![]() ![]() “Everything tended to look like plastic or more plasticky. When they began the film in 1991, “rendering systems were not as sophisticated as they are now,” said Lasseter, who is directing “Toy Story 4.” So they looked at subject matters that played to the strengths of computer graphics at that time. In the case of “Toy Story,” said Lasseter, “ we knew what computer animation could do. The story of every Pixar film, said Lasseter, including this year’s acclaimed hit “Inside Out” and the upcoming “The Good Dinosaur,” goes through several versions because “all of the stories we have created are original.” “We had to build an entire infrastructure,” he said.” RenderMan, said Catmull, was just one element in bringing “Toy Story” to life. We made it about the story, which is what our goal had been.” ![]() We had succeeded because we hadn’t made it about the technology. Yet when the film was released, noted Catmull, “almost all of the reviews only mentioned in one sentence that it was done on computer. “There was a deep understanding right to begin with this was not about technology,” said Catmull, who was executive producer of “Toy Story,” created the digital-animation program that made the film possible and received an Oscar for his contributions to one of the software programs, RenderMan. But if they had done all that technology and the characters hadn’t been interesting or the story had been weak, we wouldn’t be talking about it.” The film, Haberkamp said, also altered “the face of visual effects in live-action movies. ![]()
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