Studio: Buena Vista
Production Company: Pixar Animation Studios / Walt Disney Pictures
Producer: Helene Plotkin, Karen Robert Jackson
Executive Producers: Sarah McArthur
Director: John Lasseter
Co-directors: Ash Brannon, Lee Unkrich
Story Idea: John Lasseter, Pete Docter, Ash Brannon, Andrew Stanton
Screenplay: Andrew Stanton, Rita Hsiao, Doug Chamberlin & Chris Webb
Editors: Edie Bleiman, David Ian Salter, Lee Unkrich
Production Design: William Cone, Jim Pearson
Story Supervisors: Dan Jeup, Joe Ranft
Music: Randy Newman
Voice Cast:

Woody: Tom Hanks
Buzz Lightyear: Tim Allen
Mr Potato Head: Don Rickles
Slinky Dog: Jim Varney
Rex the Dinosaur: Wallace Shawn
Hamm the Piggy Bank: John Ratzenberger
Bo Peep: Annie Potts
Jessie the Cowgirl: Joan Cusack
Sergeant: R. Lee Ermey
The Prospector: Kelsey Grammer
Mrs Potato Head: Estelle Harris
Al: Wayne Knight
Mrs. Davis: Laurie Metcalf
Andy: John Morris
Bullseye: David Ogden Stears

Complete Credits

Domestic Release Date: Thanksgiving '99.

Toy Story 2 is the exciting all-new sequel to the landmark 1995 computer animated blockbuster from Walt Disney Pictures and Pixar Animation Studios. This time around, the fun and adventure continues when Andy goes off to summercamp and the toys are left to their own devices.  Things shift into high gear when an obsessive toy collector kidnaps Woody-who unbeknownst to himself is a highly valued collectable.  It's now up to Buzz Lightyear and the gang fromAndy's room (Mr. Potato Head, Slinky Dog, Rex and Hamm) to spring into action and save their pal from winding up as a museum piece. There's plenty ofexcitement and fun as the toys get into one predicament after another in theirdaring race to get home before Andy does.

Production Notes:

Toy Story 2 is the third feature directing credit for Pixar's acclaimed resident filmmaker John Lasseter. He received a special achievement Academy Award™ in 1996 for the first Toy Story and went on to garner additional kudos last year for his second feature, A Bug's Life. Lasseter has earned a reputation as one of the best storytellers of his generation and continues to be one of the leading pioneers in computer animation.
The original Toy Story became an international sensation, grossing $360 million at the worldwide box office and selling more than 22 million videocassettes in the U.S. alone. It also became the first animated feature ever to be nominated in the best screenplay written directly for the screen category. Among its other distinctions, Toy Story currently ranks as the third highest grossing animated film of all time (behind The Lion King and Aladdin).
Assisting Lasseter on Toy Story 2 were two talented co-directors — Lee Unkrich and Ash Brannon. Unkrich was a film editor on both Toy Story and A Bug's Life while Brannon had previously served as a directing animator and story artist on Toy Story, as well as story artist on A Bug's Life. The film's producers are Helene Plotkin (whose past credits include executive producing commercials and film special effects) and Karen Robert Jackson (an eight-year Pixar veteran who was production supervisor on Toy Story).
Toy Story 2 reunites the same creative team that gave birth to the original. Andrew Stanton (who received an Oscar™ nomination as one of the screenwriters on Toy Story) once again lent his hand to writing the screenplay. The film's other screenwriters were Rita Hsiao, Doug Chamberlin & Chris Webb. Dan Jeup served as co-head of story (along with veteran Disney/Pixar storyman Joe Ranft). Pete Docter worked closely with Lasseter in developing the film's story concept.
Also making a major contribution to the sequel is acclaimed songwriter/composer Randy Newman, who wrote the songs and score for Toy Story and A Bug's Life and continues his successful collaboration with Lasseter on this film by providing another colorful score and two original songs. Multi-platinum and Grammy-winning recording artist Sarah McLachlan sings When She Loved Me, a beautiful ballad that poignantly expresses Jessie's feelings about being abandoned by her owner. Popular western group Riders in the Sky sings the Newman-composed theme song from the Woody's Roundup TV show. Robert Goulet lends his style and phrasing to a lively big band rendition of You've Got a Friend in Me. Academy Award™-winning sound designer Gary Rydstrom is another favorite Pixar collaborator (Toy Story, A Bug's Life) who once again brings his special talents to this film.
Toy Story 2 boasts an incredible cast of vocal talents. Academy Award™ winning actor Tom Hanks is back in the saddle as the voice of Woody, the popular pull-string Sheriff who finds himself facing a mid-life crisis when he becomes the victim of a toynapping. Acclaimed comedian/actor Tim Allen once again provides a down-to-earth performance as the voice of Buzz Lightyear, a space ranger action figure who soars to the rescue when his cowboy pal needs him.
All of the other favorite toys from Andy's room are also on board for this new adventure. Mr. Potato Head™ is as irreverent and irritable as ever with legendary wisecracker Don Rickles adding insult to entertainment through his voice performance. Woody's canine companion, Slinky™ Dog, who is long on loyalty, is once again voiced by Jim Varney. Actor Wallace Shawn speaks up for Rex, the neurotic plastic dinosaur who gets new chances to confront his anxieties. John Ratzenberger lends his vocal expertise to Hamm, a pig-headed piggybank who's ready to bring home the bacon. Annie Potts once again illuminates the character of Bo Peep with her voice. Getting a big Andy's room welcome in this film is Estelle Harris as Mrs. Potato Head™, the devoted wife who keeps an eye out for her spud stud. Veteran storyman Joe Ranft (voice of Heimlich in A Bug's Life) is heard as the voice of Wheezy, a hapless squeak toy penguin who's lost his squeaker.
Also making their debut in the film are several new toy characters from the Woody's Roundup TV show. Actress Joan Cusack provides the voice of Jessie, the energetic and emotional cowgirl doll who sometimes gets the blues. Kelsey Grammer lends his vocal talents to Stinky Pete the Prospector, a cunning and manipulative character with a kindly exterior. At Al's Toy Barn, audiences are introduced to the character of Al McWhiggin, the shifty proprietor of Al's Toy Barn and occasional toynapper, voiced by funnyman Wayne Knight and to Barbie™, with versatile singer/actress Jodi Benson (The Little Mermaid) providing all the right perks. Also making his screen debut is the evil Emperor Zurg, scourge of the galaxy and Buzz Lightyear's archenemy, who is voiced by writer/director Andrew Stanton. Jeff Pidgeon was chosen once again to voice the Alien characters.
In the human realm, John Morris returns as the voice of Andy, a toy's best friend, and Laurie Metcalf encores her vocal duties as Andy's mom.
Among the other key players on the Toy Story 2 creative team are supervising animator Glenn McQueen and directing animators Kyle Balda and Dylan Brown. Galyn Susman was the supervising technical director for the film who oversaw the shading, lighting, effects, modeling and rendering departments. Oren Jacob and Larry Aupperle served as the film's associate technical directors. Eben Ostby was the modeling supervisor. Sharon Calahan was responsible for lighting in her role as director of photography. Brad West supervised the creation of thousands of shaders (surface textures which define the exteriors of characters and models) for the film. The film's editors were Edie Bleiman, David Ian Salter and Lee Unkrich. Graham Walters served as production manager. More than 250 artists, animators and technicians were involved in this production, including 90 technical directors and nearly 60 animators.
Production designers Bill Cone and Jim Pearson were responsible for overseeing the look of the film. An ambitious eighteen different sets along with 1200 different model packets (props, set dressing, buildings, etc.) were created for Toy Story 2. Among the most elaborate sets are a ten square block section of the Downtown area; the interiors of Al's Toy Barn (stocked with shelves and shelves of toys) and his Art Deco apartment; and the labyrinthine interior of the airport baggage area. Art direction for the film included inventing an entire line of merchandise for the Woody's Roundup TV show complete with 1950s vintage lunchboxes, thermoses and mechanical banks.
Layout supervisors Rikki Cleland-Hura and Ewan Johnson helped Lasseter and the production team bring an added sense of movement and excitement to the story with their innovative handling of the main staging and dynamic camera placement. In some ways, computer animation lends itself to the same filmmaking language and techniques that live-action does. The production team continues to push the envelope for the medium using cutting, camera angles and staging to help them tell their stories in new and exciting ways.
Toy Story 2 is the latest feature project from Disney and Pixar. The relationship between the two studios goes back over a decade. In 1997, Steve Jobs, chairman and CEO of Pixar, formalized and extended his studio's creative partnership with Disney by announcing an exclusive five-picture deal. As part of that arrangement, several other computer animated features are currently in the works including Monsters, Inc. (tentative title), which is due for release in 2001. New projects are also in development for directors John Lasseter and Andrew Stanton.
According to Peter Schneider, president of The Walt Disney Studios, Disney and Pixar have been partners for over ten years now and the relationship is a seamless one. Clearly they are an amazing animation studio with a brilliant technique and great instincts for storytelling. Disney's Feature Animation team, under the leadership of Thomas Schumacher, worked closely with John Lasseter and his team to provide their expertise and creative guidance throughout the production. I think it's been an amazing partnership of sharing on both sides and I'm so proud of what we all do together and what John and Pixar have accomplished.
Thomas Schumacher, president of Walt Disney Feature Animation, observes, Toy Story 2 gives us a chance to revisit characters that we know and love. It's a very entertaining story but it's also a very profound movie. The story has a beautiful message about seizing the day and taking control of your life. John Lasseter has once again brought the story a great sense of humanity, told from the toys' point of view. I have never known anyone who is more committed to his projects than John. Not only is he a brilliant leader with great ideas, but he is also a brilliant artist and collaborator as well. His co-directors, Ash and Lee, along with the creative team at Pixar share his remarkable vision and work together to get him what he wants on the screen.
One of the things I love about making these films, says Lasseter, is that we get to work with Thomas Schumacher and his team at Disney Feature Animation. Tom helps to make our films the best that they can be.
He adds, In making a sequel to Toy Story, we were able to concentrate on the story since the main characters and the world already existed. We didn't want to retell the same story with the same people like so many sequels do. We wanted to build upon the foundation and create a new adventure that would be equal to the first. For me, it's the story that holds the audience, not the technology and not the look of the film. With 'Toy Story 2,' we concentrated on making a good story. Yes the technology has advanced phenomenally since we finished the first film. The advancements that we made on A Bug's Life were huge. But moviegoers are going to want to see the world that these toys inhabit from the first film. The film has a lot of depth and a lot of texture, which I think is going to please and surprise Toy Story fans.
We make movies for ourselves, notes Lasseter, the kind of movies that we want to see. And the movies that I am most affected by are the ones that make me laugh hysterically but also move me. I'm not ashamed to cry in movies. I was tremendously affected by Frank Capra and the way his films grab your heart and your emotions. We tried to do that with Toy Story 2 and bring the characters up to another level. It's a classic Disney tradition and we've put that into this new medium.

Creating a sequel to one of the most successful and beloved animated films of all time is a daunting undertaking, but for John Lasseter and the creative team, the challenge was well worth it. It gave them a chance to work with established characters that they knew and loved as well as to create a cast of fresh new characters that would complement and add to the story possibilities. Ironically, some of the key plot points for the sequel (the garage sale, the kidnapping, the obsessive toy collector, a squeak toy penguin, etc.) date back to the development of the first feature. Lasseter hatched the idea for Toy Story 2 one day over lunch with his colleague Pete Docter (who received a story credit on the first film). Andrew Stanton, who helped create the story and screenplay for the original Toy Story and went on to write and co-direct A Bug's Life with Lasseter, helped to flesh out the story and characters with a draft of the screenplay. A trio of other screenwriters — Rita Hsiao (Mulan), Doug Chamberlin & Chris Webb — are also credited with adding structure and dimension to the final film. Story development for the sequel officially began in the spring of 1996.
Lasseter notes, The most exciting part about Toy Story 2 is that we get to see Buzz and Woody again. In making the first film, we created these characters and got to know them so well that by the end of the production they were our friends. When the film played around the world, audiences came to love them as much as we did and they became popular beyond the boundaries of the movie. It's been so much fun to go back to these friends of ours and create a new adventure for them.
When we were done with the first film, he continues, we felt that there were so many more ideas and stories with these toys being alive that we hadn't dealt with. One of those was the notion of a toy being outgrown by its child. If you're lost, you can be found and everything will be okay. If you're broken, you can be fixed. But for a toy, being outgrown is the worst thing that can happen. That's it.
Another idea for the sequel came from Lasseter's personal experiences as a toy collector. He explains, I have five sons and my four little ones love to come to Daddy's office and play with my toys. A lot of them are antiques and one-of-a-kind items. I love my boys and I wanted them to play with these toys, but I found myself saying, 'No, no, you can't play with that one. Oh, here play with this one instead'. And as I looked at myself I began laughing because toys are manufactured and put on this earth to be played with by a child. That is the essence of Toy Story 2 and the core of the toys being alive. Everything that prevents them from being played with by a child causes them anxieties in their life.
Drawing on a talented group of storytellers, the plot for Toy Story 2 began to take shape. Screenwriter Andrew Stanton observes, Our responsibility as writers is to analyze the story, discover the truth and utilize it. The hardest part of writing a feature is to come up with characters that are 3-dimensional and worth spending time with for the entire film. You pretty much spend every waking minute until the thing is in the can trying to make sure you've done it right. In the case of a sequel, I already knew who the characters were. It was great because I could sit there and go, 'Oh well, Buzz would say this' and 'Woody would say that'. There's three balls that you have to juggle when you're writing — plot, character and what I call drive, the thing that keeps an audience interested. With the main characters already established, we had the freedom to concentrate on the other two elements.
Stanton adds, I'm a believer that you can't force a sequel just because of popular demand. If you want it to be liked as much as the first one, there's got to be a whole self-sufficient reason for the movie to exist. Getting together with John and Joe Ranft and the co-directors (Lee and Ash) was like a class reunion. The ideas just started to flow and we began drawing from the same memory banks. We feed each other in the way a group like Monty Python must have worked. In addition to all the great humor and action, Toy Story 2 has a depth of emotion that we were able to do better than in the original film. I'm proud of that and I think it makes the film unique.
Dan Jeup, the film's story supervisor, says, One of our biggest challenges was dealing with the issue of Woody's motivation and his emotional arc. Basically, he is separated from his family and we didn't want him to come off as being too uncaring or self-serving. We had to find a turning point that would be convincing and make the audience still care about him.
One of the things we're really proud of on this film, notes co-director Lee Unkrich, is the amount of heart that it has. Toy Story 2 is as action-packed as the first film and has as many jokes. But at the same time, there's a richness to the characters that was only hinted at in the first film. We've gone even further with this one and spent a lot of time plumbing the depths of a toy's psyche. The film taps into a lot of themes and a lot of primal human emotions — being afraid of growing up and getting older, being afraid of your kids moving away from home, etc. These feelings are really universal and people of all different ages can relate to them.
Joe Ranft, who shared a story supervisor credit on the film and is one of animation's top storymen, observes, Usually when you start off on a project, things move very slowly. But on this one, we had a turbo rocket pack full of ideas ready to use. It was fun getting back to those characters and creating some great new ones. John has such a vision and he expresses things so clearly that when he's talking, it's almost like 'Oh, I can see that' and 'Yeah, that'll be great'. He gets the ball rolling in such a positive direction. When he was pitching the film to the Studio, it reminded me of the stories I've heard about Walt Disney telling his team the story of Snow White for the first time.
According to producer Helene Plotkin, One of the great themes of this film is that it's better to have loved and lost than never to have loved at all. Basically what Woody and Jessie and all of the characters discover is the value of life. You have to experience life while you can. Nothing lasts forever, but that's okay. As long as you've experienced it and you love someone and you're affecting others, life is worth living.

Toy Story 2 turned out to be a dream come true for the film's talented group of animators. Just as Lasseter and the story team enjoyed revisiting their friends, so too did the animators. Additionally, the story for the sequel called for a diversity of acting styles ranging from subtle movements to slapstick comedy and heartfelt drama. Compared to their previous assignment on A Bug's Life — which had a large cast of complicated characters with multiple appendages — working on the toy characters was a change of pace for the animators.
Supervising animator Glenn McQueen observes, We know exactly who these characters are. It's like slipping on a pair of shoes that have been in the closet for a couple of years. They fit perfectly, they're already broken in, no chafing, no bunions. It's just comfort from the word go. Buzz and Woody are like our Mickey Mouse. The other real advantage we have here is that our animators have a lot more experience so the animation is far better on this film than it was on the original Toy Story.
Toy Story 2 also offered the animators lots of new and improved tools for doing their job. Technology is faster and more sophisticated than on previous Disney/Pixar films, allowing the animators to concentrate on their performance. Despite its many advantages, computer animation is still a labor intensive art form where even the most skilled artist creates typically four or five seconds of animated footage in a given week.
Working closely with McQueen on this film were directing animators Kyle Balda and Dylan Brown. Balda had studied traditional animation techniques while attending CalArts but was attracted to computer generated imagery. He went on to create special effects for such films as Jumanji and The Mask during a four-year stint with ILM before joining Pixar to work on Toy Story 2. Brown was already interested in computer animation when he saw Jurassic Park in 1993. The film blew him away and led him to pursue a position at Pixar.
The thing I really like about animation is the motion, says Balda, and computers let you concentrate wholly on that aspect. You don't have to worry about being on model with the character; you can just focus 100% on the performance and the timing. Working on the sequel to Toy Story, gave us the added advantage of having an entire film to look at for reference. It would be like a painter studying Picasso. You're trying to match that style but at the same time you're doing something completely original. The original Toy Story gave us something to live up to. You have to make sure that these characters remain consistent from one show to the next.
He adds, Toy Story 2 is a real animator's film. Unlike A Bug's Life which was a big epic tale with so much to look at in the world around you, this film is a little bit smaller and more about the characters themselves. What's happening in their lives; what's motivating them. I think you get into the heads of the characters a lot more. From an animator's point of view, there's much more acting and performance so it gives you a chance to really explore a lot of different things.
Unlike traditional animation, where a directing animator usually specializes in one particular character, the animators on Toy Story 2 tend to be generalists who work on whatever characters are needed in a shot. Still, some animators gravitate towards and excel in bringing specific characters to life.
Buzz is definitely my favorite character, notes Brown, whereas Kyle prefers to animate Woody. Among the new characters, Jessie has been very popular and some of the animators have been jockeying to get more of her scenes. Al McWhiggin is really tough to animate because he moves so slow that you have to slow down your mindset to work on him. The fun thing about him is that he's got so many amazing facial controls that once you've got the basic stuff down, you can keep layering things on and he gets better and better and better. We learned a lot from Geri's Game (Pixar's 1997 Oscar™ winning short) about moving muscles and making humans a lot more realistic.
Balda adds, I really enjoy animating Woody because he's so loose. He's kind of gangly and his motion is very fluid whereas Buzz is more staccato and every pose has to communicate a really strong idea. Woody has this kind of nervous energy inside and his gestures tend to be really broad and extreme. Buzz is more minimal going from one pose to another.
The new characters proved to be very popular with the animators as well. With her extreme moods and wild gymnastic antics, Jessie the cowgirl was an instant favorite with the artists. The Prospector had his share of limitations and challenges, but the character's duplicitous personality appealed to many of the animators. Others enjoyed the unbridled exuberance of the playful Bullseye.
Helene Plotkin says, A lot of the animators really wanted to work on scenes with Jessie because she's so vivid and such an incredible character to animate. She has big emotional swings. When she's excited, she's extremely excited. When she is low, your heart goes out to her because it's so heart-wrenching. Joan Cusack's voice provided something real and dimensional to work with. She made it very appealing.
With regard to the acting skills of the animators, McQueen notes, A lot of the subtlety you see in this film comes from the artist and not the technical advances. We really had to stretch ourselves on Bug's and we learned a lot in the process. How do you make an insect with no eyebrows look surprised? Moving back to the Toy Story characters with their incredibly expressive faces, great eyebrows, really nice eyes and features that are easy to animate, was like a breath of fresh air for us.
Of course no animated cast would be fully realized without the right combination of vocal talents. Tom Hanks is the pinnacle of voice talent for animation, says Brown. You watch the tape of the recording sessions and you get so much out of it. Little things that you might not have thought of — like an eye flutter — can inspire an on-screen performance. Similarly Tim Allen's voice suggests a lot of attitude and all of the vocal ensemble gave us incredible gestures and vocal tracks to work with.

With three feature films to his credit, John Lasseter has established himself as one of today's most original and successful filmmakers. As a pioneer in computer animation for the past seventeen years, he has also helped to expand the boundaries of the art form. For the cast and crew involved with the making of Toy Story 2, Lasseter's dedication and vision proved to be a great inspiration.
Thomas Schumacher notes, John Lasseter is a brilliant leader, a brilliant artist and a brilliant collaborator. He carries on a vision that great directors have of trying to do things that have never been done before. His goal is to take audiences to new and exciting places and he does that beautifully. He is an inspired filmmaker with a tremendous sense of passion and commitment.
What I love about John is his vision and his ability to be completely focused on the moment, says producer Karen Robert Jackson. He knows exactly how things are going to link up.  He so values the artist that he's completely there for them. He never tires of telling the story or inspiring the crew. He has the ability to zero in on something and make the artist feel so valued. It tells them what they're doing is so important at this moment. It may be a screw, it may be a shader on a vent. John has the ability to tell an artist exactly when that thing in the show will be of the most importance and why it is so valued and why it is important for them to be working on it.
Lasseter's ability to communicate extends to the actors on the film as well. In recording sessions, he was able to bring the voice talents up to speed and give them a sense of what is going on in the story. The actors had nothing but praise for his talents as a director and storyteller.
Lasseter explains, The most important thing we look for in casting our films is great actors. We don't ask them to put on voices. We want them to be themselves. As I direct the actors, what I look for is believability, a natural performance. Everything has to feel right. They become the character. Since these films take years to make, we have the opportunity to adjust the personality and the design of the character to fit with the voice. The voice and the animation have to work together.
The same thing is true with our creative team, adds Lasseter. What I try to do is hire the best and most talented people we can. And we let them do what they're really good at. With every task in the production, I try to let people have a little creative ownership. I don't tell them how to do their job. I tell them what is needed and then let them put their own creativity into it. That's the way to get people invested and really enjoy what they're doing. In the end, the most important thing to me is that everyone is creatively satisfied.
I love what I do.  I have the best job in the world here at Pixar. And I believe that the corporate culture of any place — the morale, the emotion — comes down from the top. So that gives me license to be the biggest nut, the biggest kid here because I have so much fun with what I do. I believe in honesty and just having so much fun with what I'm doing and finding humor in everything. If you're having fun and you love what you're doing, the work that ends up on the screen is going to reflect that.
Lee Unkrich observes, I think working with John is the closest we can come in our time to working with Walt Disney. I really don't think that there's anybody who is as much a visionary as John. I've learned a lot from him through the years and I'm really proud to be his partner on this movie. He's open to input from anybody — from me to someone who just happens to be standing in the back of the room observing. He often says that the only bad idea is an idea that somebody doesn't say. Good ideas come from anywhere and John appreciates that.
As for Lasseter's leadership, supervising animator Glenn McQueen sums it up this way: One thing I've learned is that John is always right. You may be convinced that you are correct, but I have found time and time again that he is always right. Now, I bow at the inevitable. If he says it should be faster and I know in my soul it should be slower, it's like, 'okay, he's right, it probably should be faster'. When you see the thing rendered and in context, he was right. He has an enthusiasm that literally carries the film and he leads by example. He is able to act things out for us with great enthusiasm. He's a great inspiration because he's one of us.

Whereas the main action for the original Toy Story generally took place in Andy's room, Sid's house, Pizza Planet and a few exteriors, the sequel is a more ambitious cinematic adventure which takes its principal characters well beyond the secure confines of Andy's room. Among the dangerous and uncharted territories the toys venture to are Al's Toy Barn; his Art Deco apartment; the busy streets of Downtown; the mechanical inner-workings of an elevator shaft; and an airport cargo handling area. In the film's opening sequence, the audience even gets a glimpse at Buzz Lightyear's intergalactic travels. This wide assortment of sets and locations provided production designers Bill Cone and Jim Pearson with many challenges and lots of creative freedom. With their team of artists and set dressers, 18 different sets were created along with more than 1200 model packets to define the various objects in the film.
According to Cone, In Toy Story 2, Andy's room represents kind of the safe haven for the characters. It's very familiar with its wooden floors, furniture and soothing blue walls. The room represents a happy world for plastic toys. You never really have any dark spaces in there. It's pretty well lit overall with a lot of primary colors — blues, yellows, reds. It feels kid-like and absolutely non-threatening. From there, we created a wider range of environments that are darker and moodier. As the toys go out in the world, things are different and more threatening. For Al's apartment, we use cooler grays and blues. The colors for the various settings reflect the emotional arc of the film. We tried to vary it with peaks and valleys.
We learned a lot from A Bug's Life which we could bring into this film, adds Cone. A lot about lighting and shading. Although Toy Story is a simple world that didn't require as much detail, we spent a lot of time making the world bumpier and dirtier and not have it look like it was made in the computer.
Ash Brannon, the film's co-director notes, We wanted to evoke the same feeling of the sets in the first film, but we were able to incorporate some amazing advancements in technology. The lighting is more natural and the depth of field really helps you concentrate on the important details of the shot. Each frame doesn't look so busy.
Jim Pearson helped to conceptualize many of the main sets and oversee the design of the new characters. He observes, Another thing that A Bug's Life did so successfully, and which helped us immeasurably on this film, was the definition of organic objects. Obviously it's much more difficult to define, build and paint things that are made by nature. A lack of right angles and hard edges makes it much more difficult to build in the computer. Toy Story 2 has such a rich look because we were able to give new life to things like rocks and pebbles and grass. In one scene, we originally had a static tree which Buzz and the characters walk across. After looking at what was done on A Bug's Life, we said, 'we can't have a still tree'. So now there's a beautiful shot where there's this gentle wind blowing into the leaves and it's just breathtaking.
Pearson and his team had a field day designing the ten square block downtown area, which is home to Al's farm-themed toy emporium and his home/museum. Al's apartment building is a 23-story 1930s Art Deco high-rise, which has all the accoutrements and embellishments of that period. The Toy Barn is a wacky and irreverent caricature of the ultimate urban toy warehouse.
The overall design for this film, notes Pearson, has its basis in reality but then we caricature and tweak it in terms of its design, lighting and characters. It's a world you'll be familiar with and that resembles the world we live in, which helps the illusion of having toys as your main characters. But everything is slightly pushed. Outdoor scenes have a beautiful saturated quality to them that really enhance the color. We can design particular palettes for particular sequences like the warm melancholy aspect of Jessie's backstory or the cold harsh reality of the Buzz Lightyear video game.
Among the more ambitious assignments for the design team on Toy Story 2 was creating a whole visual backstory for Woody and his Roundup co-stars. Under Pearson's supervision, sketch artist Randy Berrett designed the graphics for a whole line of vintage 1950s merchandise for the short-lived TV show. According to the backstory, Woody's Roundup was extremely popular until the launch of Sputnik turned everyone's attention to space toys. The show was canceled midseason and viewers never did see the outcome to the cliffhanger episode where Woody jumps across the Grand Canyon to save Jessie.
All of the toys and games at Al's Toy Barn were also designed by Pearson and his team. Ideas for the fictitious toys came from brainstorming sessions that involved key members of the creative team letting their imaginations run wild.
To help recreate a 1950s black-and-white kinescope feel for the clips from Woody's Roundup, the technical team spent two years customizing a program. The end result — complete with fake scratches and strings for the puppet characters — is one of the most complex effects that Pixar has ever undertaken.
Pearson explains that production design for a computer animated film begins in the same way that it does for any film — with lots of research and sketches and paintings. It all starts with a concept on paper, he explains. It doesn't really enter the computer until we pass it along to the model crew.

After two great collaborations on Toy Story and A Bug's Life, acclaimed composer/songwriter Randy Newman once again joins creative forces with John Lasseter on Toy Story 2. His impressive score and songs add to the fun and excitement of the film, providing it with just the right blend of whimsy and emotion. In addition to a lively big band rendition of You've Got a Friend in Me delivered in high style by Robert Goulet, Newman penned two new songs for this film — the TV theme song to Woody's Roundup and When She Loved Me.
Randy and I have a great working relationship, says Lasseter. I love working with him and he's so much a part of what makes Toy Story great. Not only is he a brilliant artist but he has a sense of humor that he brings to the films. He adds so much variety. For Toy Story 2, he's written this beautiful western theme that has a rich orchestration with a feeling of the wild west. He does space — Buzz Lightyear's world — and it sounds like a real space adventure. To see him in front of an orchestra is one of the great joys of my career. He loves and respects all the musicians and they love working with him. They sit there and laugh the entire time. He's like a stand-up comedian in front of them.
Newman responds, I hate to say this about a director, but John is right more often than he's wrong about things. I like working with him. He's the best guy I've ever worked for. He's gotten better and better about music. He's almost getting too good about it. He really is a good guy and I've never said that about a director before.
The beautiful ballad When She Loved Me, accompanies a poignant story montage which gives insights into Jessie's life. The images reveal the heartbreaking circumstances in which the cowgirl doll is outgrown by her playmate while the lyrics describe the heartfelt emotions of that special relationship. The filmmakers turned to acclaimed recording artist Sarah McLachlan to perform the vocals. One of Canada's leading singer/songwriters, McLachlan has released six albums with Arista Records, including Mirrorball this past summer. Her 1997 album, Surfacing sold six million copies in the U.S. and earned her two Grammy Awards and four Juno Awards, among other distinctions.
McLachlan recalls, My manager told me there was a song by Randy Newman for Toy Story 2 that they wanted me to sing. As I listened to it, I started to cry in his office. It's a heavy song that's really beautiful and sad and completely melancholy and nostalgic. I'm a sucker for that kind of stuff. And then I saw a rough piece of video and I cried again. I said, 'Absolutely I want to do it'. It really touched me emotionally. We've all loved and lost somebody in our lives and felt upset and saddened. This song really captures that feeling and sense of loss.
To see my music put to something other than the images in my head was really interesting, she adds. I put my own energy and interpretation into it and felt like a part of me was in it. Seeing a visual image attached to it which follows the lyrics quite closely was really neat. Randy was a joy to work with. He's a funny, self-deprecating, humorous crazy wild guy. John Lasseter was amazing too and projected this positive energy and lighthearted attitude. The film has a simple and beautiful message about life and love and relationships. It's just a really good story and I think that's one of the things that's kind of lacking in Hollywood today.
For the theme song to Woody's Roundup, the filmmakers enlisted the talents of Riders in the Sky, a popular western group from Nashville. Founded in 1977, the group uses harmonies, yodels and a variety of instruments to recreate the entertaining facets of the classic western groups.
We wanted this theme song to be an old retro cowboy song that introduced all the characters like the TV theme songs used to, says Lasseter. Riders in the Sky did a great job. They are brilliant musicians and very funny too. They're probably the best in the world at the classic cowboy sound. From the fiddling to the accordion to the stand-up bass, their harmonies are incredible. And they even came to the recording session dressed in furry chaps.
For the new rendition of the Toy Story signature song, You've Got a Friend in Me, the filmmakers were looking for a big voice and a lot of style. This led them to veteran crooner Robert Goulet.
To hear him do my song was a real treat, notes Newman. It never felt so cool as when Robert sang the song. He's got a style all his own. It's fun to hear the song with the word 'babe' thrown in.
Lasseter adds, You can't help but smile when you hear Robert Goulet singing this song. You can tell he's got the biggest smile on his face while he's singing it. He loves singing and it really comes through. I love big band music anyway and to hear Robert singing with a big band was really amazing.
As for the score itself, Newman observes, For this film, we had a 100 piece orchestra that was one of the best in the world. It was an honor to work with them. The score has elements of western, space, a tiny bit of romance among other things. It's such a big mysterious subject writing for an orchestra. The really challenging part is putting it down a note at a time to cover all of the different instruments. It's really rewarding to finish something that seemed so gigantic at the start and then hearing it played back and have it go well.

Computer animation has come a long way in the few short years since Toy Story made motion picture history as the first feature-length undertaking of its kind. Since then, Pixar has devoted its considerable resources and manpower to creating and improving tools and applications to support the needs of the animators. A Bug's Life made great strides for the art form in many ways and represented a significant advance in terms of portraying organic shapes. Technical advances in the area of animation have made the tools much easier to use and put more controls into the hands of the animators.
Supervising technical director Galyn Susman explains, From the very beginning, our real challenge was figuring out how to preserve the charm of the first Toy Story while incorporating the attention to detail and the rich visual imagery that was introduced in A Bug's Life. It was sort of a melding of those two worlds. We had to decide where and how to use the new technology and still make it feel like the original.
With regard to animation, the lead characters are probably twice as complicated under the hood as they were in the first film, says associate technical director Oren Jacob, but they basically look the same on the surface. The animators have better controls and the improvements in lighting and shading allow us to do more cool things with the characters. Yet they have to look like Buzz and Woody did in Toy Story.
Supervising animator Glenn McQueen adds, The characters clearly had to be from the same world as the original Toy Story but we also wanted to be able to take advantage of some of the new technical advancements. It's almost like a classic car. You want to tune the original engine as much as possible but you don't want to drop in a brand new engine because it is technically better. It has to look and move like the original characters that the audience dug four years ago. We want the audience to say, 'oh that's the Buzz and Woody I remember from Toy Story'.
With regard to animation, new software makes it possible for the characters to interact with objects and each other in a way that was previously difficult or impossible. As a result the characters are more fully integrated into the world around them. The original characters have also been upgraded to take better advantage of the new technology. Corners of the mouths and eyes, which had a tendency to crack a bit in earlier versions, can now be seen with more accuracy.
Modeling supervisor Eben Ostby notes, Working with the older characters is akin to working with an old program. You want to make sure that it continues to work well so you add a lot of features that the animators are used to using on the newest generation of models. The characters now interact better with themselves, each other and other objects in the film. Their heads intersect with their chests better which allows us to do more close-ups of the characters. On the first film, you couldn't really pull the mouth open and make a round shape. It always had a little tuck in the corners. Buzz and Woody now have more facial controls. The animation tools are more friendly and give the artists more powerful controls.
Among the most impressive technological and artistic advancements on display in Toy Story 2 is the way that the human characters are designed and animated. A special team of experts was assembled to work on the humans — Al McWhiggin, the Cleaner, Andy and his mom, as well as a host of other human "extras" that populate the Toy Story 2 world. Advancements in the epiction of skin and hair helped to make the characters seem real, although the art direction and style of the film still opted for a more caricatured version of reality. Mitch Prater, the lead technical director in charge of creating the human skin shader, wrote 750 lines of computer code over a two-month period (and used another 7,000 lines of code) to define the surface. Altogether, the painting team created 10,000 images (to define skin characteristics) totaling more than 17 gigabytes of data. Lisa Forsell also served as human team lead technical cdirector.
Since the beginning of computer graphics, it has been the Holy Grail to try and create a human that looks realistic, says Prater. I don't consider myself a technical person. I'm an artist who works in a technical medium. My fort is doing natural materials like most of the foliage in A Bug's Life. In this film all of the humans basically have my skin. I actually stuck my face on the scanner as a starting point. I studied it up close in very fine detail. From there, I had to write a lot of code for the shaders — controls for how the skin would be applied, what coloration it would have, whether it had stubble or blotches or not.
Another big breakthrough represented in this film is the depiction of both human and animal hair. Andy's dog, Buster, has nearly four million hairs. Figuring out how to light the hair and how much self-shadow it should have were some of the technical hurdles that had to be surmounted in order to make it look good.
Animators now have a fairly simple procedure for moving hair, adds Ostby. They treat the mass of hair as if it were a cap. They can also determine the amount of follow-thru that is needed if the character tosses his head or if there is a wind blowing. That's a really big breakthrough and adds to the believability.
Improvements in shading techniques have resulted in improved appearances for the returning characters. Although Woody wears the same plaid shirt and jeans that he wore in the first film, his close-ups reveal that there is now a subtlety to the cloth and the weave that wasn't there before. Woody still looks basically the same but his cloth is much nicer now. Shading technical director Brad West helped to create thousands of shaders for the film.
If you looked at the source code for all the shaders in this film, you would find that they're nothing at all like they were on Toy Story, explains West. All the internals are different. We basically learned that you don't really want a model of reality. You want something that looks good on screen. So rather than spending a lot of time trying to get the exact scientific representation of a surface, we build shaders that are more practical and can take on different looks. Our digital painters can then take them and make them look beautiful.
Another innovation on Toy Story 2 has to do with the cinematography.  The filmmakers wanted to use camera motion and depth of field to tell their story and as a result the camera is moving much more than in previous Disney/Pixar films. Director of photography Sharon Calahan found ways to achieve the kind of live-action filmmaking techniques that Lasseter and his co-directors were looking for.
Co-director Lee Unkrich notes, Another thing that makes this film so visually striking is our use of depth of field. We use a lot of soft focus behind characters or in foreground objects to give depth to the shots. In the original Toy Story pretty much everything in the film is sharp in the foreground and background. While that makes the images really pop and look great, it has a kind of computer graphics feel to it. In Toy Story 2, it is stunning to see how beautiful, lush and tactile the images are. The great use of depth of field gives everything a more vividly realistic, photographic look.
Calahan notes, We definitely went for a softer look overall on this film. We lit it for more subtlety and nuance. The lighting is more complicated as well. In some shots, we might have as many as 50 different light sources. On top of that, there are literally hundreds of variables for any light surface. Our main objectives are to have the action read, make the characters look appealing and add a little extra beauty to the shot if we can.
In the original Toy Story, we tended to opt for cutting versus a moving camera, she adds. This time around we're doing exactly the opposite. The result is a much more cinematic effort that approximates techniques used by live-action filmmakers.
Karen Robert Jackson adds, We try and think about the things that live-action does really well and we try to integrate that into our environment. We've been trying to do that on the last three shows. On Toy Story 2, the layout department was given more freedom which resulted in more choices for the directors and editors.
The selection of camera placement and staging choices were major factors in giving the film a more dynamic and fluid feel. For Toy Story 2, the extraordinary efforts of the layout team, under supervisors Rikki Cleland-Hura and Ewan Johnson, gave the filmmakers new and innovative choices.
We wanted to stick to the types of motions and ranges of motion that audiences have come to know in live-action films, explains Johnson. There is a filmmaking grammar that when you start to depart from becomes a bit distracting. For this film, we tried to mimic the look and feel of what a traditional cinematographer would film. We wanted the staging to feel natural.
Cleland-Hura adds, With computer animation, we have the perfect camera. We're always on focus and we can stop and start on a dime. We can do anything exactly the way we want to but the problem is that that tends to break the reality a bit. Our job was to build in imperfections as much as possible so that the shots look nice and natural at the same time.
In the area of rendering final frames of film, the computing power is nearly 40% improved over the capabilities of A Bug's Life, which was already twice as fast as the original Toy Story. Associate technical director Larry Aupperle explains, The visual complexity of this film has been dialed up so far that even though we have faster and more powerful computers, it can still take up to 20 hours to finish a single frame of film. Our frametimes are as long or longer than shots we've done in the past because we're packing more into them.
Among the most interesting effects created for Toy Story 2 are the "dust bunnies" that appear in the film. It was something that the filmmakers wanted for the first film but never could pull off. It makes the world a little more real for the toys to play in, notes Jacob. It's one of those things where a 10% improvement required 90% more work. Dust is a collection of little itty bitty pieces of geometry. You just chuck four or five million of these things onto a shelf to create a dust bunny. It really adds to the render time however, because you now have billions of things sitting in your shot.

Comments:

Story development and pre-production on the film began in September, 1996 and animation commenced the following June.

All of us at Pixar and Disney are delighted to be bringing these wonderful characters back to the big screen - we've missed them, said Steve Jobs, CEO of Pixar. It is also thrilling to have Tom, Tim and a great cast of voice talent back on board for this latest adventure.

Toy Story struck a chord with moviegoers the world over and we think that the sequel has all the right ingredients to be another hit, said Peter Schneider, president of Walt Disney Feature Animation and Walt Disney Theatrical Productions. Once again, our partners at Pixar are using their artistry and technology to create great entertainment.

Toy Story 2 began life as a direct to home video sequel. But when Pixar and Disney viewed the complete story on "reels", they thought the story was good enough to expand Toy Story 2 into a full theatrical feature. After the success of Toy Story, it was clear that audiences wanted to see more of Woody and Buzz on the big screen, said Steve Jobs, Chairman and Chief Executive Officer of Pixar, but most of the team that created and produced Toy Story were already working on our next feature, A Bug's Life. Even with a handful of Toy Story veterans in key positions, we thought it would be almost impossible to recruit a second crew as talented and experienced as the original Toy Story one. So we decided to make a sequel that would be measured by a gentler yardstick--a direct to home video sequel. But we were wrong. We underestimated Pixar's gravitational pull--it has become one of the hottest places to work in our industry--and by the fall we had pulled together an incredible team to make Toy Story 2.

Toy Story 2 will not count as one of the pictures in Pixar's five-picture deal. This is because when Pixar negotiated the new agreement, they acceded to Disney's position of wanting five original casts of characters, which sequels do not provide. The fact that we were so easily able to accommodate the major change from a direct to video to a theatrical sequel speaks to the depth, scope and enduring nature of this important agreement, as well as to the close working relationship between Pixar and Disney, says Steve Jobs.

Test Screenings and Scoops:

Brief synopsis of the new script found at Corona Comming Attractions:

Ya know folks, sometimes the world is just a batty kind of place. Two days ago, I got the script to Toy Story 2 and it rocks. I hadn't heard much since it was announced that they were doing a direct to video version. The script came and I finished it this morning. This script is twice as cool as the first film. Emperor Zurg appears, Al (of Al's Toy Barn), and the other toys in the Woody playset from 1952. Woody's horse is named Bullseye. Then there are the two other characters, Prospector and Senorita Cactus. There are many cool surprises of pure geek joy, and the script is tight. Tight tight tight tight TIGHT!!!

Review found at Ain't It Cool News. Be aware of the spoilers:

Thursday started off with nothing to look forward to but Friday. Then my boss mentioned a Buena Vista presentation starting at 11 showcasing Toy Story 2 and Tarzan. This seemed a lot more appealing than hanging round the office searching high and low for more Star Wars gossip, so I went along.
Off we trooped to the Empire in London’s Leicester Square (doubling the treat as it’s our favourite cinema) to be met by a whole stack of completely unfamiliar folk. It was a big promotional tour (“7 countries in almost as many days” we were told) for the merchandising and marketing types.
After a short introduction, they screened an in-house 2 minute promo for Toy Story 2. It was poor quality and ungraded (having been just made on tape and transferred to 35mm) but the general flavour couldn’t be missed, and it does look very good.
The storyline centres on Woody being “kidnapped” by a toy collector, and brainwashed into believing that living in his new controlled, unplayed-with environment is a good thing. It’s then left to Buzz (who is indebted to Woody for saving his life in the first film, and is a lot more pleasant from the out-set), Mr Potato Head, Rex, Slinky Dog and the rest of the familiars (and a few new ones) to travel across town in order to rescue Woody. The promo is a spoof of the Mission Impossible trailer, with the music, letters flying in – a la action movies etc. Of the new characters, it was announced that Mattel gave in and allowed the inclusion of “Tour Guide Barbie” (Joan Cusack) who, whilst driving the gang around gives safety warnings in both English and Spanish. There are also a few new-style Buzz Lightyears – including the silver one that was out to buy a few years ago – who have the same attitude issues as Buzz had when he first appeared.
After the promo, a full scene (much better quality) was shown where the familiar bunch have to make their way across a busy road, with excellent computer animated traffic, and spot on physical comedy. The storysounds better than the original, and if the script is as tight as the scenes we saw, combined with the advances in computer animation, we were left chomping at the bit for the rest.

--Anonymous

Review from a 5 minute screening at "Toy Fair 99" by Agent Chander found at Ain't It Cool News:

Two relatively brief clips, both involving Buzz and all of the usual toy suspects save Woody (he's been "kidnapped" and the toys are figuring out how to get him back). The animation looked just about identical to the original Toy Story, both clips were funny as hell and the voice actors were all in top form. Pretty cool, and from what I can tell the strong plot will keep it from being "more of the same".

--Agent Chander

Two scoops from a secret sneak peek at 30 minutes of Toy Story 2 footage that Disney held to companies, found at Corona Coming Attractions. Be aware of the spoilers!!:

Toy Story 2 Is looking great and Disney believes it will outdo the first. Kelsey Grammar is on board as the voice of Smelly Pete, a collectible toy held by Big Al (the toy collector who steals Woody and is voice by Wayne Knight, of Seinfeld fame) and is what you would probably call the film's villain. He is the one who convinces Woody that he is a collectible and shouldn't demean himself by being a kid's toy. As expected, Woody comes around. By the way, Barbie makes a cameo in the film as a tour guide who shows the toys (who are trying to find the kidnapped Woody) around Big Al's Toy Barn. (After not allowing Disney to use Barbie in the first film, Mattel finally came through). In the toy barn we also see the new, updated Buzz who is
suffering delusions of grandeur as Buzz did in the first film. We also meet the evil Zirk, Buzz's archenemy in his universe. He is like a Darth Vader figure who has an unusual relationship with Buzz... I'll say no more about that. Suffice to say that the film looks great and there are some very funny scenes, particularly one where Buzz and the other toys set off on the three mile journey to Al's Toy Barn and have to cross a road. They end up hiding under orange traffic cones as they move across the road, causing chaos and a a multi-car pile-up.
As far as the plot goes, the film starts with Woody and his owner preparing to go to Cowboy Camp. Woody is excited because it means he'll be all alone with his owner and be the centre of attention with no other toys around to compete with. He organises the other toys with a checklist of what to do if anything goes wrong while he's away, including warning all the infant toys about the baby, who is now teething (the film is set six months after the first). However, Woody gets damaged and some of the stuffing comes out of his arm. His owner's mother says she doesn't have time to fix him so Woody can't go on the camp. Instead, he gets put on the top of a dusty shelf
where he meets a little penguin toy who was broken some time ago and has been forgotten about.
Anyway, the mum starts organising a garage sale and walks around the room with a box (marked '25 cents') and puts things in it. She grabs the penguin and Woody realises that his new friend is
going to be sold off. HE rushes to help in and ends up in the middle of the sale. Big Al (Wayne Knight) arrives and asks how much for Woody. The mume is surprised to see Woody is there but says he is not for sale. Big Al offers $50 but she refuses. He distracts her, steals Woody and drives off. Buzz sees this, takes down the number plate and works out that Big Al is the Big Al from Al's toy barn, fanous for his ads on the tv. They set about to find Big Al's Toy Barn.
Meanwhile, Woody has actually been taken to Al's penthouse, not the toy barn, because Al is a toy collector and it turns out Woody is a prized collectible. He is shown a videotape of an old 1950's style kid's show called 'Woody's Roundup' and realises he is part of a merchandising blitz from that old show. He also meets his horse (who doesn't speak but is devoted to Woody), a female toy from the show and Smelly Pete (Kelsey Grammar) who is still in his wrapping in mint condition and has never been played with by a child. When he talks he is moved around in his wrapping by the other toys. Smelly Pete realises that without Woody, the rest of the toys from
Woody's Roundup are worthless so he convinces Woody that it is better being a collectible and gets him to stay. The valuable toys are all about to be send to Tokyo to be part of a museum on popular culture.
Anyway, that leads us to the dramatic rescue by the other toys but Woody doesn't want to go. Everything has gone to his head again. The other toys are devastated and leave to go back to the house. Woody sits down to watch another episode of Woody's Roundup. In the middle lof it is an advertisment for toy Woodys. It shows a kid playing with one to the tune of (you guessed it) 'You've Got a Friend in Me'. He utters the immortal line 'I'm a toy... a children's plaything,'
and tries to leave. But Smelly Pete jumps out of his casing and traps Woody so they are both headd off to the airport. Buzz and the other toys see this and there is another hilarious and grandiose road chase on the way to the airport and through the baggage collection areas.
Suffice to say, Woody is rescued and they all end up in Andy's room minutes before he arrives back. Cool, huh!!!

--Monkey Boy

We were given a 30 min. demonstration on Toy Story 2. I know the whole entire story of the sequel and can confirm the title is simply Toy Story 2, though we were told about different attempts for other titles. This time round Andy is getting ready for Cowboy camp, meaning he always brings Woody and no other toys. So once Woody gets all the toys settled and puts Buzz in charge he waits for the big day. Though when it comes Andy gets so excited that he accidetally rips Woody's stuffing out. Andy's mom tells him that Woody can't go and that when Andy gets back he will be all fixed. So anyway Woody gets put on a special shelf waiting to be fixed. While on this shelf Woody feels rejectded and makes friends with another broken toy
named Weeze (no voice cast yet). Then Andy's mom comes in and takes Weeze to a garage sale in the garage. Woody then sets out on a mission to get Weeze back. While down in the garage Woody gets stuck and is found by a collector (Wayne Knight )who the steals him after Andy's Mom refuses to sell him. Then the rest of the toys get together and make a rescue mission to save Woody who they believe has been taken to Al's Toy Barnyard (a toy shop owned by the
collector.) Woody is placed with some special collector figurines at the Barn. From his spot Woody sees a commercial for his own show which was cancelled years ago. He sees all the characters on the show (a love intrest played by Joan Cuasak, his horse [who is so funny], and some old guy who is mean and plays the villain of the piece [voiced by Kelsey Grammer.]) Just as the collector gets ready to sell the set of his acton figures to a place in Tokyo the rest of the
gang turns up. After that there's a long trip that involves a new silver Buzz, then a horde of Buzzs, a guest apperance by Mattel's Barbie, a hotted up toy car, a road crossing lesson from hell and
much more. By then Woody has been brain washed into believing that he is something special and not Andy's toy. Will Buzz save the day? Without giving the final ending away just remember all Disney films end up all happy and nice. And I cant forget Mrs. Potato Head's is in it and she is very funny (voice by Georges' Mom on Seinfield, can't remember her name.) 'Don't forget your angry eyes!' Don't worry, you understand later.

--Movie Buster