed by how brilliantly the branding was incorporated. Every element, down to the meticulously choreographed Barbie sequence, was handled with care.

-From this point, we'll develop a 10-episode animated series with holiday specials for Christmas, Halloween, Easter, Valentine's Day, and Fall,- Lasseter announced.

Anne gave him a glance, then refocused on the film, entranced. There was a clever satire on toys that created a standout scene, accompanied by a nostalgic song. Each character radiated charm, making the experience unforgettable.

The studio had two more films lined up—Mulan in October and Treasure Planet in December. Reaching $300 million would break even and recover the investment. If the subsequent films succeeded, the company's triumph would be assured.

-That was a magnificent film,- Anne declared as it ended.

-Another hit,- Lasseter murmured, preparing to address reporters to discuss the film's plot—a necessary step with critics arriving the next day. The company had even sent sponsorships to various newspapers. The worldwide premiere demanded careful orchestration.

-I'll handle the questions. There's no need to worry, - Lasseter assured. Before embarking on a press tour, the company planned to harness curiosity as its most compelling marketing tool.

***

El País: C. Torres

"Surpasses the original in wit, brilliance, and precision. A smart, delightful film that parents will enjoy as much as children. Gestures and emotions from the toys provide immense satisfaction."

La Vanguardia:

"An imaginative, thrilling adventure... a masterpiece of animation... another pinnacle from the creator of A Bug's Life. Screenwriter Billy Carson's ideas are endless. Here's to more successes."

Le Monde: Fausto Grillem

"The story's simple and unpretentious appearance hooks you from start to finish. Non-stop action, flawless narrative, subtle humor, and meticulous visual craftsmanship still astonish."

The Guardian: Harry Bradshaw

"Toy Story returns with unmatched wit and charm, making past children's adventures seem prehistoric. Pixar continues to redefine animated cinema."

Empire: Jhoana Westbrook

"If only all sequels were this good... It's as impressive as the first film and leaves you wanting more. According to insiders, Pixar isn't ruling out continuing the series."

Roger Ebert (Texas News):

"Introduces a captivating animated world. While the technology will improve, detailed storytelling remains essential. Rating: ★★★½ out of 4."

Variety: Todd Adams

"Expands the saga with originality, humor, and gratifying emotional depth."

The New York Times: Janet Maslin

"Toy Story 2 impresses effortlessly, showcasing three years of hard, dedicated work that truly shines."

Collider (Portugal):

"One of the best sequels ever made, subtly addressing mortality and the passage of time without pretension."

BBC: Nick Hilditch

"As good as its predecessor... If Pixar maintains this standard, a third installment will be highly anticipated."

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