animation,
to make the strongest
possible statement
that when people are
in a theater they're gonna,
"Wow, this is something special.
"This is something that really
affected me. "
Emily was just the same.
She was my whole world.
(WHEN SHE LOVED ME PLAYING)
(SINGING) When somebody
loved me...
RANDY NEWMAN: I thought it was
a very brave thing for them to do,
to think that five-year-olds would
sit still for three minutes of montage
and a ballad and something,
you know, very sad, really.
(SINGING) And when she was sad
I was there to dry her tears
And when she was happy
So was I
When she loved me
Tim Allen and I actually saw the movie
together at the same time
when it was all done,
and we had an understanding
of what everything goes on.
But then when Jessie's song came up,
we were just 40-year-old men
crying our eyes out
over this abandoned cowgirl doll.
(SINGING) Every hour
we spent together
lives within my heart
When she loved me
LASSETER: At that moment you know
that no one's thinking
"Well, this is just a cartoon.
"It's just a bunch of pencil drawings
on paper,
"or this is a bunch
of just computer data. "
You know. No. These characters
are alive and they're real.
NARRATOR: Tot Story 2
made its debut
in theaters on its scheduled
release date,
Thanksgiving Day, 1 999,
joining that rare number of sequels
judged to be as good as
or better than the original.
LASSETER: That was probably the
greatest sense of accomplishment
I'd ever had, and I think the studio's
ever had, in their life.
JOBS: Everybody was so
dedicated to it and loved Tot Story
and those characters so much,
and loved the new movie so much,
that we killed ourselves to make it.
And it, you know, it took some people
a year to recover.
It was tough. It was too tough.
Toy Sfory 2 was the pivotal moment
in this company.
It's when we actually
defined who we were.
From that we learned
the important thing is not the idea,
the important thing is the people.
It's how they work together,
who they are,
that matters more than anything else.
JOBS: Our business depends
upon collaboration,
and it depends upon
unplanned collaboration.
And so we were just too spread out,
and the groups were, you know,
developing their own styles.
We were growing into several
divisions, instead of one company,
and so the goal was pure and simple.
We want to put everybody
under one roof,
and we want to encourage
unplanned collaborations.
NARRATOR: With Pixar's facilities
bursting at the seams,
Steve set his sights on
20 acres in Emeryville, California,
where he envisioned a state-of-the-art
animation facility,
a home for the best artists
and scientists
to create and play under one roof.
LASSETER: Welcome, ladies
and gentlemen,
to the first annual
Pixar International Air Show!
LASSETER: The building itself
has helped so much,
because Pixar is its people.
And we maintain the same philosophy
of "an office is an empty canvas,"
and it's so fun.
One of the things that we wanted
to do with this studio
is to grow it so that
we could be eventually
releasing one movie every year.
So that means we have to have
a bunch of overlapping productions.
And so that gave the opportunity
to where, some of my close colleagues,
give them a chance
to direct their own films.
The second animator, after me,
who was ever hired at Pixar
was Andrew Stanton.
And then Pete Docter
was soon after that.
And I knew right away that these guys
are good enough
to make their own films.
NARRATOR: John chose Pete Docter
to direct the next foature film at Pixar,
a decision that did not come
without doubts.
SCHUMACHER: I was not
convinced that
he could hold up this weight
without John.
He hadn't done it before.
He hadn't been an
associate director before,
he hadn't been the number two,
he hadn't been a co-director before.
It was really throwing him
into the lion's den.
DOCTER: My biggest challenge
was that I