were so flying
by the seat of our pants. It was nuts.
We would get all the stuff together
and we would send it off to animation
and let them animate it.
We would then get it back into editorial
and find that
nothing was cutting together at all.
It was so absolutely Stone Age,
yet at the time we were, like,
on the top of our mountain.
We thought we were being so cool
and no one was doing anything
like what we were doing.
REEVES: I think the biggest challenge
in Tot Story
was just dealing
with the length of the film.
Full of characters, full of sets,
all sorts of stuff.
And the story drove everything.
Every frame of that story
was in my head.
Working with the art department,
working with modeling,
working with layout,
working with the animators.
I would talk about the story
and tell them
how it fit in the framework of that.
CATMULL: And there's something
about having
the artists and the technical crew
working together that is exciting.
Even though we may do some things
that don't always necessarily
make the best sense,
the mix is exciting.
What did I tell you earlier?
No one is getting replaced.
Now, let's all be polite
and give whatever it is up there
a nice, big, Andy's room welcome!
Woody was a pendulum swing
from Woody being comfortable
with his position
to Woody being threatened
by the arrival of Buzz Lightyear.
(WOODY GULPS)
TIM ALLEN: Lasseter called me
and said,
"Would you look at these sketches
of this character?
"We think you're the perfect guy for it. "
And the only thing that sold me
was his enthusiasm.
And I said, "What a neat idea. "
Had no idea visually
what this would look like.
He let me stretch it a little bit
and really make it this really kind of
a closed-head-injury type of guy.
(BEEPS)
Star Command, come in.
Do you read me?
Why don't they answer?
(GASPS) My ship!
Blast!
This'll take weeks to repair!
ALLEN: He's full of himself,
but in a great way.
I don't think of Buzz
as really obnoxious.
Obviously, 'cause I think
he's the more popular of the toy.
(LAUGHS)
Buzz Lightyear Mission Log.
The local sheriff and I seem to be
at a huge refueling station
of some sort. . .
-HANKS (AS WOODY): You !
-According to my nava-computer. . .
Shut up, you idiot!
Sheriff, this is no time to panic!
This is the perfect time to panic!
I'm lost, Andy is gone,
and they're gonna move
from the house in two days.
And it's all your fault!
RANFT: John.
WOMAN: Tom.
I think the hard part for me and
probably for a lot of others was that
it was really hard to know, from those
story sketches to the finished product,
what it was gonna look like.
Which is really scary stuff.
I remember,
even halfway through the movie,
and we were seeing
most of the first half, say,
in fairly completed form in color,
I was still thinking, "I don't get
how this is gonna work at the ending,"
because there was this huge chase
through the streets
and the truck
and all of that kind of thing.
It was like they did that all in one day.
(WHOOSHING)
And suddenly, it was all in there, and
I remember saying to my wife, "I get it. "
BINOCULARS: Look, look,
it's Woody and Buzz coming up fast!
Woody!
Some of the machines had to run 24/7 ,
three months straight.
Any hiccup in there
would've been disastrous, you know?
And it was Band-Aids.
That's the funny part.
(SCREAMS)
This is the part where we blow up!
Not today!
We were blown away with it,
and we really felt strongly that
the movie was gonna be a success.
But even we didn't have a clue
how much of a success
it was gonna be.
To infinity and beyond !
NARRATOR: Tot Story opened
nationwide
on Thanksgiving weekend in 1 995,
and from a shoestring budget,
went on to earn more than
$350 million worldwide,
and paved the path to an entirely new
computer animation industry.
Kids loved it, critics loved it,
and people in the animation field
were knocked out.
DOCTER: I remember the reviews