Toy Story Toys Story 2

COMEDY SUPERSTAR (AND THE VOICE OF BUZZ LIGHTYEAR) TIM ALLEN WELCOMES SPACE RANGER HOME FROM INFINITY AND BEYOND

An image of Tim Allen with Buzz Lightyear upon the space ranger’s return from his first official space mission is available at www.WDSFilmPR.com. The double feature opens Friday, Oct. 2, 2009.

Image Caption:

TO INFINITY AND BEYOND (REALLY!) -- Comedy superstar Tim Allen, who provides the voice of Buzz Lightyear in Disney*Pixar’s “Toy Story,” “Toy Story 2” and the upcoming “Toy Story 3,” offered an official thumbs up to the space ranger this week for spending more than 15 months in space onboard the International Space Station as part of a NASA-Disney educational outreach collaboration. Buzz returned home aboard Space Shuttle Discovery STS-128 on September 11. He’ll be treated to a ticker-tape parade down Main Street, U.S.A. in the Magic Kingdom at Walt Disney World Resort in Florida on Oct. 2, which coincides with the big-screen return of “Toy Story” and “Toy Story 2”—this time in a Disney Digital 3D double-feature. The Toy Story celebration culminates in a brand new adventure starring Buzz and Woody: “Toy Story 3”— in theaters June 18, 2010.

ABOUT THE MOVIES

TOY STORY -- They’re toys, they talk—at least when people aren’t around—and they’re back… celebrating the return of the “Toy Story” franchise—this time in Disney Digital 3Dä! TOY STORY, the film that started it all, takes moviegoers back to that fantastic fun-filled journey, viewed mostly through the eyes of two rival toys— Woody (voice of TOM HANKS), the lanky, likable cowboy, and Buzz Lightyear (voice of TIM ALLEN), the fearless space ranger. The comically-mismatched duo eventually learn to put aside their differences when circumstances separate them from their owner Andy and they find themselves on a hilarious adventure-filled mission where the only way they can survive is to form an uneasy alliance.

TOY STORY 2 -- Disney•Pixar’s TOY STORY 2 picks up as Andy heads off to Cowboy Camp, leaving his toys to their own devices. Things shift into high gear when an obsessive toy collector named Al McWhiggin (voice of WAYNE KNIGHT) kidnaps Woody (voice of TOM HANKS), who discovers that he is a highly valued collectible from a 1950s TV show called “Woody's Roundup." He meets the other prized toys from that show - Jessie the cowgirl (voice of JOAN CUSACK), Bullseye the horse and Stinky Pete the Prospector (voice of KELSEY GRAMMER). Back at the scene of the crime, Buzz Lightyear (voice of TIM ALLEN) and the gang – Mr. Potato Head (voice of DON RICKLES), Slinky Dog (voice of the late JIM VARNEY), Rex (voice of WALLACE SHAWN) and Hamm (voice of JOHN RATZENBERGER) – spring into action to rescue their pal from winding up as a museum piece. The toys get into one predicament after another in their daring race to get Woody home before Andy returns.

WALT DISNEY PICTURES

Presents

TOY STORY

PIXAR

Production

Directed by. . . . . . . . . . . . . . JOHN LASSETER

Produced by . . . . . . . . RALPH GUGGENHEIM

BONNIE ARNOLD

Screenplay by. . . . . . . . . . . . . . JOSS WHEDON

ANDREW STANTON

JOEL COHEN

and ALEC SOKOLOW

Original Story by . . . . . . . . . JOHN LASSETER

PETE DOCTER

ANDREW STANTON

JOE RANFT

Songs Written &

Performed by . . . . . . . . . . . RANDY NEWMAN

Music by . . . . . . . . . . . . . . RANDY NEWMAN

Supervising

Technical Director . . . . . . WILLIAM REEVES

Executive Producers . . . . . . EDWIN CATMULL

STEVEN JOBS

Art Director . . . . . . . . . RALPH EGGLESTON

Film Editors. . . . . . . . . . . . ROBERT GORDON

LEE UNKRICH

Supervising Animator. . . . . . . . PETE DOCTER

Sound Design. . . . . . . . . . . GARY RYDSTROM

Production

Supervisor. . . . . . KAREN ROBERT JACKSON

CAST

Woody . . . . . . . . . . . . . . . . . . . . . TOM HANKS

Buzz Lightyear. . . . . . . . . . . . . . . . TIM ALLEN

Mr. Potato Head . . . . . . . . . . . . DON RICKLES

SlinkyDog . . . . . . . . . . . . . . . . . JIM VARNEY

Rex . . . . . . . . . . . . . . . . . . WALLACE SHAWN

Hamm . . . . . . . . . . . . JOHN RATZENBERGER

Bo Peep . . . . . . . . . . . . . . . . . . . ANNIE POTTS

Andy . . . . . . . . . . . . . . . . . . . . JOHN MORRIS

Sid . . . . . . . . . . . . . . . . . . ERIK VON DETTEN

Mrs. Davis . . . . . . . . . . . . LAURIE METCALF

Sergeant . . . . . . . . . . . . . . . . . . R. LEE ERMEY

Hannah. . . . . . . . . . . . . . . . SARAH FREEMAN

TV Announcer . . . . . . . . . . . . PENN JILLETTE

“YOU’VE GOT A FRIEND IN ME”

Written and Produced by

RANDY NEWMAN

Performed by

RANDY NEWMAN & LYLE LOVETT

Executive

Music Producer. . . . . . . . . . . CHRIS MONTAN

STORY

Story Supervisors. . . . . . . . . . . . . . JOE RANFT

ROBERT LENCE

Story Coordinator . . . . . . . . . SUSAN E. LEVIN

Story Artists . . . . . . . . . . ANDREW STANTON

KELLY ASBURY

ASH BRANNON

MIKE CACHUELA

JILL CULTON

PETE DOCTER

PERRY FARINOLA

JASON KATZ

BUD LUCKEY

JEFF PIDGEON

CREDITS - TOY STORY

ANIMATION

Directing Animators . . . . . . . . . . RICH QUADE

ASH BRANNON

Animation Managers . . . . TRIVA VON KLARK

BZ PETROFF

Animators . . . . . . . . MICHAEL BERENSTEIN

KIM BLANCHETTE

COLIN BRADY

DAVEY CROCKETT FEITEN

ANGIE GLOCKA

REX GRIGNON

TOM K. GURNEY

JIMMY HAYWARD

HAL T. HICKEL

KAREN KISER

ANTHONY B. LAMOLINARA

GUIONNE LEROY

BUD LUCKEY

LES MAJOR

GLENN MCQUEEN

MARK OFTEDAL

JEFF PIDGEON

JEFF PRATT

STEVE RABATICH

ROGER ROSE

STEVE SEGAL

DOUG SHEPPECK

ALAN SPERLING

DOUG SWEETLAND

DAVID TART

and KEN WILLARD (1959-1995)

Additional Animation . . . SHAWN P. KRAUSE

MATT LUHN

BOB PETERSON

ANDREW SCHMIDT

Animation

Coordinator . . . . . . . . . . MAUREEN E. WYLIE

Animation Check . . . . . . . HEATHER KNIGHT

TECHNICAL ARTISTS

Associate Technical

Director . . . . . . . . . . . . . EBEN FISKE OSTBY

Technical Department

Manager . . . . . . . ALLISON SMITH MURPHY

Modeling Team. . . . . . . . . . . . . MARK ADAMS

RONEN BARZEL

KEVIN BJÖRKE

LOREN C. CARPENTER

DEBORAH R. FOWLER

DAMIR FRKOVIC

SHALINI GOVIL-PAI

DAVID R. HAUMANN

MARK TIBERIUS HENNE

YAEL MILÓ

DARWYN PEACHEY

RICK SAYRE

ELIOT SMYRL

GALYN SUSMAN

GRAHAM WALTERS

Modeling & Shading

Coordinator . . . . . . . . . . . . . DEIRDRE WARIN

Shader & Visual

Effects Supervisor . . . . . . . THOMAS PORTER

Shader Team . . . . . . ANTHONY A. APODACA

BRIAN M. ROSEN

ELIOT SMYRL

GRAHAM WALTERS

KEITH B.C. GORDON

LARRY GRITZ

LOREN C. CARPENTER

MITCH PRATER

RICK SAYRE

Visual Effects . . . . . . . . . . . . MARK T.HENNE

OREN JACOB

DARWYN PEACHEY

MITCH PRATER

BRIAN M. ROSEN

Lighting Supervisors . . . SHARON CALAHAN

GALYN SUSMAN

Lighting Leads. . . . . . . . . . . . LISA FORSSELL

DEBORAH R. FOWLER

TRUONG GIA TIEN

WILLIAM A. WISE

Lighting Team . . . . . . . . . . . . . MARK ADAMS

ANTHONY A. APODACA

LARRY AUPPERLE

CYNTHIA DUELTGEN

DAMIR FRKOVIC

SHALINI GOVIL-PAI

LARRY GRITZ

DAVID R. HAUMANN

OREN JACOB

EWAN JOHNSON

KONISHI SONOKO

LES MAJOR

YAEL MILÓ

DESIRÉE MOURAD

KELLY O’CONNELL

JEFF PRATT

MARK T. VANDEWETTERING

Illumination Engineer . . . . . RONEN BARZEL

Lighting & Rendering

Coordinator . . . . . . BARBARA T. LABOUNTA

Assistant Coordinator. . . . . . DOUGLAS TODD

Render Wranglers . . . . . . . . KEITH OLENICK

ANDREW CHO

MICHAEL FONG

MICHAEL LORENZEN

VIVEK VERMA

Additional Modeling . . . . MARK EASTWOOD

MONIQUE HODGKINSON

GREY HOLLAND

ART

Art

Manager . . TERRY HERRMANN MCQUEEN

Designer/Illustrator . . . . . . . . . . . BOB PAULEY

Lead CG Painter . . . . . . . . . TIA W.KRATTER

CG Painter/Designer . . . . . . . WILLIAM CONE

CG Painter . . . . . . . . . . . . . . . ROBIN COOPER

Sculptors. . . . . SHELLEY DANIELS LEKVEN

NORM DECARLO

Character Design. . . . . . . . . . . . . BOB PAULEY

BUD LUCKEY

ANDREW STANTON

WILLIAM CONE

STEVE JOHNSON

DAN HASKETT

TOM HOLLOWAY

JEAN GILLMORE

Concept Artwork . . . . . . . . . STEVE JOHNSON

LOU FANCHER

KEVIN HAWKES

WILLIAM JOYCE

WILLIAM CONE

DAVID GORDON

BOB PAULEY

NILO RODIS

LAYOUT

Layout Manager. . . . . . . . . . . . . . BZ PETROFF

Supervising Layout Artist . . . . . CRAIG GOOD

Lead Layout Artists . . . . . . . EWAN JOHNSON

KEVIN BJÖRKE

Layout Artists . . . . . . . . . . . . . ROMAN FIGUN

DESIRÉE MOURAD

Set Dressers . . . . . . . . . . KELLY O’CONNELL

KONISHI SONOKO

ANN M. ROCKWELL

Additional Layout. . . . . . . SHAWN P. KRAUSE

BOB PETERSON

ANDREW SCHMIDT

EDITORIAL

Editorial Manager . . . . JULIE M. MCDONALD

Assistant Editors. . . . . . . . . . . . . . . ROBIN LEE

TOM FREEMAN

ADA COCHAVI

DANA MULLIGAN

Second Assistant Editors . . . . . . . STEVEN LIU

TORBIN XAN BULLOCK

Editorial Coordinator . . DEIRDRE MORRISON

Apprentice Editor/

Digital Librarian . . . . . . . . . PHYLLIS OYAMA

Apprentice Editor. . . . . . . . . . . . . . ED FULLER

CREDITS - TOY STORY

Editorial Production

Assistant. . . . . . . JESSE WILLIAM WALLACE

Storyreel Music Wrestler . . ROBERT RANDLES

Assistant Music Wrestler . . . . . . LING LING LI

CAMERA

Camera Manager . . . . JULIE M. MCDONALD

Photoscience Consultant. . . D. DIFRANCESCO

Camera Supervisor . . . . . . . . . LOUIS RIVERA

Camera Engineer . . . . . . MATTHEW MARTIN

Camera Technician . . . . . . . . . . DON CONWAY

Monitor Calibration

Software . . . . . . . . . . . . MICHAEL SHANTZIS

PRODUCTION

Senior Production

Associate. . . . . . . . . . . . . . . SUSAN HAMANA

Production Controller . . . . . . . . KEVIN REHER

Assistant Production

Accountant . . . . . . . . . . . . . TERRI GREENING

Pixar Finance . . . . . . . . . . . . . . . . . LISA ELLIS

Purchasing/Facilities

Manager. . . . . . . . . . DENNIS “DJ” JENNINGS

Purchasing Assistant . . . . KATHLEEN HANDY

Production Coordinators . . LORI LOMBARDO

ELLEN DEVINE

Assistant Production

Coordinators . . . . . . . . . VICTORIA JASCHOB

LUCAS PUTNAM

Production Schedules

Coordinator . . . . . . . KATHERINE SARAFIAN

Production Office Assistants. . JONAS RIVERA

ALETHEA HARAMPOLIS

CHRISTIAN HILL

NANCY COPELAND

Marketing & Promotions

Coordinator. . . . . . . . . . . . . MONICA CORBIN

Unit Publicist . . . . . . . . . LAUREN STROGOFF

Digital Angel . . . . . . . DARLA K. ANDERSON

Assistant to

Ralph Guggenheim . . . . . . . DEIRDRE WARIN

Assistant to

Bonnie Arnold . . . . . . . . . . LORI LOMBARDO

Assistants to John Lasseter

and William Reeves . . . . . HEATHER L. FENG

SUSAN E. LEVIN

Production Interns

ANDREW CALDWELL MARTIN CAPLAN

RYAN CHISUM TAKESHI HASEGAWA

JAY HATHAWAY JASON HENRY

STEVEN KANI VICTORIA LIVINGSTON

KEVIN PAGE GUSTAVO RAMIREZ

BENJAMIN SALLES DAVID THOMAS

COMPUTER SYSTEMS

Computer Systems

Manager . . . . . . . . . . . . . . . . DAVID H. CHING

Hardware

Engineer . . . NEFTALI “EL MAGNIFICO” ALVAREZ

Software Engineers . . . . . . . . . . BILL CARSON

KEN HUEY

Logistics Programmer . . . . . HEIDI STETTNER

Macintosh Systems

Engineer . . . . . . . . . MICHAEL E. MURDOCK

Hardware Technician . . . . EDGAR QUIÑONES

Systems Operators . . . . . . . . . . ONNY P. CARR

ALEC WONG

Media Systems Engineer. . . . . . . ALEX STAHL

Modeling & Animation System Development

WILLIAM REEVES EBEN FISKE OSTBY

JOHN LASSETER SAM LEFFLER

DARWYN PEACHEY RONEN BARZEL

LOREN C. CARPENTER THOMAS HAHN

CHRIS KING PETER NYE

DREW ROGGE BRIAN M. ROSEN

RICK SAYRE MICHAEL SHANTZIS

ELIOT SMYRL HEIDI STETTNER

RenderMan® Software Development

ANTHONY A. APODACA LOREN C. CARPENTER

ED CATMULL ROB COOK

PAT HANRAHAN STEVE JOHNSON

JIM LAWSON SAM LEFFLER

M.W. MANTLE DAN MCCOY

DARWYN PEACHEY THOMAS PORTER

WILLIAM REEVES DAVID SALESIN

DON SCHREITER MARK VANDEWETTERING

Digital Massage

Therapist. . . . . . . . . . . . NAROTTAMA ALDEN

POST PRODUCTION

Post Production Supervisor . . . PATSY BOUGÉ

Post Production

Administrator . . . . . . . . . . . . . MARGARET YU

Post Production

Scheduler . . HEATHER JANE MACDONALD SMITH

Post Production Sound Services Provided by

SKYWALKER SOUND

a Division of Lucas Digital Ltd.,

Marin County, California

Re-Recording Mixers. . . . . . GARY SUMMERS

GARY RYDSTROM

Supervising Sound Editor . . . . TIM HOLLAND

ADR Editor. . . . . . . . . MARILYN MCCOPPEN

Sound Effects Editor . . . . . . . . . PAT JACKSON

Foley Editor. . . . . . MARY HELEN LEASMAN

Assistant Sound Designer . . . . . . TOM MYERS

Assistant Sound Editors . . . . . . . . J.R. GRUBBS

SUSAN SANFORD

SUSAN POPOVIC

DAN ENGSTROM

Foley Artists. . . . . . . . . . . . . DENNIE THORPE

TOM BARWICK

Foley Recordist . . . . . . . . . . . . TONY ECKERT

Casting Consultant . . . . . . . . RUTH LAMBERT

Additional Casting. . . . . . . . . . NANCY HAYES

ADR Voice Casting . . . . . MICKIE MCGOWAN

Additional Voices

JACK ANGEL SPENCER ASTE

GREG BERG LISA BRADLEY

KENDALL CUNNINGHAM DEBI DERRYBERRY

CODY DORKIN BILL FARMER

CRAIG GOOD GREGORY GRUDT

DANIELLE JUDOVITS SAM LASSETER

BRITTANY LEVENBROWN SHERRY LYNN

SCOTT MCAFEE MICKIE MCGOWAN

RYAN O’DONOHUE JEFF PIDGEON

PATRICK PINNEY PHIL PROCTOR

JAN RABSON JOE RANFT

ANDREW STANTON SHANE SWEET

MUSIC

Orchestrations by. . . . . . . . . . . . . . DON DAVIS

RANDY NEWMAN

Music Recorded and Mixed by . FRANK WOLF

Music Editor. . . . . . . . . . . . . . JIM FLAMBERG

Associate Music Editor. . . . . . . . HELENA LEA

Music Production Supervisor. . . TOD COOPER

Orchestra Contractor . SANDY DE CRESCENT

Music

Preparation. . . JO ANN KANE MUSIC SERVICE

Recording Assistants. . . . . . . . GREG DENNEN

TOM HARDISTY

BILL KINSLEY

SUSAN MCLEAN

RAIL ROGUT

Music

Recorded at. . . . . SONY PICTURES STUDIOS

CONWAY RECORDING STUDIOS

OCEAN WAY RECORDING

Music

Remixed at . . . . . . SIGNET SOUND STUDIOS

DialogRecording . . . . . . . . . . . . . . DOC KANE

BOB BARON

Color Timer . . . . . . . . . . . . . . . . DALE GRAHN

Negative Cutters . . . . . . . MARY BETH SMITH

RICK MACKAY

Title Design . . . . . . . . . . . . SUSAN BRADLEY

Titles by . . . . . . . . . BUENA VISTA IMAGING

Title Optical Supervisor . . MARK DORNFELD

Live Action Dog Reference . . . APRIL, JENNY,

MAGGIE MAE, MAX and MOLLY

Production Babies

AIDAN ALICE

AMALIA ANN

AUDREY BEN

CHASE EMILY

ERIN GEMMA

ISAAC JAKE

JENNA KATIE

LIELLE LILY

MAX NATHANIEL

NEFTALI RYAN

SAM SONIA

WILL

CREDITS - TOY STORY

Computer Systems for Final Rendering

SUN MICROSYSTEMS INC.

SPECIAL THANKS

Interactive Computer

Workstations . . . . . SILICON GRAPHICS INC.

3-D Modeling

Software. . . . . . . . . . ALIAS RESEARCH, INC.

Video Playback

Hardware. . . . . FAST FORWARD VIDEO, INC.

2-D Paint

Software. . . . . INTERACTIVE EFFECTS, INC.

Film Recording

Equipment. . . . MANAGEMENT GRAPHICS, INC.

Rendered by . . . . . . . . . . . . . . . RENDERMAN®

Processing by . . . . . . . . . . . . . MONACO LABS

Prints by. . . . . . . . . . . . . . . . . TECHNICOLOR®

Produced and

Distributed on . . . . . . . . . . . . EASTMAN FILM

SONGS

“You’ve Got A Friend In Me”

“Strange Things”

“I Will Go Sailing No More”

Written, Performed and Produced by

Randy Newman

“Hakuna Matata”

Music by Elton John

Lyrics by Tim Rice

Randy Newman Appears Courtesy of

Reprise Records

Lyle Lovett Appears Courtesy of

Curb Music Company and MCA Records

Soundtrack Available on

Visit “TOY STORY” Online at

www.toystory.com

MPAA #34132

THE WALT DISNEY COMPANY

This motion picture was created by

Hi Tech Toons for purposes of copyright

law in the United Kingdom.

Distributed by

BUENA VISTA PICTURES

DISTRIBUTION, INC.

Video Game and CD-ROM Available from

WALT DISNEY PICTURES

Presents

PIXAR ANIMATION STUDIOS

Film

TOY STORY 2

Directed by. . . . . . . . . . . . . . JOHN LASSETER

Co-Directed by . . . . . . . . . . . . . LEE UNKRICH

ASH BRANNON

Produced by. . . . . . . . . . . . HELENE PLOTKIN

KAREN ROBERT JACKSON

Executive Producer. . . . . SARAH MCARTHUR

Original Story by . . . . . . . . . JOHN LASSETER

PETE DOCTER

ASH BRANNON

ANDREW STANTON

Screenplay by . . . . . . . . . ANDREW STANTON

RITA HSIAO

DOUG CHAMBERLIN

& CHRIS WEBB

Music by. . . . . . . . . . . . . . . RANDY NEWMAN

Film Editors . . . . . . . . . . . . . . EDIE BLEIMAN

DAVID IAN SALTER

LEE UNKRICH

Supervising

Technical Director . . . . . . . . GALYN SUSMAN

Director of

Photography . . . . . . . . . . SHARON CALAHAN

Production Design . . . . . . . . . WILLIAM CONE

JIM PEARSON

Story Supervisors. . . . . . . . . . . . . . . DAN JEUP

JOE RANFT

Supervising Animator . . . . GLENN MCQUEEN

Layout

Supervisors . . . . . . . RIKKI CLELAND-HURA

EWAN JOHNSON

Set Dressing

Supervisor. . . . . . . . . . . . DAVID EISENMANN

Associate

Technical Directors . . . . . . . . . . . OREN JACOB

LARRY AUPPERLE

Modeling Supervisor . . . . . . . . . EBEN OSTBY

Shading Supervisor . . . . . . . . . . . BRAD WEST

Lighting

Supervisor . . . . . . JEAN-CLAUDE KALACHE

Rendering Supervisor . . . . . DON SCHREITER

Production Manager . . . . GRAHAM WALTERS

Sound Designer . . . . . . . . . GARY RYDSTROM

Executive

Music Producer. . . . . . . . . . . CHRIS MONTAN

Casting by. . . . . . . . . RUTH LAMBERT, C.S.A.

MARY HIDALGO

CAST

Woody . . . . . . . . . . . . . . . . . . . . . TOM HANKS

Buzz Lightyear. . . . . . . . . . . . . . . . TIM ALLEN

Jessie. . . . . . . . . . . . . . . . . . . . . JOAN CUSACK

Prospector. . . . . . . . . . . . KELSEY GRAMMER

Mr. Potato Head . . . . . . . . . . . . DON RICKLES

Slinky Dog. . . . . . . . . . . . . . . . . . JIM VARNEY

Rex . . . . . . . . . . . . . . . . . . WALLACE SHAWN

Hamm . . . . . . . . . . . . JOHN RATZENBERGER

Bo Peep . . . . . . . . . . . . . . . . . . . ANNIE POTTS

Al McWhiggin . . . . . . . . . . . WAYNE KNIGHT

Andy. . . . . . . . . . . . . . . . . . . . . JOHN MORRIS

Andy’s Mom . . . . . . . . . . . LAURIE METCALF

Mrs. Potato Head . . . . . . . . ESTELLE HARRIS

Sarge. . . . . . . . . . . . . . . . . . . . . R. LEE ERMEY

Barbie. . . . . . . . . . . . . . . . . . . . . JODI BENSON

The Cleaner. . . . . . . . . . . JONATHAN HARRIS

Wheezy. . . . . . . . . . . . . . . . . . . . . . JOE RANFT

Emperor Zurg . . . . . . . . . ANDREW STANTON

Aliens. . . . . . . . . . . . . . . . . . . . JEFF PIDGEON

Additional

Story Material by . . . . . . . . . . . . . . . DAN JEUP

JOE RANFT

JIM CAPOBIANCO

JIMMY HAYWARD

ELIAS DAVIS & DAVID POLLOCK

JEFF PIDGEON

LEE UNKRICH

COLIN BRADY

STEVE BOYETT

DAVID REYNOLDS

CREDITS - TOY STORY 2

STORY

Story Department Managers. . RENEE JENSEN

SUSAN E. LEVIN

Story Artists

JIM CAPOBIANCO DAVID FULP

MATTHEW LUHN KEN MITCHRONEY

MAX BRACE JILL CULTON

ROB GIBBS JASON KATZ

BUD LUCKEY RICKY NIERVA

SANJAY PATEL BOB PETERSON

JEFF PIDGEON JAN PINKAVA

BOBBY PODESTA DAVID SKELLY

NATHAN STANTON MARK A. WALSH

Additional Storyboarding

DON DOUGHERTY DAVEY CROCKETT FEITEN

STEPHEN GREGORY KIRK HANSON

STEVEN HUNTER CHARLES KEAGLE

JORGEN KLUBIEN ANGUS MACLANE

MAX MARTINEZ JON MEAD

FLOYD NORMAN KAREN PRELL

JOHN RAMIREZ TASHA WEDEEN

Story Department

Coordinator. . . . . . . . . . . . LEE CRUIKSHANK

Story Department

Assistant. . . . . . . . . . . . . . ADAM BRONSTEIN

ART

Art Department Manager . . . . . . MATT WHITE

Art Director–Shading . . . . . . . BRYN IMAGIRE

Assistant Art Director . . . . . . . DAVID SKELLY

CG Painters

RANDY BERRETT ROBIN COOPER

YVONNE HERBST GLENN KIM

LAURA PHILLIPS

Sketch Artists

RANDY BERRETT MARK HOLMES

DAN LEE NATHANIEL MCLAUGHLIN

PAUL MICA LAURA PHILLIPS

JEFF SANGALLI GARY SCHULTZ

BUD THON

Sculptors

NORM DECARLO JEROME RANFT

New Character Designs

RANDY BERRETT ASH BRANNON

COLIN BRADY JILL CULTON

DAN LEE BUD LUCKEY

NATHANIEL MCLAUGHLIN KEN MITCHRONEY

JIM PEARSON

Visual Development

SEAN HARGREAVES DAVE GORDON

HARLEY JESSUP

Art Department Coordinator . . . JEN KINAVEY

Art Department Production Assistants

ALICE ROSEN LILAH MOSCOSO

LAYOUT & SET DRESSING

Layout Department

Manager . . . . . . . . . . . . . MOLLYNAUGHTON

Senior Layout Artist . . . . . . . . . . CRAIG GOOD

Sequence Leads

SHAWN BRENNAN JEREMY LASKY

PATRICK LIN GREGG OLSSON

Layout Artists

ROBERT ANDERSON WADE CHILDRESS

ROMAN FIGUN CRAIG MCGILLIVRAY

STEPHEN MOROS MARK SANFORD

ADAM SCHNITZER DEREK WILLIAMS

Set Dressers

JON CHILDRESS FARMER GRAHAM MOLOY

SOPHIE VINCELETTE DEREK WILLIAMS

Set Dressing

Department Coordinator . . . . TRISH CARNEY

Layout & Set Dressing TDs

BRAD WINEMILLER DANIEL CAMPBELL

Additional Layout

STEPHANIE ANDREWS CHRISTINE Z. CHANG

KEVIN EDWARDS ROSS STEVENSON

MATT UHRY

Additional Set Dressing

ROBERT ANDERSON WADE CHILDRESS

MARK SANFORD ADAM SCHNITZER

Layout Department

Coordinator. . . . . . . . . . . . . . HEATHER FIELD

Layout & Set Dressing

Production Assistant . . . . . . . GINA TRBOVICH

ANIMATION

Directing Animators

KYLE BALDA DYLAN BROWN

Animation Managers

JENNY HEAD KORI RAE

Animators

NICOLAS ALAN BARILLARO STEPHEN BARNES

BOBBY BECK MICHAEL BERENSTEIN

ASH BRANNON JENNIFER CHA

SCOTT CLARK BRETT CODERRE

MELANIE CORDAN TIM CRAWFURD

DAVID DEVAN MARK FARQUHAR

IKE FELDMAN ANDREW GORDON

STEPHEN GREGORY JIMMY HAYWARD

TIM HITTLE STEVEN HUNTER

ETHAN HURD JOHN KAHRS

NANCY KATO PATTY KIHM

KAREN KISER SHAWN KRAUSE

BOB KOCH PETER LEPENIOTIS

WENDELL LEE ANGUS MACLANE

DAN MASON JON MEAD

BILLY MERRITT KARYN METLEN

VALERIE MIH JAMES FORD MURPHY

PETER NASH MARK OFTEDAL

MICHAEL PARKS BRET PARKER

SANJAY PATEL BOBBY PODESTA

JEFF PRATT KAREN PRELL

BRETT PULLIAM RICH QUADE

MIKE QUINN ROGER ROSE

ROBERT H. RUSS GINI CRUZ SANTOS

ANTHONY SCOTT ALAN SPERLING

ROSS STEVENSON DOUG SHEPPECK

DOUG SWEETLAND DAVID TART

WARREN TREZEVANT MARK A. WALSH

TASHA WEDEEN ADAM WOOD

CHRISTINA YIM KUREHA YOKOO

Fix Animators

PAUL MENDOZA ANDREA SCHULTZ

Animation Department

Coordinator . . . . . . . . . . . . DAVID ORECKLIN

Animation Fix Coordinator . . . . . . JENNI TSOI

Animation Department

Production Assistant . . . . CHRIS DIGIOVANNI

EDITORIAL

Editorial Department

Manager . . . . . . . . . . . . . . LINDSEY COLLINS

Second Editor . . . . ROBERT GRAHAMJONES

First Assistant Editor . . . . JENNIFER TAYLOR

Second Assistant Editors

CRAIG ALPERT CHRISTINE STEELE

ANNA WOLITZKY

First Assistant Editor (Film) . . . . . ED FULLER

Second Assistant Editors (Film)

GUS CARPENTER JAMES M. WEBB

Additional Editing

JAMES AUSTIN STEWART KEN SCHRETZMANN

RICHARD HALSEY MILDRED IATROU

Additional Editorial Assistants

LUIS ALVAREZ Y ALVAREZ TORBIN XAN BULLOCK

JACK CURTIS DUBOWSKY TOM FREEMAN

AXEL GEDDES CHRISTIAN HILL

MIKE MARSH LUCAS PUTNAM

KATHERINE RINGGOLD SARAH SCHUBART

CHRIS VALLANCE MARK YEAGER

Temp Music Editors

DAVID SLUSSER BARNEY JONES

Temp Sound Editor . . . . . . . . RONA MICHELE

Editorial Coordinator . . . . . . . . . . . . ANNE PIA

OMF

Coordinator. . . . . SUE MAATOUK-KALACHE

Editorial Production

Assistant . . . . . SHANNON MENENDEZ-CHU

CREDITS - TOY STORY 2

TECHNICAL ARTISTS

MODELING TEAM

Modeling & Shading Coordinators

MARK NIELSEN VANESSA ROSS

Modeling Artists

MARK ADAMS PAUL AICHELE

LAUREN ALPERT STEPHANIE ANDREWS

JAMES BANCROFT LAWRENCE D. CUTLER

RUIETA DASILVA CYNTHIA DUELTGEN

DAMIR FRKOVIC CHRISTIAN HOFFMAN

ROB JENSEN STEPHEN KING

MICHAEL KRUMMHOEFENER KELLY O’CONNELL

EILEEN O’NEILL GUIDO QUARONI

DALE RUFFOLO DON SCHREITER

GARY SCHULTZ SKEGGI THORMAR

PATRICK WILSON

SHADING TEAM

Shading Artists

JOHN B. ANDERSON DAVID BATTE

KIRK BOWERS KEVIN EDWARDS

MARK FONTANA MICHAEL FU

LARRY GRITZ BEN JORDAN

MICHAEL R. KING STEPHEN KING

ANDREW KINNEY ANA LACAZE

DANIEL MCCOY EILEEN O’NEILL

KEITH OLENICK JOHN SINGH POTTEBAUM

MITCH PRATER GUIDO QUARONI

BRIAN M. ROSEN STEVE UPSTILL

DAVID VALDEZ JOHN WARREN

Additional Modeling & Shading

MICHAEL FONG PATRICK JAMES

STEVE MAY STEVE MCGRATH

TIM MILLIRON CYNTHIA “KIKI” PETTIT

JAMES ROSE

Modeling & Shading Production

Assistant . . . . . ALEXANDRIA DEVON ZECH

HUMAN TEAM

Human Team Lead TDs

LISA FORSSELL MITCH PRATER

Human Modeling & Shading Team

JASON BICKERSTAFF LAWRENCE D. CUTLER

MARK FONTANA BEN JORDAN

LEO HOURVITZ SONOKO KONISHI

MICHAEL KRUMMHOEFENER GUIDO QUARONI

JOHN WARREN KIMBERLY WHITE

ADAM WOODBURY

LIGHTING TEAM

Lighting Department Managers

TERRY MCQUEEN MOLLY NAUGHTON

Master Lighting

LAUREN ALPERT JUN HAN CHO

CYNTHIA DUELTGEN DANIELLE FEINBERG

DEBORAH R. FOWLER CHRISTIAN HOFFMAN

JESSE HOLLANDER ROB JENSEN

ANA LACAZE KEN LAO

JOYCE POWELL KIMBERLY WHITE

Lighting Artists

JASON BICKERSTAFF KIRK BOWERS

ONNY CARR KEVIN EDWARDS

KURT FLEISCHER REID GERSHBEIN

MICHAEL B. JOHNSON JONGO

SONOKO KONISHI IVO KOS

JANET LUCROY CRAIG MCGILLIVRAY

KELLY O’CONNELL EILEEN O’NEILL

BRANDON ONSTOTT CYNTHIA “KIKI” PETTIT

SETH PIEZAS JOHN SINGH POTTEBAUM

SUDEEP RANGASWAMY DALE RUFFOLO

BILL SHEFFLER ALLISON TORRES

TIEN TRUONG JOHN WARREN

PATRICK WILSON BRIAN DANIEL YOUNG

Additional Lighting & Support

KURT FLEISCHER MARK FONTANA

TIEN TRUONG CLAY WELCH

Lighting Department Coordinator . . . TOM KIM

EFFECTS TEAM Software Engineers

Effects Department

Manager. . . . . . . . . . . . . . . . KELLY T. PETERS

Effects Technical Artists

JOHN B. ANDERSON LAWRENCE D. CUTLER

LISA FORSSELL MICHAEL FU

LEO HOURVITZ JEFFREY JAY

EWAN JOHNSON STEPHEN KING

BILL POLSON GUIDO QUARONI

BRAD WINEMILLER

Additional Effects

DAVID BARAFF ANDREW KINNEY

BRIAN M. ROSEN ELIOT SMYRL

ANDY WITKIN

RENDERING TEAM

Rendering Manager . . . . VICTORIA JASCHOB

Render TDs

BYRON BASHFORTH PATRICK JAMES

THOMAS JORDAN STEVE KANI

ANDREW KINNEY JACK PAULUS

JAMES ROSE SCOTTY SHARP

JEROME STRACH CHRISTINE WAGGONER

Rendering Department

Coordinator . . . . . . . . . . . . . . . . JEN KINAVEY

Technical Department

Production Assistant . . . . . JENNIFER KINNEY

ANIMATION SOFTWARE DEVELOPMENT

Director of Animation Software

Development. . . . . . . . . . DARWYN PEACHEY

Team Leaders

TONY DEROSE KURT FLEISCHER

PETER NYE ARUN RAO

WAYNE WOOTEN

JOHN ALEX BRAD ANDALMAN

DAVID BARAFF RONEN BARZEL

MALCOLM BLANCHARD MIKE CANCILLA

BENA CURRIN THOMAS HAHN

KITT HIRASAKI JISUP HONG

MICHAEL B. JOHNSON STEVE JOHNSON

MICHAEL KASS CHRIS KING

ERIC LEBEL BRUCE PERENS

CHRIS PERRY JOHN SINGH POTTEBAUM

SUDEEP RANGASWAMY DREW TTV ROGGE

MICHAEL SHANTZIS HEIDI STETTNER

ROBERT W. SUMNER DIRK VAN GELDER

KARON WEBER ANDY WITKIN

AUDREY WONG

Documentation & Support

TOM DEERING NGHI “TIN” NGUYEN

KAY SEIRUP

RENDERING SOFTWARE DEVELOPMENT

Director of Rendering Software

Development . . . . . . ANTHONY A. APODACA

Special Rendering Techniques and Support

CRAIG KOLB TOM LOKOVIC

Software Engineers

PHIL BEFFREY SAM “PENGUIN” BLACK

LOREN CARPENTER ROB COOK

TOM DUFF LARRY GRITZ

DAVID LAUR DAN LYKE

SHAUN OBORN MATT PHARR

TIEN TRUONG MARK VANDEWETTERING

ERIC VEACH

CAMERA

Camera Department

Manager . . . . . . . . . . . . . . . PERRIN CUTTING

Camera Supervisor . . . . . . . . . LOUIS RIVERA

Camera Software & Engineering

JOHN HEE SOO LEE MATTHEW MARTIN

DREW TTV ROGGE

Camera Technicians

DON CONWAY JEFF WAN

CREDITS - TOY STORY 2

Photoscience Managers

JAMES BURGESS DAVID DIFRANCESCO

Department Administrator . . BETH SULLIVAN

PRODUCTION

Production

Scheduler. . . . . . . . . SARAH JO DAUGHTERS

Production Accountant . . CATHERINE ROEHL

Director of

Production Finance . . . . . . . ROBERT TAYLOR

Disney Production

Representative. . . . . . . . . . . . . MARCI LEVINE

Assistant Production

Accountant . . . . . . . . . . . . . . . SANDY MCCOY

Executive Assistant

to the Director. . . HEATHER SCHMIDT-FENG

Executive Assistant to the

Co-Directors. . . . . . ALETHEA HARAMPOLIS

Executive Assistant to the

Producers. . . . . . . RACHEL RAFFAEL-GATES

Executive Assistant to the

Executive Producers . . . DEBBIE L. O’KEEFFE

Production Office

Coordinator . . . . . . . . . . . . . . . . . . . A.J. RIEBLI

Production Office Assistants

LANCE MARTIN SCOTT SMITH

Additional Production Support

MARI AIZAWA MARK AXTON

JAN FORMAN TOMOKO H. FERGUSON

DARCY FINLAY RACHEL HANNAH

BAHRAM H. HOOSHMAND DANIELLE KENT

HOON H. KIM JOHN LEVIN

STEVE LIU ADRIAN OCHOA

GREG POULIOS MARTHA RICHTER

KRISTI RUSSELL ANDRA SMITH

DEIRDRE WARIN HANA YOON

Additional Art & Technical Consultation

TIA W. KRATTER BOB PAULEY

RICK SAYRE

INFORMATION SYSTEMS

Director of

Computer Operations . . . . GREG BRANDEAU

Managers

ERIK FORMAN ALISA GILDEN

WARREN HAYS DUNCAN KEEFE

TODD N. LLOYD MICHAEL O’BRIEN

Systems Administrators & Support

NEFTALI “EL MAGNIFICO” ALVAREZ NATHAN ARDAIZ

GEORGE BAGTAS JR. ADAM BEEMAN

BRYAN BIRD LARS R. DAMEROW

MICHAEL DONNELLY EDWARD ESCUETA

PATRICK GUENETTE JASON HENDRIX

LING HSU KEN JONATHAN JJ HUEY

JASON “JAYFISH” HULL PETER KALDIS

CORY KNOX GREGORY YONG PAIK

KRISTINA PEREZ MAY PON

MANNY PONCE JOSH QUALTIERI

EDGAR QUIÑONES AUBURN “AUBIE” SCHMIDT

M.T. SILVIA NELSON SIU

EDILBERTO SORIANO JR. ALEX STAHL

GENE TAKAHASHI ANDY THOMAS

CHRISTOPHER C. WALKER JAY WEILAND

DALLAS WISEHAUPT

POST PRODUCTION

Post Production

Supervisor. . . . . . . . . . . . . . . PAUL CICHOCKI

Senior Manager of Editorial &

Post Production. . . . . . . . . . . . . . BILL KINDER

Post Production

Assistant . . . . . . . . . . . TIMOTHY SORENSEN

Post Production Sound Services Provided by

SKYWALKER SOUND

A Division of Lucas Digital Ltd., LLC

Marin County, California

Re-Recording Mixers. . . . . GARY RYDSTROM

GARY SUMMERS

Original Dialogue Mixer. . . . . . . . . DOC KANE

Supervising

Sound Editor. . . . . . . . . . . MICHAEL SILVERS

Sound Design. . . . . . . . . . . GARY RYDSTROM

TOM MYERS

Sound Effects Editors . . . . . TERESA ECKTON

SHANNON MILLS

Foley Editors . . . . . . MARY HELEN LEASMAN

SUSAN SANFORD

Supervising Assistant

Sound Editor. . . . . . . . . . . MARCIE ROMANO

Assistant

Sound Effects Editor. . . . . . . . . . . AL NELSON

Assistant Sound Design . . . SHANNON MILLS

Sound Intern. . . . . . . . . . . . . . . . . LISA FOWLE

Re-Recordist . . . . . . . . RONALD G. ROUMAS

Mix Technicians . . . . . . . . JURGEN SCHARPF

JUAN PERALTA

Machine Room Operators . . . . GABRIEL GUY

SEAN LANDEROS

Digital Transfer . . . . . . . JONATHAN GREBER

JOAN MALLOCH

CHRISTOPHER BARRON

Video Services . . . CHRISTIAN VON BURKLEO

JOHN “J.T.” TORRIJOS

Foley Artists. . . . . . . . . . . . . DENNIE THORPE

JANA VANCE

Foley Mixer . . . . . . . . . . . . . . . TONY ECKERT

Foley Recordist . . . . . FRANK “PEPE” MEREL

Additional ADR

Voice Casting. . . . . . . . . . MICKIE MCGOWAN

Additional Voices

JACK ANGEL BOB BERGEN

MARY KAY BERGMAN SHERYL BERNSTEIN

RODGER BUMPASS COREY BURTON

RACHEL DAVEY DEBI DERRYBERRY

JESSICA EVANS BILL FARMER

PAT FRALEY JESS HARNELL

JOHN LASSETER NICOLETTE LITTLE

SHERRY LYNN MICKIE MCGOWAN

ANDI PETERS JEFF PIDGEON

PHIL PROCTOR JAN RABSON

CARLY SCHROEDER MADYLIN SWEETEN

HANNAH UNKRICH LEE UNKRICH

“Woody’s Roundup” Theme Song

Music and Lyrics by Randy Newman

Performed by Riders in the Sky

“When She Loved Me”

Music and Lyrics by Randy Newman

Performed by Sarah McLachlan

“You’ve Got A Friend In Me”

Music and Lyrics by Randy Newman

“Wheezy’s Version”

Performed by Robert Goulet

Instrumental Version Performed by Tom Scott

Sarah McLachlan Appears Courtesy of Arista

Records, Inc. and Nettwerk Productions, Inc.

Tom Scott Appears Courtesy of

Windham Hill Jazz

Orchestrations by . . . . . . . JONATHAN SACKS

IRA HEARSHEN

RANDY NEWMAN

Music Recorded and

Mixed by . . . . . . . . . . . . . . . . . . FRANK WOLF

Supervising Music Editor . . . . . BRUNO COON

Music Editor . . . . . . . . . . . . . . . . . LISA JAIME

Assistant Music Editor. . . . . . BRENDA HEINS

Director, Music Production. . . ANDREW PAGE

Music Production

Manager. . . . . . . . . . . . . TOM MACDOUGALL

CREDITS - TOY STORY 2

Music Production

Coordinator . . . . . . . . . . DENIECE LAROCCA

Additional Recording by. . . . . . . GREG REELY

Additional Arrangements by. . . BRUNO COON

Orchestra

Contractor . . . . . . . . . SANDY DE CRESCENT

Vocal Contractor . . . . . . . . LUANA JACKMAN

Music

Preparation . . . . JO ANN KANE MUSIC SERVICE

Music

Recorded at. . . . . SONY PICTURES STUDIOS

O’HENRY SOUND STUDIOS

THE WAREHOUSE STUDIO

Music

Mixed at. . . SIGNET SOUNDELUX STUDIOS

Additional Dialogue Recording

BOB BARON BILL HIGLEY

JOHN MCGLEENAN BRIAN REED

Color Timer . . . . . . . . . . . . . . . . DALE GRAHN

Negative Cutting

by . . . . BUENA VISTA NEGATIVE CUTTING

Optical Titles. . . . . . BUENA VISTA IMAGING

Title Design . . . . . . . . . . . . SUSAN BRADLEY

THANKS TO EVERYONE WHO SUPPORTED

THIS PRODUCTION:

Director of Finance

& Controller . . . . . . . . . . . . SARAH FLATLEY

Finance and Administration

MARY DECOLA MARTY ESHOFF

JOHN LANSBERRY KIRSTEN E. RADZIKOWSKI

KATHI KEETON ELLEN FAIR

LINDA MCCAMPBELL TIM GLASS

MARK FRAZITTA KENNY CONDIT

JIM FERRUCCI CECE HEIMANS

MELINDA JACKSON SUE WILLIAMS

SUSAN GATRILL CHERYL MURATA

BRYN FLETCHER ANDREA NORDEMANN

KIM KELLEY

Creative Resources & Marketing

KATHERINE SARAFIAN LEEANN ALAMEDA

KIM CANNON EDWARD CHEN

MARGARET G. DAVIS KAREN DUFILHO

KATHLEEN HANDY DAVID R. HAUMANN

JONAS RIVERA CLAY WELCH

Facilities

TOM CARLISLE CRAIG PAYNE

CHRISTIAN DAMEROW IAN EVANS

BRIAN TRAINOR PATRICIA BAVUSO

ANNALIZA CONSTANTINO JONI SUPERTICIOSO

Human Resources

SHELBY CASS LISA ELLIS

ED MARTIN ELYSE KLAIDMAN

ANDREW LYNDON RANDY NELSON

DIANE PHILLIPS SANGEETA PRASHAR

NINA SEALANDER

Purchasing & Relocation

DENNIS “DJ” JENNINGS AMY ELLENWOOD

Production Babies

AKIRA ALICE ANDREW

ANNA LIVIA BEN CLIO

CORY ELI ELIZABETH

ERIC ETHAN GRACE

ITAI JACK KATIE

KEVIN KOLYA MADELEINE

MARGOT MARY MCKINLEY

MICAELA NATALYA NICHOLAS

OLIVER OWEN ROBIN

SIERRA WYATT

Computer Systems for Final Rendering

SUN MICROSYSTEMS, INC.

Interactive Computer

Workstations . . . . . SILICON GRAPHICS, INC.

3-D Modeling

Software . . . . . . . . . . . . . ALIAS/WAVEFRONT

2-D Paint

Software. . . . . INTERACTIVE EFFECTS, INC.

Network Equipment . . . . . . . CISCO SYSTEMS

Rendered by. . . . . . . . . . . . . . . . RENDERMAN

Processing by . . . . . . . . . . . . . MONACO LABS

Prints by . . . . . . . . . . . . . . . . . TECHNICOLOR

Produced and

Distributed on . . . . . . . . . . . . EASTMAN FILM

Additional Music

“Also Sprach Zarathustra”

Written by Richard Strauss

Mr. Potato Head® and Mrs. Potato Head® are

registered trademarks of Hasbro, Inc. Used with

Slinky® Dog ©James Industries

Etch A Sketch® ©The Ohio Art Company

Toddle Tots® and Fire Truck by Little Tikes®

Little Tikes Toys ©The Little Tikes Company

MPAA #37044

Inc./Pixar Animation Studios

Original Toy Story Elements

This motion picture was created by Pixar

Talking Pictures for purposes of copyright law

in the United Kingdom.

Original Soundtrack Available from

Distributed by

BUENA VISTA PICTURES DISTRIBUTION

CREDITS - TOY STORY 2

TOY STORY

AND

TOY STORY 2

Production Information

“The ‘Toy Story’ films accomplish what timeless classics aim for. They are full of

innocent characters who face an endless trail of adventures. We all know the likes

of Woody, Buzz, Bo Peep, and Mr. and Mrs. Potato Head,

and we wonder who we would be…if we were toys.”

~Tom Hanks, the voice of Woody

TAKING THE TOYS TO THE TOP

The Franchise

On October 2, 2009, the creators of the beloved “Toy Story” films reopen the toy box for

a very special double feature that includes “Toy Story” and “Toy Story 2” as they have never

been seen before: in spectacular Disney Digital 3D™! The return of these Disney•Pixar

classics to the big screen kicks off a Disney Digital 3D™ “Toy Story” celebration that

culminates in “Toy Story 3,” a

brand-new adventure coming to

theaters June 18, 2010.

“We’re so excited to be

bringing these first two films back

for audiences to enjoy in a whole

new way, thanks to the latest in 3D

technology,” says John Lasseter,

the director of “Toy Story” and

“Toy Story 2,” who now serves as

chief creative officer of Walt

Disney and Pixar Animation Studios and principal creative advisor to Walt Disney

Imagineering. “Disney Digital 3D™ offers lots of great new possibilities for the art of

animation, and we will continue to use this new technology to push the boundaries in telling

our stories.”

The “Toy Story” films and the host of unforgettable characters they introduced to the world

hold a special place in the hearts and minds of audiences worldwide. Since “Toy Story”

astounded moviegoers with its free-flowing images and warm-hearted humor in 1995, the film

and its characters have become entrenched in the zeitgeist the world over, including Buzz

TAKING TOYS TO THE TOP

Lightyear’s mantra, “To infinity and beyond,” which has become a 21st-century catchphrase.

“The ‘Toy Story’ films accomplish what timeless classics aim for,” says actor Tom Hanks,

who voices the series’ cowboy hero, Woody. “They are full of innocent characters who face an

endless trail of adventures. We all know the likes of

Woody, Buzz, Bo Peep, and Mr. and Mrs. Potato Head,

and we wonder who we would be…if we were toys.”

“Toy Story,” the groundbreaking first collaboration

between Walt Disney Studios and Pixar, has become

one of the most influential animated films in history.

Set in a whimsical world populated by walking,

talking toys with rivalries, dreams and fears of their

own, the movie pioneered the use of innovative tools

and techniques for an entirely new form of animation.

The first full-length animated feature to be created

entirely by artists using CG technology, “Toy Story”

was conceived and directed by Lasseter, a former

Disney animator who had already collected an Oscar®

for the short “Tin Toy.” “Toy Story” represented a

major milestone in animated moviemaking. All 77

minutes of breathtaking animation, 1,561 shots and a

cast of 76 characters that included humans, toys and a

dog were meticulously hand-designed, built and animated in the computer.

Four years in the making, the delightfully irreverent comedy-adventure featured a top-tier

voice cast that included two-time Academy Award® winner Tom Hanks and comedy superstar

Tim Allen. With an inspired score by Oscar®-, Grammy®- and Emmy®-winning composer,

songwriter and performer Randy Newman, “Toy Story” crossed generational boundaries by

combining an original, imaginative story and lovable characters with the exciting new

capabilities of computer-generated animation.

The first fruit of a long-term collaboration between Disney and Pixar raised the bar

exponentially for future animated films. “Toy Story” blazed a wide trail in a brand-new

medium, earning international acclaim. Originally released on Nov. 22, 1995, “Toy Story”

became the highest-grossing movie of the year, with box office of nearly $192 million

domestically and $362 million worldwide.

The film was nominated for three Academy Awards® and two Golden Globes®. Lasseter

received a Special Achievement Award (Oscar®) from the Academy of Motion Picture Arts and

Sciences for his “inspired leadership of the Pixar ‘Toy Story’ team, resulting in the first

feature-length computer-animated film,” and “Toy Story” was included on the American Film

Institute’s list of 100 Greatest American Movies.

“Toy Story’s” success has sparked an unrivaled winning streak of ten hits and counting for

Disney•Pixar, including “A Bug’s Life,” “Monsters, Inc.,” “Finding Nemo,” “The Incredibles,”

“Cars,” “Ratatouille,” “Up” and, of course, “Toy Story 2.”

Picking up where “Toy Story” left off, “Toy Story 2” enjoyed the benefit of almost five

more years of technological innovation. In between the two movies, “A Bug’s Life” had served

as the proving ground for the next generation of CG technology, which added more realistic

movement, flexibility in lighting and camera techniques, and startlingly detailed rendering to

the CG artists’ palette. “Toy Story 2” made history by becoming the first film ever to be

entirely created, mastered and exhibited digitally.

The unprecedented success of “Toy Story” may have made a sequel inevitable, but “Toy

Story 2” surpassed the original at the box office, becoming the first animated sequel to gross

more than its inspiration. “Toy Story 2” broke opening-weekend box-office records in the

United States, the United Kingdom and Japan, and became the highest-grossing animated

release of 1999, with more than $245 million in domestic box-office receipts and $485 million

worldwide.

The film was nominated for an Academy Award® and two Golden Globes® and won the

Golden Globe for Best Motion Picture—Comedy or Musical as well as a Grammy® for Best

Song Written for a Motion Picture, Television or Other Visual Media (Randy Newman, “When

She Loved Me”).

“With ‘Toy Story 3’ shaping up to be another great adventure for Buzz, Woody and the

gang from Andy’s room, we thought this would be the perfect way to let audiences experience

the first two films all over again,” says Lasseter. “We resurrected all the data, and it’s awesome

to see how great these films look in 3D. They’re amazing. There’s a new generation of kids

that has never seen either film on the big screen. Most of them have seen them on video at

home or on DVD, which isn’t the same thing.

“To see the movies back to back will be an amazing treat as well,” Lasseter adds. “This is

certainly nostalgic for me and reminiscent of my youth when double features were the norm.”

TAKING “TOY STORY” TO 3D

Lead Stereographer Bob Whitehill Takes Pixar’s Team—

and Toys—into Another Dimension

Bob Whitehill, the lead stereographer for the “Toy Story” and “Toy Story 2” conversions

as well as stereoscopic supervisor for “Up,” says the filmmakers’ top priorities were to make

the films’ 3D versions “comfortable, consistent and captivating.”

“First and foremost, our focus was to make films that are graceful and easy to watch,”

Whitehill explains. “We also wanted to be consistent to the original intent of the film’s visuals

in composition, lens choices and

elements of that nature. And

finally, we wanted the experience

to engender a robust and

dimensional visual experience that

draws the viewers into the toys’

world, ultimately enhancing and

strengthening the effect of the

story. Story is always the main

focus here at Pixar.”

The filmmakers had to adapt

the images for modern software and re-render them as if they had just finished creating them.

“Through a technical process we dubbed ‘triage,’ we were able to bring the shots up to modern

software fluency,” explains Whitehill. “We then re-created every single frame using two

different cameras—one for the left-eye view and one for the right. The films are thereby a

TAKING “TOY STORY” TO 3D

OLD FRIENDS, NEW STORY

perfectly true representation of the world created in 3D.”

Other recent 3D conversions have taken a slightly different tack, notes Whitehill. “Some

take the final frames of the original 2D movie and split that image apart to create the stereo

effect. Our process does not estimate what the 3D would look like; it captures the original

compositions exactly.”

MAKING WAY FOR “TOY STORY 3”

Old Friends, New Story

The October theatrical debut of the “Toy Story” and “Toy Story 2” double feature will mark

the first time the “Toy Story” gang is seen in 3D, but certainly not the last. The all-new “Toy

Story 3” follows them to the big

screen in June 2010 and promises

to be packed with more cutting-

edge technical surprises as well as

a heartwarming and inspiring

story.

Lee Unkrich (co-director of

“Toy Story 2,” “Monsters, Inc.”

and “Finding Nemo” as well as the

editor of “Toy Story”) directs this

highly anticipated film.

“John took me aside and said, ‘We’re going to make ‘Toy Story 3,’ and I really want you to

direct it,’” Unkrich recalls. “I jumped at the opportunity. These characters and this world are

near and dear to me. And I really wanted to be part of shepherding them forward.”

In this latest chapter, Andy is preparing to depart for college, leaving Woody, Buzz and the

rest of his loyal toys troubled about their uncertain future.

“We decided to set ‘Toy Story 3’ at a point in time that is just emotionally ripe,” says

Unkrich. “It’s a very funny film, and it’s going to be a very emotionally satisfying film as

well.”

“‘Toy Story 3’ takes place in the summer between Andy graduating high school and going

off to college,” says John Lasseter, executive producer. “The toys are actually at that place of

being outgrown. And that’s where the adventure starts.

“Toys are put on this Earth to be played with by a child—that’s the one thing they want

more than anything else,” Lasseter continues. “The things that keep toys from being played

with by a child are the things that cause anxiety in their lives—being lost, being stolen, being

broken. And the thing that they fear most of all is to be outgrown. When you’re lost, you can

be found. When you’re broken, you can be fixed. When you’re stolen, you can be recovered.

But once you’re outgrown, that’s it.”

“Toy Story 3” is a comical new adventure that lands the toys in a room full of untamed tots

who can’t wait to get their sticky little fingers on these “new” toys. It’s pandemonium as

Woody, Buzz and the rest of the gang try to stay together, ensuring “no toy gets left behind.”

Meanwhile, Barbie comes face to plastic face with Ken (yes, that Ken).

TOM HANKS, TIM ALLEN, JOAN CUSACK, DON RICKLES, JOHN

RATZENBERGER, WALLACE SHAWN and ESTELLE HARRIS lend their voices once

again. Joining the voice cast are veteran actors JEFF GARLIN, BONNIE HUNT, WHOOPI

GOLDBERG, TIMOTHY DALTON, NED BEATTY and MICHAEL KEATON as the voice

of Ken.

“Toy Story 3” will be presented in Disney Digital 3D™ in select theaters.

ABOUT “TOY STORY”

A Star Is Born

On November 22, 1995, the art of animation went “to infinity and beyond” when Walt

Disney Pictures and Pixar Animation Studios, a Northern California-based pioneer in

computer graphics, released the now-legendary “Toy Story,” the first full-length animated

feature created entirely by artists using computer tools and technology.

Set in a world where toys come to life when people are not present, “Toy Story” is a

sophisticated “buddy comedy” featuring the voices of two-time Academy Award®-winning

actor Tom Hanks, popular film and television comic and Golden Globe® winner Tim Allen and

a wonderful cast of acting talents. Writer, director and Pixar co-founder John Lasseter, whose

innovative work already included the 1988 Oscar®-winning short, “Tin Toy,” as well as “Luxo

Jr.” (an Oscar nominee), “Red’s Dream” and “Knick Knack,” provided the vision for a team

of 27 animators, 22 technical directors and 61 other filmmakers.

“John Lasseter created warm and appealing characters through the medium of computer

animation,” says Thomas Schumacher, who was Walt Disney Feature Animation’s main point

person on the project. “The work came from his heart and spirit as much as it came out of a

computer box.”

“Toy Story” was a major milestone in animated moviemaking with its groundbreaking

graphic style. Combining the skills of traditionally trained character animators with the most

sophisticated “pencils” in the world, “Toy Story” introduced a unique look, with qualities of

texture, color, vibrant lighting and detail never before seen in traditional animated features.

Just as Disney’s experimental shorts of the 1930s served as a proving ground for that

studio’s first feature, “Snow White

and the Seven Dwarfs” (1937), so

too did Pixar experiment with a

series of award-winning shorts to

prepare for its feature-film debut.

Harnessing the very latest in

computer technology and writing,

perfecting their own proprietary

software and assembling an

outstanding team of artists,

animators and technical wizards,

Pixar set the stage for one of the most ambitious film projects in the 100-year history of the

cinema. From start to finish, “Toy Story” was one continuous eye-popping visual treat after

another.

And finally, after four years of labor, the film was ready to go with a story conceived by a

team that included future animation superstars Lasseter, Andrew Stanton (who went on to

become an Academy Award®-nominated writer and director of Oscar®-winning movies

A STAR IS BORN

THE STARS OF “TOY STORY”

“Finding Nemo” and “WALL•E”), the late Joe Ranft (writer and co-director of “Cars,” who

also provided voices for characters in several classic Pixar films) and Pete Docter,

writer/director of the Academy Award-nominated “Monsters, Inc.” and Disney•Pixar’s most

recent feature film, “Up.”

“As naïve as it may sound,

making ‘Toy Story’ felt like an

extension of school, where we

were just making the film we

wanted to make for us and our

friends to enjoy,” says Docter.

“When it actually came out, it was

pretty stunning. My parents in

Minnesota had heard about it.

There were billboards and toys.

We were being reviewed by Time magazine! It was overwhelming.”

“We were blown away by ‘Toy Story,’” says Apple CEO Steve Jobs, a Pixar co-founder and

CEO at the time as well as an executive producer of the movie. “We really felt strongly that

the movie was going to be a success. But even we didn’t have a clue how much of a success

it was going to be.”

EVERYBODY IS AN AUTHORITY ON TOYS

The Stars of “Toy Story”

“Toy Story” focuses on the rivalry between Woody (voice of Tom Hanks), a traditional pull-

string talking cowboy, and Buzz Lightyear (voice of Tim Allen), the coolest space action

figure ever made. With the kinds of bells and whistles that make him any boy’s dream, Buzz

is a pain in the neck as far as Woody’s concerned.

Buzz suffers from the delusion that he’s not a toy but the actual intrepid defender of the

galaxy, sent to save the universe from the evil Emperor Zurg. But Buzz is an instant favorite

with six-year-old Andy as well as his toymates: Slinky Dog™, whose down-home southern

drawl is provided by Jim Varney; Mr. Potato Head™, the cantankerous spud voiced by Don

Rickles; Hamm, the know-it-all piggy bank voiced by John Ratzenberger; Rex, the insecure

plastic dinosaur voiced by Wallace Shawn; and Bo Peep, the beautiful porcelain lamp voiced

by Annie Potts.

Woody plots to get rid of Buzz, but things backfire. When Woody and Buzz find

themselves lost in the outside world with only each other to depend on, working together is

the only hope they have of escaping Sid, the destructive neighborhood kid who enjoys

torturing hapless toys. The cowboy and the space ranger form a friendship as they team up in

an effort to return home to Andy and the rest of the toys.

“Story and characters always came first. They drove everything we did.”

~ John Lasseter, Director

Ralph Guggenheim, Pixar’s vice president of feature production at the time, and Bonnie

Arnold, a veteran filmmaker of live-action films (“Over the Hedge,” “The Last Station,”

“Tarzan”), served as the film’s producers. Ed Catmull, a Pixar co-founder who has gone on to

become president of Walt Disney and Pixar Animation Studios, executive produced “Toy

Story” along with Jobs. William Reeves was the supervising technical director. Based on an

original story by John Lasseter, Pete Docter, Andrew Stanton and Joe Ranft, the screenplay for

“Toy Story” was written by Joss Whedon (“Dollhouse,” “Buffy the Vampire Slayer”), Andrew

Stanton, Joel Cohen and Alec Sokolow.

The making of “Toy Story” was the culmination of a long-held dream for the Pixar team.

With a string of award-winning computer-animated shorts and commercials behind them, the

team felt the time was right for a feature-length CGI animated film. Lasseter pitched an idea

to Disney that eventually led to the signing of a three-picture agreement. The germ of the

concept was a single visual image: a toy accidentally left behind at a highway rest stop.

“John Lasseter was a natural for us,” recalls Peter Schneider, the Broadway producer who

was then president of Walt Disney Feature Animation. “We wanted to do a movie with John

for a long time and had even tried on numerous occasions to hire him back to Disney.”

The Disney•Pixar partnership allowed each company to draw on the other’s strengths:

Pixar’s amazing technology and creative team, and Disney’s understanding of story structure,

experience in creating feature-length animated films and ability to attract top-notch talent.

Using a new generation of state-of-the-art software developed by Pixar and employing a team

of top technical talents and artists specially trained for this unique form of animation, “Toy

Story” combined technical artistry with a warm-hearted family story in the best Disney

tradition.

“Story and characters always came first,” says Lasseter. “They drove everything we did.

You can dazzle an audience with brand-new technology, but in the end, people walk away from

a movie remembering the characters.”

Having already successfully experimented with the idea of bringing toys to life using

computer animation in their Academy Award®winning

short “Tin Toy,” Lasseter and his

colleagues decided to push the boundaries

further by giving their first CGI feature film an

all-star toy cast. “The choice of toys was made

because we knew it would look great in

computer animation. The story would be much

more believable, powerful and interesting-

looking than if it were done in any other

medium,” says Lasseter.

The project required Pixar to expand its

animation, editing and post-production staff

from 24 people to well over 100. It took

extraordinary leaps of the imagination and a

wealth of resourcefulness for producers Guggenheim and Arnold, along with production

supervisor Karen Robert Jackson, supervising technical director Reeves and supervising

animator Docter, to pull together a cohesive unit and design a full-scale animation studio that

met both the artistic and technical demands of this project.

THE STARS OF “TOY STORY”

“The scope and diversity of talent we assembled was amazing.”

~ Ralph Guggenheim, Producer

THE STARS OF “TOY STORY”

To gear up for Pixar’s first feature-length production, proprietary software was written and

refined to meet the technical challenges of the film while the animation team honed their

performance skills by studying acting, mime, life drawing and storytelling techniques.

“The scope and diversity of talent we assembled was amazing,” producer Guggenheim

says. “It ranged from modelers

with architectural degrees to a

digital painter accustomed to

painting scenic backgrounds on

huge canvases for the San

Francisco Opera, to a computer

scientist using her degree in

computer-generated plants to

landscape neighborhoods.”

In order to make the toys seem

like living characters, anatomy,

movement and expression were carefully researched and tested. “Every step of the way, we

saw something new,” says Lasseter. “I felt lucky to be able to come to work every day and look

at things and say, ‘Oh, my, look at that. That’s amazing.’”

“Toy Story” was inspired by classic buddy pictures like “48 Hrs.,” “Midnight Run” and

“The Defiant Ones,” as well as Lasseter’s own affection for toys. “It was a genre that no one

had really explored in animation before,” says the director. “The whole notion of a buddy

picture is that you create two characters who are polar opposites and you put them in a

situation where they have to work together and grow.”

Once the story team committed to the premise of a buddy picture starring toys, its foremost

task was the conception of its two leading characters. For several months in 1991, the Pixar

story team held brainstorming sessions in a tiny room code-named “The Point” at the far end

of the Tech building in Point Richmond, California.

Put four grown adults in a room and ask them to reminisce about their childhood and the

toys they played with, and you won’t find much resistance. In fact, a more likely scenario is

that they’ll regress to a point where it would be hard to imagine they ever stopped being kids.

“Everybody is an authority on their childhood and their toys. On that level, this was an easy

film to write,” says Stanton.

The team created sketches and scenarios that would eventually amount to more than 25,000

storyboards. “We knew we wanted an old toy and a new toy,” Lasseter says. “We started to

analyze what a little boy would get these days that would make him so excited that he stopped

playing with everything else.

“Buzz Lightyear represents whatever cool, flashy toy you owned at one time. Woody

represents whatever worn-out doll nobody else would want but you had an affection for,”

continues the director, whose own pull-string Casper doll served as inspiration for Woody.

During the casting process, Lasseter explains, “The most important thing we looked for was

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. Since these films take years to make, we have the

opportunity to adjust the personality and the design of the character so the voice and the

animation work together.”

From the onset, Lasseter wanted to cast Tom Hanks in the role of Woody. “Tom has the

ability to make all kinds of emotions appealing. Even when he’s yelling at somebody, he’s

likable. That was crucial because Woody behaves pretty badly,” Lasseter explains.

“The most important thing we looked for in casting was great actors.”

~ John Lasseter, Director

To help get Hanks enthused about the role, the filmmakers did an animation test with

Woody, using Hanks’ voice from the “Turner and Hooch” soundtrack. Recalls Hanks, “The

dialogue was ‘Not the car. Don’t eat the car. Not the car.’ And Woody was just flailing in

hysterics. His little fists were pounding all over the place. It was really amazing.”

Hanks’ comic gifts brought an added dimension to the character, especially when it came

to expressing Woody’s uniquely sarcastic personality. “On the surface, Woody’s very loose,

very relaxed about everything. He sees himself as Mr. Nice Guy. But underneath, he’s

thinking, who’s my competition and what do I have to do to stay on top?” explains supervising

animator Pete Docter.

At first, Lasseter and his staff envisioned Buzz as a dim-witted, buttoned-up kind of

superhero, but after their first recording session with Tim Allen, their perspective shifted.

“After our first recording session, we analyzed the dialogue and realized that what Tim’s

perfect at doing is the everyday guy,” recalls Lasseter. “We made Buzz more like a really good,

well-trained cop.”

In fact, all of the toys acted like adults doing their jobs and Andy’s room was their work

place. “You have company men and those who question authority; you have the insecure types

who know they might be laid off and corporate climbers seeking that next promotion,” says

Lasseter. “This bedroom is a little

urban microcosm. It’s got toys of

different plastics and colors and

sizes and recommended age

groups all living on top of one

another. So they get a little testy at

times.”

To convince veteran comic Don

Rickles to play the cynical spud,

Mr. Potato Head, Lasseter and

Thomas Schumacher paid him a

personal visit. “I brought along a Mr. Potato Head as a gift, but as I handed it to him, I

accidentally knocked off the hat,” Lasseter remembers. “It looked just like him. I thought,

‘This is perfect casting.’”

Actor and writer Wallace Shawn is the voice behind Rex, the 12-inch plastic dinosaur.

Modeled after the most ferocious beast in history, Rex has the gentlest heart of all the toys.

“Part of Rex’s personality came from taking what they did in modern dinosaur films and

putting a funny spin on it,” Lasseter says. “We had the ability to animate him with all the

articulation a real beast would have, but he’s a rigid plastic toy with weak, cheesy little arms.”

THE STARS OF “TOY STORY”

FILLING WOODY’S BOOTS

The company is completed by the late Jim Varney, who voices Slinky Dog, a collapsible

canine pulltoy with a springy midsection, and John Ratzenberger, as the voice of Hamm, a

pigheaded piggy bank who thinks he knows it all. Widely known as mailman Cliff Clavin on

the long-running hit TV series “Cheers,” Ratzenberger is the only actor to voice a role in all

11 of the Disney•Pixar films,

including, of course, “Toy Story,”

“Toy Story 2” and the upcoming

“Toy Story 3,” as well as the

recent hit “Up,” as the voice of

Construction Foreman Tom; “A

Bug’s Life,” as P.T. Flea;

“Monsters, Inc.,” as Yeti the snow

monster; “Finding Nemo,” as the

Fish School; “The Incredibles,” as

the Underminer; “Cars,” as Mack

the truck; “Ratatouille,” as Mustafa, the head waiter; and “WALL•E,” as John, a human living

aboard the spaceship Axiom.

The film’s two primary human characters—Andy, the toys’ owner, and Sid, his maladjusted

neighbor—were developed in the image of their creators. “John Lasseter is Andy,” said story

co-creator Joe Ranft when the film was first released. “All of John’s toys were well taken care

of and in perfect condition. He still has them in little display cases in his office.”

Ranft, however, was more like Sid. “Sid started out essentially as a surrogate for us to

regress to being 10-year-olds,” says Lasseter. “We took what we knew about setting off cherry

bombs and bugging our little sisters and all the stuff we did to our toys as kids and rolled it

into one character.”

In fact, Combat Carl’s death scene is a near reenactment of something story co-creator

Andrew Stanton once did to his own action figure. “We made an M-80 into a little backpack

for him,” laughs Stanton. Lasseter loved the story and used it to introduce Sid in the film.

FILLING WOODY’S BOOTS

An Animated Gathering

If a computer-animated feature were a live-action film, the technical scientists would be the

crew, and the animators and voice talent would be the actors. Once the story was locked and

edited to story reels, the cameras set and the action blocked, it became the animators’ job to

breathe life into the characters. “Woody may only be a toy, but he had to be our main

emotional guide,” observes supervising technical director William Reeves. “He had to have

facial expressions as seemingly human as a live-action actor. And he had to be able to

demonstrate every emotion under the sun.”

“I wanted all of our artists to have some creative ownership of the film.”

~ John Lasseter, Director

Unlike traditional Disney animation, where each animator focused completely on one

character, the animators working on “Toy Story” shared duties for all the characters.

Animation dailies were a spirited and open forum for critiquing shots and kept everybody

aware of what everybody else was doing.

As Lasseter explains, “I wanted all of our artists to have some creative ownership of the

film, because I remember how it was when I was working on bigger projects as an animator.

I always worked harder and did much better work when I felt I had a part in the creativity.”

Some artists demonstrated a flair for animating certain types of shots. Doug Sweetland

(most recently the director of the Disney•Pixar short film “Presto”) was assigned to animate

many of Woody’s more manic outbursts because he is a bit hyperactive himself. Directing

animator Rich Quade, who is more laid back, took over many of Woody’s and Buzz’s quieter

emotional moments.

To figure out how best to choreograph Woody’s movements, the animators studied footage

of loose-limbed actors and characters and referenced videotapes of Tom Hanks recording his

lines. They took a different approach with Buzz since his movements had to be stiff and

methodical; after all, he is made of plastic. “The visual shorthand was ‘Think klutzy curves’

for Woody and ‘Think athletic angles’ for Buzz,” modeler Eben Ostby says.

“It was much harder than I ever imagined it would be. It’s a test of

every aspect of the actor’s toolbox.”

~ Tom Hanks, Actor

The filmmakers held two recording sessions with Hanks and Allen together “which sparked

a terrific chemistry and helped establish the fundamental relationship between Woody and

Buzz,” says Lasseter. But logistics and scheduling constraints meant doing most of the

sessions solo.

“It was much harder than I

ever imagined it would be,” Hanks

says. “It’s a test of every aspect of

the actor’s toolbox. You have to

embody the physicality of what

the character is going through. If

Woody got dragged behind a car,

by the end of it, I felt like I’d been

dragged behind a car.”

Lasseter notes that his actors

gave him the best material when

he simply painted the emotion and environment of a scene and left leeway for improvisation.

To help with this process, the actors were given props to help them feel more like they were

on a live-action set. “We got Tom a cowboy hat, which really helped him get into Woody’s

character,” says Lasseter. At one point, Hanks used a rubber arm belonging to Lasseter’s son

and mugged his way through a string of ad-libs that had the filmmakers in near hysterics.

“It’s amazing to see what the animators have done,” says producer Bonnie Arnold. “Once

we brought in the voices, the characters started to look like Tom and Tim. The model stayed

the same, but the animators started to adopt their mannerisms.”

FILLING WOODY’S BOOTS

PERFECT HARMONY

Collaborating with Randy Newman

Grammy Award-winning composer/songwriter Randy Newman (“Avalon,” “The Natural,”

“Ragtime”) created three original songs for “Toy Story” as well as the richly textured and

evocative underscore. The songs which he wrote and performs are: “You’ve Got a Friend in

Me,” “Strange Things” and “I Will Go Sailing No More.”

Unlike traditional Disney animated musicals where characters break into song, the songs

in “Toy Story” play over the action to support the emotional moments of the film. “We use

music in the same way that Simon and Garfunkel did so successfully with ‘The Graduate’ and

Disney did memorably in

‘Dumbo’ with ‘Baby Mine,’” says

Lasseter.

“The songs became the one

place in the film where Woody

and Buzz really manifest their

feelings explicitly. It’s where they

voice stuff they don’t otherwise

admit to people, or even to each

other,” says Newman.

“There is much more humanity

in the finished picture than I anticipated,” confides Newman. “I don’t think I could have

ruined the appeal of this film with six Casios and a nose flute.”

BUILDING A CG WORLD

A Pixel-by-Pixel Approach

“Toy Story” marked art director Ralph Eggleston’s introduction to the world of computer

animation. The “heightened reality” look he envisioned for “Toy Story” resulted in a stylized

world with realistic textures. After discussions with the director, Eggleston, who has since

served as art director for “The Incredibles” as well as production designer for “Finding Nemo”

and “WALL•E,” designed a color script of the film’s 28 major sequences.

“The art direction had to support the story—set the mood of the scene

with color and lighting. It’s like painting with lights.”

~ Ralph Eggleston, Art Director

Eggleston and his art department designed the contrasting worlds (i.e., bedrooms) of Andy

and his twisted neighbor, Sid; the space-age motif of “Pizza Planet”; and the moonlit Dinoco

gas station where Buzz and Woody join forces to find Andy.

Andy’s bedroom was conceived as a refuge—a safe and comfortable environment flooded

with warm pastels in which the toys can spring to life. “It gives one the feeling of being

underwater,” says Eggleston. In contrast, Sid’s bedroom is a horrific torture chamber for toys,

complete with black-light posters, a rusty barbed-wire bed and a single, bare light bulb.

The greatest challenge for the art and technical departments was creating believable human

characters. The organic qualities of hair, skin and clothing render human characters among the

most difficult objects to make convincing using computer-generated images. “I didn’t want to

attempt super-realism,” says

Lasseter. “But I also didn’t want to

make them overly simplified,

because they’d wind up looking

too much like the toys.”

Clothing, with its precise

wrinkles and creases, also

presented challenges for the

modeling, shading and art

departments. “We could make

those stiff, shiny objects look

utterly real,” Lasseter says. “But as soon as we attempted natural fiber, it was a quantum leap

in visual complexity.”

For “Toy Story,” the Pixar team pioneered the technology that helped them navigate human

characters, clothing and hair. It has continued to grow, as showcased in the studio’s subsequent

films.

Every creature, toy, prop and setting in “Toy Story” had to be created in virtual space, from

a single blade of grass to the 1.2 million leaves on the trees in Andy’s neighborhood. Each

textured image started as a hand-drawn storyboard that went through a ten-step process before

it was ready to be recorded on film.

“‘Toy Story’ was a landmark in the world of computer animation, but it was just the

beginning of a revolution in animation,” says producer Ralph Guggenheim. “‘Toy Story’

expanded the canvas for animated films. There are a variety of animation techniques, and they

will continue to exist, but we broadened the horizon. The most amazing thing was that we were

starting to scratch the surface.”

ABOUT “TOY STORY 2”

The Saga Continues

Four years later, Guggenheim was proven correct with “Toy Story 2,” which took the art of

computer animation to the next plateau. The film utilized state-of-the-art technology to work

its storytelling magic and create a world of infinite possibilities.

“Toys are manufactured and put on this Earth to be played with by a child.

That is the essence of ‘Toy Story 2.’”

~ John Lasseter, Director

“Toy Story 2” picks up as Andy heads off to Cowboy Camp, leaving his toys to their own

devices. Things shift into high gear when an obsessive toy collector named Al McWhiggin

(owner of Al’s Toy Barn) kidnaps Woody, who turns out to be a valuable collectible from a

1950s TV show called “Woody’s Roundup,” and he meets the other prized toys from that

show—Jessie the Cowgirl, Bullseye the horse and Stinky Pete the Prospector. Buzz Lightyear

and the other toys from Andy’s room spring into action to rescue their pal from winding up a

THE SAGA CONTINUES

WELCOME BACK

museum piece before Andy returns.

The sequel reunited the same creative team that gave birth to the original, including Andrew

Stanton, who received an Oscar® nomination as one of the screenwriters on “Toy Story.”

Stanton currently serves as vice president, creative, at Pixar. He co-wrote and directed the

Oscar-winning films “Finding Nemo” and “WALL•E” (among other credits). “Toy Story 2’s”

other screenwriters are Rita Hsiao, Doug Chamberlin and Chris Webb. Dan Jeup served as cohead

of story (along with veteran Disney and Pixar storyman, the late Joe Ranft). Pete Docter

worked closely with John Lasseter

in developing the film’s story

concept. Docter went on to direct

“Monsters, Inc.” as well as

Disney•Pixar’s tenth and most

recently released feature film,

“Up.” He has been nominated for

four Academy Awards® including

Best Animated Feature for

“Monsters, Inc.” and Best Original

Screenplay for “WALL•E.”

Academy Award®-winning actor Tom Hanks climbed back in the saddle as the voice of

Woody, and acclaimed comedian and actor Tim Allen once again provided the voice of Buzz

Lightyear. Also returning were Don Rickles as Mr. Potato Head, the late Jim Varney as Slinky

Dog, Wallace Shawn as Rex, John Ratzenberger as Hamm and Annie Potts as Bo Peep. New

to the story were Estelle Harris as Mrs. Potato Head®, the devoted wife who keeps an eye out

for her spud stud; the late Joe Ranft as the voice of Wheezy, a squeaky toy penguin who lost

his squeaker; and the “Woody’s Roundup” TV show characters—Jessie, a cowgirl doll who

sometimes gets the blues, voiced by Joan Cusack, and Stinky Pete the Prospector, voiced by

Kelsey Grammer.

At Al’s Toy Barn, audiences got to meet toynapper Al McWhiggin, voiced by Wayne

Knight, and Barbie®, voiced by versatile singer and actress Jodi Benson (“The Little

Mermaid”). Making his screen debut is the Evil Emperor Zurg, scourge of the galaxy and

Buzz Lightyear’s archenemy, voiced by Andrew Stanton. Jeff Pidgeon once again voiced the

Alien characters. In the human realm, John Morris returned as the voice of Andy, a toy’s best

friend, and Laurie Metcalf reprised her vocal duties as Andy’s mom.

WELCOME BACK, BUZZ LIGHTYEAR AND WOODY

Revisiting Beloved Characters

Creating a sequel to one of the most successful and beloved animated films of all time was

a daunting undertaking, but for John Lasseter and the “Toy Story 2” creative team, working

with characters that they knew and loved was well worth it. “The most exciting part about ‘Toy

Story 2’ was that we got to see Buzz and Woody again,” says Lasseter. “By the end of

production on the first film, they were our friends. Audiences loved them as much as we did,

and their popularity went beyond the boundaries of the movie.”

“In making a sequel, we were able to concentrate on the story since the main characters

and the world already existed. For me, it’s the story that holds the audience, not the

technology and not the look of the film.”

~ John Lasseter, Director

Screenwriter Andrew Stanton says, “There are three balls that you have to juggle when

you’re writing: plot, character and what I call drive. The hardest part is to come up with

characters that are three-dimensional and worth spending time with for the entire film. In this

case, I already knew who the characters were. With the main characters already established,

we had the freedom to concentrate on the other two elements.”

One of the ideas for the story came from Lasseter’s personal experiences as a toy collector.

He explains, “My sons 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 found myself saying, ‘No, no, you can’t play with that

one. Play with this one instead.’And 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.’”

Adds co-director Lee Unkrich (who’s since been tapped to direct “Toy Story 3”), “One of

the things we were really proud of on this film was the amount of heart it has. It 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. It taps into primal human emotions that

people of all different ages can relate to.”

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. As long as you

love someone and you’re affecting

others, life is worth living.”

“In making a sequel to ‘Toy

Story,’” says Lasseter, “we were

able to concentrate on the story

since the main characters and the

world already existed. We built

upon that foundation and created a

new adventure 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.

“We continue to make movies for ourselves,” notes Lasseter. “And the movies that I am

most affected by are the ones that make me laugh hysterically but also move me. 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.’”

Just as Lasseter and the story team enjoyed revisiting their friends, so too did the animators.

The late Glenn McQueen (supervising animator) observed at the time, “It was 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. Buzz and Woody are like our Mickey Mouse. And

our animators had a lot more experience, so the animation is better on this film than it was on

the original.”

WELCOME BACK

PLAY IT AGAIN, RANDY

Directing animator Kyle Balda studied traditional animation techniques while attending

CalArts, but was attracted to computer-generated imagery. “The thing I really like about

animation is the motion,” says

Balda. “Computers let you

concentrate wholly on that aspect.

Working on the sequel to ‘Toy

Story’ gave us the added

advantage of having an entire film

to look at for reference. We also

had a lot to live up to. You had to

make sure that these characters

remained consistent from one

show to the next.”

He adds, “‘Toy Story 2’ was a real animator’s film. You got into the heads of the characters.

From an animator’s point of view, it gave us a chance to really explore a lot of different things.”

PLAY IT AGAIN, RANDY

Setting the Mood with Music

Acclaimed songwriter/composer Randy Newman, who wrote the songs and score for “Toy

Story” and “A Bug’s Life,” provided another colorful score and two original songs, including

the beautiful ballad “When She Loved Me.”

This time, the filmmakers used acclaimed recording artists, including Sarah McLachlan, to

perform the vocals. “The film has a simple and beautiful message about life and love and

relationships,” McLachlan says. “I immediately wanted to do it.”

For the theme to “Woody’s Roundup,” the filmmakers wanted a retro cowboy song that

introduced all the characters like TV theme songs of the period. “We worked with Riders In

The Sky, who are probably the best in the world at the classic cowboy sound,” says Lasseter.

Veteran crooner Robert Goulet recorded a new rendition of the “Toy Story” signature song,

“You’ve Got a Friend in Me.” “To hear him do my song was a real treat,” says Newman. “He’s

got a style all his own. It’s fun to hear the song with the word ‘babe’ thrown in.”

As for the score itself, Newman observes, “For this film, we had a magnificent 100-piece

orchestra. It’s really rewarding to finish something that seemed so gigantic at the start and then

hearing it played back so well.”

ADD FIVE YEARS OF CG INNOVATION AND STIR

A New and Improved Toolbox

Computer animation had 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. Pixar had devoted

considerable resources and manpower to creating and improving tools and applications to

support the needs of the animators. The 1998 film “A Bug’s Life” made great strides in the art

form that informed and influenced “Toy Story 2.”

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.’”

Among the most impressive technological and artistic advances on display in “Toy Story

2” was the way the human characters were designed and animated. New software made 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 were more fully integrated into the world

around them.

A special team of experts was assembled to work on Al McWhiggin, the Cleaner, Andy and

his mom, as well as the host of other humans who populate the “Toy Story 2” world.

Advancements in the depiction of skin and hair made the characters appear more real,

although the art direction and style of the film still opted for a more stylized version of reality.

“Since the beginning of computer graphics, the Holy Grail has been to create a human that

looks realistic,” says Mitch Prater, the lead technical director in charge of creating the human

skin shader. “In ‘Toy Story 2,’ 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 innovation came in the depiction of both human and animal hair. Andy’s dog,

Buster, has nearly four million hairs. “Animators finally had a fairly simple procedure for

moving hair,” adds modeling supervisor Eben Ostby. “That was a really big breakthrough and

added to the believability.”

Animation cinematography improved as well, allowing the filmmakers to use camera

motion and depth of field to tell their story. “In the original ‘Toy Story,’ we tended to opt for

cutting versus a moving camera,” says director of photography Sharon Calahan. “The second

time around, we did the opposite. The result is more similar to techniques used by live-action

filmmakers.”

“Toy Story 2” takes its principal characters well beyond the secure confines of Andy’s room

to dangerous and uncharted territories. In the film’s opening sequence, the audience even gets

a glimpse at Buzz Lightyear’s

intergalactic travels. Production

designers Bill Cone and Jim

Pearson oversaw the ambitious

creation of 18 different sets,

including a 10-block-square

section of the downtown area, the

interiors of Al’s Toy Barn 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.

“We learned a lot about lighting and shading from ‘A Bug’s Life,’” Cone says. “We spent

a lot of time making the world bumpier and dirtier.”

Pearson 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. ‘Toy Story 2’ has such a

PLAY IT AGAIN, RANDY

ABOUT THE VOICE CAST

rich look because we were able to give new life to things like rocks and pebbles and grass.”

Lasseter’s philosophy, then and now, is to hire the best talent and let them do what they are

really good at. “I don’t tell them how to do their jobs,” he says. “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.

“I love what I do,’ he adds. “I have the best job in the world. 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.

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.”

ABOUT THE VOICE CAST

TOM HANKS (Woody, “Toy Story,” “Toy Story 2”) holds the distinction of being the

first actor in 50 years to be awarded back-to-back Best Actor Academy Awards®—in 1993, as

the AIDS-stricken lawyer in “Philadelphia,” and the following year, in the title role of “Forrest

Gump.” He also won Golden Globes® for both of these performances, along with his work in

“Big” and “Cast Away.”

Born and raised in Oakland, California, Hanks became interested in acting during high

school. He attended Chabot College in Hayward, California, and California State University

in Sacramento. At the invitation of Artistic Director Vincent Dowling, Hanks made his

professional debut portraying Grumio in “The Taming of the Shrew” at the Great Lakes

Shakespeare Festival in Cleveland, Ohio. He performed in that company for three seasons.

Moving to New York City in 1978, Hanks performed with the Riverside Shakespeare

Company until getting his big break when he was teamed with Peter Scolari in the television

comedy series “Bosom Buddies.” This led to starring roles in Ron Howard’s “Splash,”

“Bachelor Party,” “Volunteers,” “The Money Pit” and “Nothing in Common.”

In 1988, the Los Angeles Film Critics Association recognized Hanks’ performances in both

“Big” and “Punchline,” giving him their Best Actor Award. Roles followed in films such as “A

League of Their Own” and “Sleepless in Seattle.”

In 1996, Hanks made his feature-film writing and directing debut with “That Thing You

Do!” The film’s title song not only reached the Top 10 on many contemporary music charts,

it was also nominated for an Academy Award® for Best Original Song.

After re-teaming with Ron Howard to make “Apollo 13,” Hanks served as an executive

producer, writer, director and actor for HBO’s “From the Earth to the Moon,” an Emmy®winning,

12-hour dramatic film anthology that explored the entire Apollo space program.

In 1998, Hanks starred in Steven Spielberg’s war drama “Saving Private Ryan,” for which

he received his fourth Oscar® nomination. The following year, he starred in “The Green Mile,”

which was written and directed by Frank Darabont and is based on the six-part serialized novel

by Stephen King.

In 2000, Hanks reunited with director Robert Zemeckis and screenwriter William Broyles

Jr. in “Cast Away,” for which he received yet another Oscar® nomination.

Also in 2000, he worked with Steven Spielberg again as executive producer, writer and

director for another epic HBO miniseries, “Band of Brothers,” based on Stephen Ambrose’s

book. The miniseries aired in the fall of 2001 to wide critical acclaim, leading to an Emmy

Award® and Golden Globe® for Best Miniseries in 2002.

In 2002, Hanks starred in “Road to Perdition,” opposite Paul Newman and Jude Law, under

Sam Mendes’ direction. It was followed by Spielberg’s stylish caper, “Catch Me If You Can,”

opposite Leonardo DiCaprio, which was based on the true-life exploits of international

confidence man Frank Abagnale Jr.

Hanks teamed with Spielberg for a third time in “The Terminal,” opposite Catherine Zeta

Jones. He followed this role with the Coen brothers’ dark comedy “The Ladykillers.”

In 2004, Hanks starred in the film adaptation of the Caldecott Medal-winning children’s

book “The Polar Express,” by Chris Van Allsburg, which reunited him once again with director

Robert Zemeckis.

In 2006, Hanks played Robert Langdon in the film adaptation of Dan Brown’s novel “The

Da Vinci Code,” helmed by Ron Howard and also starring Audrey Tautou, Paul Bettany, Ian

McKellen and Jean Reno.

With his production company, Playtone, Hanks executive produced the critically acclaimed

HBO miniseries “John Adams,” staring Paul Giamatti, Laura Linney and Tom Wilkinson. The

series went on to win an Emmy® for Outstanding Miniseries and a Golden Globe® for Best

Miniseries.

In 2008, Hanks starred in “Charlie Wilson’s War,” opposite Julia Roberts and Philip

Seymour Hoffman, directed by Mike Nichols, which Playtone also produced. In 2009, he

starred in “Angels & Demons” for Ron Howard, reprising his role as Harvard symbologist

Robert Langdon.

TIM ALLEN (Buzz Lightyear, “Toy Story,” “Toy Story 2”) recently wrapped production

on his feature-film directorial debut, the indie comedy “Crazy on the Outside,” in which he

also stars opposite Ray Liotta, Sigourney Weaver, Julie Bowen, Jeanne Tripplehorn, J.K.

Simmons and Kelsey Grammer. Allen plays a newly released prisoner who tries to persuade a

single mom / parole officer (Tripplehorn) to date him. His struggle to rebuild his life is further

complicated by his loving sister (Weaver) and her sarcastic husband (Simmons). The film is

scheduled for release in January 2010.

Allen also completed shooting the comedy “The Six Wives of Henry Lefay,” in which he

plays a man whose wife and five ex-wives fight over his will when they believe he is dead.

Elisha Cuthbert stars as his daughter, and Jenna Elfman, Andie MacDowell and S. Epatha

Merkerson also star.

Allen was last seen on screen in the critically acclaimed drama “Redbelt,” written and

directed by David Mamet. In 2007, he starred opposite John Travolta, Martin Lawrence and

William H. Macy in the hit comedy “Wild Hogs.” The movie revolves around a group of

frustrated, middle-aged suburban biker-wannabes who hit the open road in search of

adventure, only to encounter a group of real Hell’s Angels.

Allen honed his talents as a stand-up comic throughout the ’80s, providing the perfect lead-

in to his highly successful ABC television series, “Home Improvement.” For his work on the

show as Tim Taylor, Allen garnered a Golden Globe® Award and an Emmy® nomination while

being honored with the People’s Choice Award for Favorite Male Performer in a Television

Series for an unprecedented eight years in a row. While passionately ensconced in his hit

sitcom, Allen still found time to expand his talents.

While the Taylor family was still at the top of the prime-time charts, Allen revisited his

ABOUT THE VOICE CAST

comedy roots with a successful national concert tour that finished with a sell-out performance

at Caesar’s Palace. He found time to pen his first book about the male perspective, “Don’t

Stand Too Close to a Naked Man,” which topped The New York Times’ Best Seller List. This

was followed by his second bestseller “I’m Not Really Here,” which focused on midlife,

family and quantum physics.

Allen made his film debut in 1994, playing the holiday icon in the blockbuster hit “The

Santa Clause,” which earned him another People’s Choice Award. Allen next starred in “Jungle

2 Jungle” with Martin Short and “For Richer or Poorer” with Kirstie Alley.

In 1999, during the eighth and final season of “Home Improvement,” Allen was honored

with the TV Guide Award for Favorite Actor in a Comedy Series, and in a tearful farewell,

hung up his tool belt to shift his film career into high gear.

To the delight of moviegoers, Allen next starred in the popular comedy “Galaxy Quest,”

opposite Sigourney Weaver and Alan Rickman. Representing the average Joe, Allen next

starred in “Joe Somebody” opposite Jim Belushi in 2001. That same year, he partnered with

Rene Russo in the Barry Sonnenfeld ensemble comedy “Big Trouble.”

In 2002, in an interesting departure from playing mythical icons and everyman figures,

Allen took on the role of Critical Jim, a professional hit man, in the comedy “Who Is Cletis

Tout?” opposite Christian Slater. He helped kick off the holiday season that year by reprising

his role as the big man in red in the long-awaited sequel “The Santa Clause 2.”

In a brief return to television in 2003, Allen’s old “Tool Time” pals, Debbe Dunning and

Richard Karn, joined him on stage for the live ABC special event “Tim Allen Presents: A

User’s Guide to Home Improvement.”

In 2004, Allen starred opposite Jamie Lee Curtis in the family comedy “Christmas with the

Kranks.” The film, directed by Joe Roth, was an adaptation of John Grisham’s bestselling

novel “Skipping Christmas.”

In 2006, Allen starred in Disney’s “The Santa Clause 3,” in which he once again reprised

his titular role in the “Santa Clause” series. That same year, Allen starred in the family comedy

“Zoom” as a former superhero who is called back to work to transform an unlikely group of

ragtag kids into superheroes at a private academy. He was also seen in Disney’s update of the

family classic “The Shaggy Dog,” in which Allen played a lawyer whose devotion to his career

comes at the expense of his family.

JOAN CUSACK (Jessie, “Toy Story 2”) has received two Academy Award®

nominations—one for her comic portrayal of a Staten Island secretary in “Working Girl” with

Harrison Ford and Melanie Griffith, and the other for her role as Kevin Kline’s jilted bride in

the critically acclaimed “In & Out.” She was the recipient of an American Comedy Award for

Best Supporting Actress in a Motion Picture for her role in “Runaway Bride,” opposite Julia

Roberts and Richard Gere. She also recently received a Daytime Emmy Award® nomination

for her work in “Peep and the Big Wide World.”

Cusack recently appeared in “My Sister’s Keeper,” starring Cameron Diaz and Alec

Baldwin; “Acceptance,” based on the Susan Coll novel; and “Mars Needs Moms!,” an

animated film co-starring Seth Green. She is currently working on “Progress Notes,” an NBC

comedy that she will produce and star in.

Most recently, Cusack appeared in “Confessions of a Shopaholic” and “Kit Kittredge: An

American Girl.” She has starred in such films as “Friends with Money,” “Ice Princess,”

“Raising Helen,” “School of Rock,” “Arlington Road,” “High Fidelity,” “Cradle Will Rock”

and “Where the Heart Is.” She has also starred in three films with her brother, John Cusack:

“War, Inc.,” “Grosse Point Blank” and “Martian Child.”

Her filmography includes comedic femme fatale roles in “Addams Family Values,” “Nine

Months,” “The Cabinet of Dr. Ramirez,” “Corrina, Corrina,” “Toys,” “Hero,” “My Blue

Heaven,” “Men Don’t Leave,” “Broadcast News,” “Say Anything” and “Sixteen Candles,”

among others. She made her screen debut in “My Bodyguard” at age 15.

Cusack’s appearances on the small screen include a regular role on “Saturday Night Live”

during the show’s 1985-86 season and a starring role alongside Anne Bancroft in the BBC

production of Paddy Chayefsky’s “The Mother.” She also starred in the sitcom “What About

Joan.”

Cusack’s theatrical work includes the premiere of “Brilliant Traces” at New York’s Cherry

Lane Theatre, “The Road” at La Mama and “Cymbeline” at the Public Theatre in New York.

She portrayed Helena in “A Midsummer Night’s Dream” at the Goodman Theatre in Chicago,

and was directed by Joanne Akalitis in “’Tis a Pity She’s a Whore.”

Cusack studied acting at the Piven Theatre Workshop. While at the University of Wisconsin

in Madison, where she graduated with a degree in English, she appeared with the

improvisational group “The Ark.”

KELSEY GRAMMER (Prospector, “Toy Story 2”) has excelled at the highest levels in

theater, television and film as an actor, producer, executive producer and director. His role as

Dr. Frasier Crane on “Cheers” developed into the cornerstone of the Juilliard-trained actor’s

career. Grammer continued playing the celebrated character in two different television series

(“Wings” and “Frasier”) over a span of 20 years, tying the record for longest-running character

on television.

Portraying Crane, Grammer has won four Emmy Awards®, two Golden Globes® and a SAG

Award. He has received an unparalleled 16 Emmy nominations, eight Golden Globe

nominations and 16 SAG nominations.

This fall, Grammer stars and serves as executive producer in the new ABC comedy “Hank.”

In his latest film project, a remake of “Fame,” Grammer stars as the orchestra maestro at the

prestigious New York City High School of Performing Arts.

Grammer’s upcoming releases include the comedy “Crazy on the Outside” and the

animated feature “Bunyan and Babe,” an independent film based on the popular American

folktale of the same name.

About 15 years ago, Grammer created Grammnet, a television production company that has

produced such hit shows as the Emmy®-winning “Medium” for NBC and “The Game” and

“Girlfriends” for the CW. Other Grammnet producing credits include the NBC productions

“The Innocent,” “Kelsey Grammer Salutes Jack Benny,” “Fired Up,” “In-Laws” and “Gary the

Rat.” For PAX, he produced “World Cup Comedy.” For FOX, he starred in and produced

“Kelsey Grammer Presents: The Sketch Show.” Most recently, he took on the roles of director

and executive producer on the just-finished comedy pilot “Alligator Point,” for Lifetime.

Grammer has directed single episodes of “Everybody Hates Chris,” “My Ex Life” and “Out

of Practice.” He also directed several episodes of “Frasier,” one of which earned him a DGA

nomination.

Also an accomplished voice-over artist, Grammer plays the character Sideshow Bob on

ABOUT THE VOICE CAST

“The Simpsons,” a role for which he won an Emmy® in 2006. He has also lent his voice to the

feature films “Anastasia” and “Teacher’s Pet,” the television series “Father of the Pride” and

“Gary the Rat,” and the Emmy-nominated telefilm “Animal Farm.”

Grammer’s other feature film credits include “An American Carol,” “Swing Vote,” “15

Minutes,” “Down Periscope,” “Even Money” and “X-Men: The Last Stand.”

Grammer starred on FOX’s “Back to You,” for which he also served as executive producer.

Other made-for-TV movie credits include “A Christmas Carol” for NBC, “Benedict Arnold”

for A&E and “Mr. St. Nick” for ABC’s Hallmark Hall of Fame.

Grammer was born in St. Thomas in the U.S. Virgin Islands and was raised in New Jersey

and Florida. As a teenager, he began acting in plays at Pine Crest Preparatory School in Fort

Lauderdale, where his stage success inspired him to apply to Juilliard. He developed an

interest in Shakespeare and began his professional acting career at the Old Globe Theatre in

San Diego. He spent three years performing in “Shakespeare and Shaw.”

Grammer continued in regional theatre and finally made his way to New York with roles in

the Off-Broadway productions “Sunday in the Park with George,” “A Month in the Country”

and the Obie Award-winning “Quartermaine’s Terms.” He also scored on Broadway in

“Macbeth” and “Othello.”

Before long, Grammer had appeared in two miniseries, first as Stephen Smith in

“Kennedy” and next as Lieutenant Stewart in “George Washington.” He then landed the role

of Dr. Frasier Crane in “Cheers.” The show’s creators originally wanted John Lithgow for the

brief recurring role, but the actor was unavailable. Grammer’s former Juilliard classmate

Mandy Patinkin suggested him to the New York casting director and he got the job, parlaying

six episodes into a career that would span two decades.

After “Frasier,” Grammer would return to the stage and receive critical acclaim as Professor

Henry Higgins in “My Fair Lady.” He also performed the title role in “Richard II” and played

Lucio in “Measure for Measure” at the Mark Taper Forum in Los Angeles.

Grammer lives in the Los Angeles area with his wife, Camille, and their two children,

Mason and Jude.

DON RICKLES (Mr. Potato Head, “Toy Story,” “Toy Story 2”) is one of comedy’s most

famous funnymen. For over 50 years he has appeared in top showrooms in Atlantic City and

Las Vegas, as well as concert halls throughout the U.S. and internationally. He is considered

among the world’s top entertainers and has even become a bestselling author with the 2007

release of “Rickles’ Book.” His second book for Simon & Schuster, “Rickles’ Letters,” was

released in 2008.

Throughout his career, Rickles has been highly visible on television. In addition to frequent

appearances with such TV talk show hosts as Larry King, Jay Leno, David Letterman and

Regis Philbin, he was awarded an Emmy® in 2008 for his performance in the highly acclaimed,

John Landis-directed documentary “Mr. Warmth: The Don Rickles Project,” which debuted on

HBO in December 2007. The show itself was also honored with an Emmy for Outstanding

Variety, Music or Comedy Special and is now available on DVD.

Rickles has also made his mark in theatrical motion pictures such as the Martin Scorsesedirected

“Casino,” which starred Robert De Niro, Sharon Stone and Joe Pesci. He also

appeared in the cult classic “Kelly’s Heroes” after roles in “Run Silent, Run Deep” and “Rat

Race.” Rickles was recently seen in the TNT television movie “The Wool Cap,” which starred

William H. Macy. Additionally, he has starred in live stage productions and, along the way, had

two bestselling comedy albums.

After meeting Rickles in a small Los Angeles nightclub in 1957, Frank Sinatra became one

of the comic’s biggest boosters. Rickles soon became the “in” comedian among the

Hollywood stars, who flocked to his nightclub engagements to become the targets of his

“insults.”

In 1959, Rickles signed on for his first Las Vegas appearance. He clicked immediately and

has headlined there every year since. In the mid ’60s, even though he had attained some

success in nightclubs, Rickles was still far from a national name. He had been working in

clubs and doing television and motion picture acting assignments for more than 15 years.

All that changed on the night of October 7, 1965, when Rickles made his first appearance on

Johnny Carson’s “The Tonight Show.” His freewheeling performance that night became the

talk of the show business industry and caused nationwide comment among the press and

public.

Until then, Rickles’ TV appearances had been limited to acting assignments on situation

comedy and dramatic shows. A fine actor who graduated from the American Academy of

Dramatic Arts in New York, Rickles had frequently received rave reviews for his acting ability.

But now the door was wide open for him to appear on TV as a comedian.

The next important breakthrough for Rickles occurred during the summer of 1967 when he

appeared on “The Dean Martin Show.” Rickles, in his first guest appearance on a major

primetime variety show, scored a big success. Immediately after taping his first appearance,

Rickles was signed for a second guest shot on that program. Celebrities were invited to sit in

the audience to become the targets of Rickles’ barbs. As he walked onstage, the comedian did

not know exactly whom he would be confronting. Among others he faced that night were

Danny Thomas, Jackie Cooper, Bob Newhart, Lena Horne, Dean Martin, Ernest Borgnine,

Don Adams, Ricardo Montalban and Pat Boone. Rickles proceeded to ad lib for an hour,

which was eventually edited down to 20 minutes for the show. For weeks afterwards, people

throughout the country repeated his lines.

Rickles has since starred in primetime series for ABC, CBS, NBC and FOX. During the

’70s and ’80s, he also hosted or co-hosted seven television specials.

In 1980, Rickles became the toast of British society as a result of an appearance at

Grosvenor House in London during a fundraising gala. The guest of honor was Princess

Margaret, who laughed heartily at the barbs directed at her, as did many other British

theatrical, political and social leaders when it came their turn to be zinged. Afterward, the

Princess invited Rickles and his wife to her table so that they could become better acquainted.

The British press for days afterwards headlined what Rickles said and did.

Another TV appearance of note came in 1984 when Rickles received one of the highest

honors an entertainer can be afforded. He was invited by President Reagan to perform at the

televised Inaugural Gala, where he poked fun at the President, the Vice President and other

dignitaries gathered for the occasion.

Over the course of his career, Rickles has received numerous accolades and awards,

including Caesar’s Palace’s first-ever Laurel Award and the U.S. Comedy & Arts Festival’s

2007 Pinnacle Award, acknowledging his body of work. In April 2009, TV Land honored him

with the “Legend Award.”

Rickles was born in New York City. As a teenager, he performed in high school plays and

ABOUT THE VOICE CAST

at neighborhood dances before starting to work in small nightclubs. His “insult” style of

comedy evolved naturally. Two years after his discharge from the U.S. Navy in 1946, he was

working in nightclubs. Never a great joke teller in the traditional sense, Rickles suddenly

found himself talking directly to the audience and throwing off-the-cuff lines at them. The

laughs came and the rest, as they say, is history.

Rickles is also well known for his many charitable involvements. Among his proudest

moments was the dedication on February 7, 1982 of the Barbara and Don Rickles Gymnasium

at Sinai Temple in West Los Angeles. The gymnasium was built with funds raised by Rickles

and many of his star friends during a special performance at the Ahmanson Theater in the Los

Angeles Music Center.

Rickles and his wife, Barbara, live in the Los Angeles area. They have a daughter, Mindy,

a son, Lawrence, and two grandchildren.

JIM VARNEY (Slinky Dog, “Toy Story,” “Toy Story 2”) provided the easygoing country

drawl for this flexible fellow. Always ready to spring into action, Woody’s loyal puppy pal is

the first to volunteer for Buzz’s rescue mission. After all, his friendship with Woody stretches

back a long time.

Varney began entertaining at a young age because his remarkable ability to memorize

poems and entire passages from books delighted his family. It was not a surprise when just

prior to graduating high school, Varney was offered an acting apprenticeship by the

prestigious Barter Theater, a nationally acclaimed professional company whose former players

included Helen Hayes, the Barrymores and Gregory Peck. He did later earn his G.E.D. though.

At age 18 he left for New York City to seek fame and fortune, and spent time performing

stand-up comedy at clubs and playing a variety of featured roles in dinner theater productions.

In the early 1970s, he auditioned for a local commercial and won the part of “Sgt. Glory,”

a character created by the Nashville-based Carden & Cherry Advertising Agency. The series

of commercials that followed proved to be extraordinarily popular and ran for almost five

years in Tennessee. Varney continued to pitch spots and work the comedy club circuit. Then

in 1980 he got another call from Carden & Cherry Advertising. This time they wanted him for

a new character—Ernest P. (for Powertool) Worrell. The public’s response to this

characterization was immediate and positive. Before long, Ernest became a pitchman for

everything from dairy products, soft drinks and car dealerships.

His major motion picture breakthrough came in 1987 when he starred in Touchstone

Pictures’ “Ernest Goes to Camp.” He went on to star in the successful sequels, “Ernest Saves

Christmas,” “Ernest Goes to Jail,” and “Ernest Scared Stupid.” He also appeared in “Daddy

and Them” and provided the voice of Jebidiah Allardyce ‘Cookie’ Farnsworth in Walt Disney

Pictures’ “Atlantis: The Lost Empire.”

Varney won an Emmy Award® for his television series “Hey Vern, It’s Ernest!” In 1992, the

Tennessee State Senate honored Varney for his outstanding contributions to the State,

particularly to children’s charities.

The actor passed away in 2000.

WALLACE SHAWN (Rex, “Toy Story,” “Toy Story 2”) is one of the film industry’s most

recognizable character actors with a long list of movie and television credits. He has appeared

in more than 50 films in a career that began, and continues, as a writer. Shawn, a New York

City native, was once a schoolteacher who taught Latin and drama in New York and English

in India. A lifelong writer whose playwriting career began in 1967, Shawn translated

Machiavelli’s play “The Mandrake” for a Joseph Papp production in 1977 and was asked by

the director to appear in it, marking his acting debut. Since then, he has appeared in “Uncle

Vanya,” “Carmilla” and many other plays.

In 2005, Shawn co-starred opposite Ethan Hawke in the enormously successful Off-

Broadway run of David Rabe’s “Hurlyburly.” In 2007, he starred in an Off-Broadway

production of his play “The Fever.”

The National Theater in London produced Shawn’s “The Designated Mourner,” featuring

Mike Nichols and Miranda Richardson. Those two stars reprised their roles in the BBC Films

adaptation released to critical acclaim in the summer of 1997. Shawn’s play “The Fever” was

produced as a cable film for HBO starring Vanessa Redgrave, which premiered in 2007. His

play “Marie and Bruce” was produced as a feature film starring Matthew Broderick and

Julianne Moore. Other playwriting credits include “Aunt Dan and Lemon.”

In the spring of 2006, Shawn had two plays open in New York: Off Broadway was “The

Music Teacher,” an operatic play co-written with composer brother Allen Shawn, and on

Broadway, his translation of Bertolt Brecht’s “Threepenny Opera,” which was staged with

stars Alan Cumming and Cyndi Lauper.

Shawn’s most recent play, “Grasses of a Thousand Colors,” premiered in the summer of

2009 at the Royal Court Theatre in London, starring himself, Jennifer Tilly and Miranda

Richardson. This original production was the centerpiece of the theater’s yearlong celebration

of Shawn’s work, during which all of his plays were performed.

Casting director Juliet Taylor saw Shawn in “The Mandrake,” then recommended and

ultimately cast him in Woody Allen’s “Manhattan.” Allen later used Shawn in “Radio Days,”

“Shadows and Fog,” “The Curse of the Jade Scorpion” and “Melinda and Melinda.” He also

appeared in four films by Louis Malle: “Vanya on 42nd Street,” “My Dinner with Andre,”

“Atlantic City” and “Crackers.”

Shawn was seen in Amy Heckerling’s “Clueless,” Rob Reiner’s “The Princess Bride,” Blake

Edwards’ “Mickey and Maude,” Stephen Frears’ “Prick Up Your Ears,” James Ivory’s “The

Bostonians” and Rebecca Miller’s “Personal Velocity.” Other film credits include “The

Haunted Mansion,” “Kit Kittredge: An American Girl,” “My Favorite Martian,” “Scenes from

the Class Struggle in Beverly Hills,” “The Hotel New Hampshire” and “The Moderns.”

In addition to having a very recognizable face, Shawn has a distinctive voice that he’s lent

to roles in the animated feature films “The Incredibles,” “The Goofy Movie” and “Teacher’s

Pet” as well as the animated television series “Family Guy.”

Shawn has appeared regularly on such highly regarded television series as “Murphy

Brown,” “The Cosby Show” and “Taxi,” along with special appearances on “Desperate

Housewives,” “Sex and the City” and “Ally McBeal.” He’s played recurring roles on “The L

Word,” “Gossip Girl,” “Crossing Jordan,” “Clueless” and “Star Trek: Deep Space Nine.”

Shawn’s movies made for television include “Monte Walsh,” starring Tom Selleck; “Mr. St.

Nick,” starring Kelsey Grammer; and “Blonde,” with Poppy Montgomery playing the

legendary Marilyn Monroe.

ABOUT THE VOICE CAST

JOHN RATZENBERGER (Hamm, “Toy Story,” “Toy Story 2”) was born in

Bridgeport, Connecticut, and as a masterful improvisational actor gained international fame

in the role of Cliff Clavin on the NBC phenomenon “Cheers.” During more than three decades

of moviemaking and theater, Ratzenberger has enjoyed success as a screenwriter, director,

producer and multi Emmy®-nominated actor. He is also an accomplished entrepreneur and

longtime philanthropist.

His career began in earnest in the early 1970s when he formed the improvisational theatre

duo “Sal’s Meat Market,” which performed to standing-room-only crowds throughout Europe

for 634 straight performances.

In between his theater touring in Europe, Ratzenberger was a producer and screenwriter for

the BBC, Royal Court Theater, Hampstead Theater Club, Royal Academy of Dramatic Arts

and Granada TV. Projects he wrote include “Five Minutes in America,” “The Golden

Dreamboat,” “Friends in Space,” “Crown Court” and “Winner Take All.”

On the silver screen, his first motion picture role was in the Golden Globe®-nominated film

“The Ritz” (1976), directed by Richard Lester and starring Rita Moreno and Jack Weston. He

went on to appear in over 22 major motion pictures over the next few years, including

“Gandhi” and “The Empire Strikes Back.” He also starred in the Granada TV series “Small

World.”

In all, Ratzenberger has acted in 38 major motion pictures, including “Determination of

Death,” “Superman,” “Superman II,” “One Night Stand,” “Tick Tock,” “That Darn Cat,” “She’s

Having a Baby,” “Protocol,” “The Falcon and the Snowman,” “Ragtime,” “Reds,” “Outland,”

“Yanks” and “A Bridge Too Far.”

In 1982, Ratzenberger accepted a writing assignment for CBS in Los Angeles. On the day

he was scheduled to return to London, he auditioned for a role on the upcoming series

“Cheers.” At the time of his audition, the character of the postal carrier did not exist. “Do you

have a bar know-it-all?” he asked the series’ creators. They didn’t know what that meant, so

the actor gave them five hilarious minutes of improv. They loved what they saw and thus was

born the lovable mailman and trivia king Cliff Clavin, now an American icon.

In the history of television, only a handful of series have achieved the worldwide success

of “Cheers,” on which Ratzenberger portrayed Cliff for the show’s entire 11-year run. To this

day, thanks to daily syndication, Cliff continues as one of America’s most loved characters.

As one of Hollywood’s most versatile vocal talents, Ratzenberger is the only actor to voice

a role in all of the Pixar films: P.T. Flea, the excitable circus ringmaster in “A Bug’s Life”; the

lovable snow monster Yeti in “Monsters, Inc.”; the ever-changing school of Moonfish in

“Finding Nemo”; the philosophical character Underminer in “The Incredibles”; Mack the

truck in “Cars”; Mustafa, headwaiter in “Ratatouille”; John, a human in “WALL•E”; and the

construction worker in “Up.”

Ratzenberger has appeared in numerous TV movies, including a starring role as miner Tom

Foy in “The Pennsylvania Miners’ Story” and roles in “A Fare to Remember,” AMC’s award-

winning “Remember Wenn,” and “How I Spent My Summer,” “Going to the Chapel,”

“Combat Academy,” “Under Pressure,” “Timestalkers,” PBS Masterpiece Theatre’s “The

Good Soldier” and the BBC’s “Song of a Sourdough” and “The Detectives.”

Ratzenberger has guest-starred on a variety of series, including “8 Simple Rules…for

Dating My Teenage Daughter,” “That ’70s Show,” “Touched By an Angel,” “Sabrina, the

Teenage Witch,” “Caroline in the City,” “Sister, Sister,” “Murphy Brown,” “The Love Boat,”

“Magnum P.I.” and “Hill Street Blues.”

He portrayed Cliff Clavin in a guest spot on “Frasier,” in eight NBC specials as well as “The

Simpsons,” “Blossom,” “Wings,” “The Tortellis” and “St. Elsewhere.”

Ratzenberger executive produced and created “The World’s Most Incredible Animal

Rescues.” He integrated life and art in Home and Garden TV’s series “American Hobbies and

Pastimes with John Ratzenberger,” serving as host, creator and executive producer. One of the

first reality shows, it gave an adventurous look at unusual hobbies while visiting with

“regular” Americans in their homes. He also created, executive produced and starred in Fox’s

situation comedy pilot “Locals.” Ratzenberger executive produced the series “And Now You

Know,” in which he focused his camera on “people who know how to fix things.”

Ratzenberger continues to direct, produce and write. He currently heads up his own

production company, Fiddlers Bay Productions, located in Los Angeles. He has directed more

than 50 episodes of various series, including multiple episodes of “Cheers,” “Down Home,”

“Madman of the People,” “Pearl” and “Sister, Sister.” Ratzenberger also directed single

episodes of “Evening Shade” and “Sydney.”

The actor enjoyed a great run on “Dancing with the Stars” during the spring of 2007. He

continues to dance when he can, but has given up his dreams of becoming a professional

ballroom competitor!

Ratzenberger wrote “We’ve Got It Made in America: A Common Man’s Salute to an

Uncommon Country.” His philosophy—“Wake up in the morning, put your hand to something

useful, and take care of yourself and your family”—is at the heart of each selection in the

book. It’s a collection of essays and remembrances that come from his years on the road,

visiting factory towns throughout the country for “John Ratzenberger’s Made in America.” In

2004, Ratzenberger began starring in this Travel Channel series, which was an immediate hit.

He created the show to bring viewers the stories of the best products made in the U.S.A. It

honors American men and women who invent and build the goods that are the backbone of

our economy. The series reached a milestone in television with the launch of its fifth and final

season in 2008.

In his latest live-action feature film, “Village Barbershop,” written and directed by Chris

Ford, Ratzenberger stars as a barber who has given up on life, but then meets a young cocktail

waitress who rekindles his desire to live.

Through his charity, Nuts, Bolts and Thingamajigs Foundation, Ratzenberger has

committed his resources to introducing America’s youth to the pleasures of “tinkering,” getting

away from their video games and TV sets and into the backyard to build things. The goal is to

create the next generation of artisans, inventors, engineers, repairmen and skilled workers—

in short, a self-sufficient, self-sustaining society. His tag line has become “Little hands build

big dreams. Give children tools and watch them build America.”

Nuts and Bolts recently merged with the Fabricators & Manufacturers Association of

America, which works on multi-level platforms to promote American manufacturing,

including grants and scholarships to nonprofits that provide day or overnight camps to

children who want to learn the manual arts.

Ratzenberger is an outspoken advocate for American-made products and the companies

that keep Americans working. In 2007, he embarked on a year-long commitment with the

Association for American Manufacturing and U.S. Steelworkers to create a Presidential Town

Hall Tour. The Town Hall series brought attention to issues that American voters were

ABOUT THE VOICE CAST

demanding to hear about—a real commitment from presidential candidates to ensure a strong

manufacturing industry. During the town hall events, Ratzenberger encouraged voters to ask

the presidential candidates what specific policies they would enact to strengthen the American

manufacturing base, which he sees as vital to the nation’s economic and national security.

That same year, the actor was invited to address Congress and its Manufacturing Caucus,

for which he prepared his oft-quoted speech “The Industrial Tsunami Heading Our Way.” He

continues to work with politicians on both sides of the aisle to ensure that the American

manufacturing industry has a voice in Washington.

During his free time, Ratzenberger is an avid sailor, fisherman and billiards player. He

enjoys international travel, fencing and collecting antiques. He plays the drums and belongs

to a bagpipe band, as part of the Emerald Society. Sports such as karate, yoga and skeet

shooting keep him active. He has one son and one daughter and lives outside of Los Angeles,

but spends as much time as possible on his boat, cruising up and down the East Coast.

ANNIE POTTS (Bo Peep, “Toy Story,” “Toy Story 2”), widely known for her role as

Mary Jo Shively on “Designing Women,” has starred in many television shows and series,

including “Two and a Half Men,” “Any Day Now,” “Law & Order: SVU,” “Ugly Betty,” “Joan

of Arcadia,” “Boston Legal,” “Men In Trees,” “Huff,” “Dangerous Minds” and “Love and

War.”

Her film credits include Larry McMurty’s “Texasville,” “Ghostbusters,” “Pretty in Pink,”

“Who’s Harry Crumb?” and of course “Toy Story” and “Toy Story 2.”

JOHN MORRIS (Andy, “Toy Story,” “Toy Story 2”) has worked professionally since the

age of six. Starting his professional acting training early on at Kids On Camera in the Bay

Area, he went on to study with the Young Conservatory at ACT, at UCLA, earning a BA in

Theater, with a specialization in Musical Theater, and, most recently, at the Kalmenson &

Kalmenson Voiceover Workshop for Actors in Burbank. He has appeared in national

commercials for Chevron, Isuzu, Sega Genesis, Boeing and Levi’s and has voiced the principal

characters for several CD-ROM and video games. He has performed in professional theater

productions at Berkeley Rep, American Conservatory Theater and, most recently, worked on

an Equity staged reading in New York. Television credits: “Unsolved Mysteries.” Past film

credits include: “Copycat,” “The Nightmare Before Christmas,” “Nick and Norah’s Infinite

Playlist.” His upcoming films include “Toy Story 3” and “Jack’s Back,” due out in 2010 and

2011, respectively.

LAURIE METCALF (Andy’s Mom, “Toy Story,” “Toy Story 2”) is an original member

of Chicago’s Steppenwolf Theater, now in its 33rd season. She first appeared in New York in

Lanford Wilson’s “Balm in Gilead” at the Circle Rep Theater in 1984, for which she received

Drama Desk, Obie and Theatre World Awards. Since then, Metcalf has had the pleasure of

working on productions by amazing playwrights such as Martin McDonagh, Terrence

McNally, Don DeLillo, George Bernard Shaw, Tom Stoppard, Garry Marshall, Sam Shepard,

Tennessee Williams, Harold Pinter, Arthur Miller, David Mamet and Neil Simon. In 2008, she

starred on Broadway opposite Nathan Lane in David Mamet’s comedy “November,” for which

she received a Tony® nomination.

The actress won three Emmy Awards® for her role as Jackie Harris on the television series

“Roseanne.” She was recently nominated again for her work on “Desperate Housewives.” Film

credits include “Desperately Seeking Susan,” “Leaving Las Vegas,” “Bulworth,” “JFK,”

“Internal Affairs” and “Uncle Buck.”

ESTELLE HARRIS (Mrs. Potato Head, “Toy Story 2”) is best known as George

Costanza’s cranky mother on the popular sitcom “Seinfeld.” She is also a highly respected

theater actor, which is how she got her start. Harris began her professional career in the early

1970s performing in dinner theatres while she and her husband, Sy, were raising their children

in Long Island, New York. Her vitality, perseverance and talent paid off, and she started doing

numerous television commercials while continuing to sharpen her skills in theaters all over the

country.

Her critically acclaimed stints as Lola in “Come Back Little Sheba,” Miss Adelaide in

“Guys and Dolls,” Mrs. Strakosh in “Funny Girl” and Yente in “Fiddler on the Roof ” led to a

bicoastal career in the mid-1980s that furthered her progress in television and films. She

played Easy Mary in “Night Court” and appeared on several other TV shows including

“Married with Children” and “Mad About You.”

In 1993, Harris auditioned for the part of George Costanza’s mother in “Seinfeld” and was

immediately hired. Her first appearance was in the infamous Emmy Award®-winning episode

entitled “The Contest,” which made her an immediate hit. Harris was soon paired up with

Jerry Stiller and went on to become one of the most hilarious mothers on television.

Harris recently acquired a whole new fan base of children when she played the recurring

character Muriel on “The Suite Life of Zach and Cody.” She has also been seen in television

series such as “The Parkers,” “Half and Half,” “Cybill,” “Star Trek: Voyager,” “Moesha,”

“Providence” and “ER.”

On the feature film side, Harris starred in the mockumentary “The Grand,” starring Woody

Harrelson and Dennis Farina; “Good Advice,” opposite Charlie Sheen and Angie Harmon;

“What’s Cooking,” with Alfre Woodard, Julianna Margulies and Mercedes Ruehl; and

“Playing Mona Lisa,” with Elliot Gould and Marlo Thomas. She’s been seen in television

movies such as Showtime’s “Fallen Angels,” directed by Peter Bogdonavich, and “The West

Side Waltz,” co-starring Shirley MacLaine, Liza Minnelli and Kathy Bates.

Other feature film credits include “Out to Sea,” “Odd Couple 2,” “Lost and Found,” “My

Giant,” “Once Upon a Time in America,” “Stand & Deliver,” “This Is Your Life,” “Perfect

Alibi” and “Addams Family Reunion.” Her distinctive voice has also brought Harris

considerable success in animated films such as “Brother Bear,” “Tarzan 2,” “Teacher’s Pet”

and “Home on the Range.” She’s been heard on many cartoon series and specials, including

“Dave the Barbarian,” “The Proud Family” and “Kim Possible.”

On stage, Harris recently appeared in “Pippin” and “The Vagina Monologues” in Los

Angeles. She recently completed a production of “The Tale of the Allergist’s Wife” which was

recorded and will be syndicated on National Public Radio. Her Off-Broadway credits include

“Enter Laughing” and “The Prisoner of Second Avenue.”

Raised in a small coal-mining town in Pennsylvania, Harris has been married for more than

40 years. She is the proud mother of three and has three grandchildren, all boys. She enjoys

“garage sale-ing” and adores her dogs, ZsaZsa and Valentino.

ABOUT THE VOICE CAST

R. LEE ERMEY (Sarge, “Toy Story,” “Toy Story 2”) is a Golden Globe® nominee and

Boston Society of Film Critics Award winner for Best Supporting Actor in Stanley Kubrick’s

“Full Metal Jacket.” After more than 25 years in the business, Ermey is one of the most

successful and talented actors in film and television today. His numerous roles in feature film

include “Switchback,” starring opposite Dennis Quaid and Danny Glover, “Dead Man

Walking,” “Seven,” “Leaving Las Vegas,” “Murder in the First,” “Life,” “The Frighteners” and

“Sommersby.” Ermey was critically acclaimed for his role opposite Jared Leto in

“Prefontaine.”

Ermey served 11 years’ active duty with the U.S. Marine Corps. He rose to the rank of staff

NCO, served two years as a drill instructor and a tour of duty in Vietnam. Medically retired in

1971, he used his G.I. Bill benefits and enrolled at the University of Manila in the Philippines,

where he studied drama. Francis Ford Coppola was filming “Apocalypse Now” in the area and

cast Ermey in a featured role. He has since gone on to star or appear in approximately 60

films.

Ermey is no stranger to prestigious television, either. He has starred in numerous telefilms

including HBO’s “Weapons of Mass Distraction,” TNT’s “The Rough Riders” and “You Know

My Name,” starring Sam Elliot, as well as Showtime’s “The Apartment Complex.”

Ermey co-starred in the feature “Saving Silverman” with Jason Biggs, Jack Black, Steve

Zahn and Amanda Peet. He appeared opposite Jeff Bridges in “Scenes of the Crime” and

Harvey Keitel in “Taking Sides.” Ermey appeared in “Run Ronnie Run” and was seen in the

remake of “Willard” with Crispin Glover.

He starred in both the remake of “Texas Chainsaw Massacre” and its prequel “Texas

Chainsaw Massacre: The Beginning,” playing his now-infamous character, Sheriff Hoyt. More

recently, Ermey appears in the feature film “Solstice.”

The actor has a primetime cartoon in development about a banished drill instructor who

moves to San Francisco with his liberal family for a new job as a Marine recruiter. Ermey

plays the drill instructor, who is a modern-day Archie Bunker type. Ermey also hosts his own

History Channel show, “Mail Call,” which focuses on military technology past, present and

future, and recently completed its 100th episode. He is now working on a new show for the

History Channel called “Lock ’N Load with R. Lee Ermey.”

JODI BENSON (Barbie, “Toy Story 2”) has given voice to immortal characters in such

animated classics as “The Little Mermaid” and “Thumbelina,” playing the title role in each.

Her film credits include “Enchanted,” “A Christmas Carol,” “Lady and the Tramp II,”

“Flubber” and “101 Dalmations II.” She has voiced characters in major video games such as

“Kingdom Hearts,” “Onimusha 3” and “A Bug’s Life.”

On stage, Benson played Polly Baker in “Crazy for You,” receiving a Tony Award®

nomination for Best Actress. Other major theatrical credits include “Smile,” “Welcome to the

Club” and “Marilyn: An American Fable.”

On the small screen, Benson has lent her vocal talents to such animated series as “Batman

Beyond,” “Grim & Evil,” “Camp Lazlo,” “The Wild Thornberrys” and “Hercules.”

ABOUT THE FILMMAKERS

JOHN LASSETER (Director, Original Story, “Toy Story,” “Toy Story 2”) is chief

creative officer of Walt Disney and Pixar Animation Studios and principal creative advisor to

Walt Disney Imagineering. He is a two-time Academy Award®-winning director and oversees

all films and associated projects from Walt Disney and Pixar Animation Studios. Lasseter

directed “A Bug’s Life” and executive produced “Monsters, Inc.,” “Finding Nemo” and “The

Incredibles.” He returned to the director’s chair in 2006 with “Cars.”

In 2004, Lasseter was honored by the Art Directors Guild with its prestigious Outstanding

Contribution to Cinematic Imagery Award and received an honorary degree from the

American Film Institute. He received the 2008 Winsor McCay Award from ASIFA-Hollywood

for career achievement and contribution to the art of animation.

Under Lasseter’s supervision, Pixar’s animated features and short films have received a

multitude of critical accolades and film industry honors. He received a Special Achievement

Oscar® in 1995 for his inspired leadership of the “Toy Story” team. His work on “Toy Story”

also resulted in an Academy Award® nomination for Best Original Screenplay, the first time

an animated feature had been recognized in that category. “Finding Nemo,” released in 2003,

became the highest-grossing animated feature of all time and won the Oscar for Best

Animated Feature Film.

As creative director of Pixar, Lasseter enjoyed the critical acclaim and box-office success

of “The Incredibles” in 2004. The film was recognized with a record-breaking 16 Annie Award

nominations and several “Best Of ” awards by The Wall Street Journal, American Film

Institute, National Board of Review and many others.

Lasseter also has written, directed and animated a number of highly renowned short films

and television commercials for Pixar, including “Luxo Jr.,” “Red’s Dream,” “Tin Toy” and

“Knick Knack,” which was produced as a 3D stereoscopic film. “Luxo Jr.” was a 1986

Academy Award® nominee and “Tin Toy” became the first computer-animated film to win an

Oscar® when it received the 1988 Academy Award for Best Animated Short Film.

Prior to the formation of Pixar in 1986, Lasseter was a member of the Computer Division

of Lucasfilm Ltd., where he designed and animated the computer-generated Stained Glass

Knight character in the 1985 Steven Spielberg-produced film “Young Sherlock Holmes.”

Lasseter attended the inaugural year of the Character Animation program at California

Institute of the Arts and received his B.F.A. in film there in 1979. While attending CalArts,

Lasseter produced two animated films, both winners of the Student Academy Award® for

Animation: “Lady and the Lamp” in 1979 and “Nitemare” in 1980. His very first award came

at the age of five when he won $15.00 from the Model Grocery Market in Whittier, California,

for a crayon drawing of the Headless Horseman.

PETE DOCTER (Original Story, “Toy Story,” “Toy Story 2”) is the director of

“Monsters, Inc.” and “Up,” Disney•Pixar’s tenth and most recently released feature film.

Starting at Pixar in 1990 as the studio’s third animator, Docter collaborated with John

Lasseter and Andrew Stanton in developing the story and characters for “Toy Story,” Pixar’s

first full-length animated feature film, for which he also served as supervising animator. He

served as a storyboard artist on “A Bug’s Life,” and wrote initial story treatments for both “Toy

Story 2” and “WALL•E.”

ABOUT THE FILMMAKERS

Docter’s interest in animation began at the age of eight when he created his first flipbook.

He studied character animation at CalArts (California Institute of the Arts) in Valencia,

California, where he produced a variety of short films which have shown in animation

festivals around the world, and won a Student Academy Award®. Upon joining Pixar, he

animated and directed several commercials, and has been nominated for four Academy

Awards® including Best Animated Feature (“Monsters, Inc.”) and Best Original Screenplay

(“WALL•E”).

Docter currently resides in Piedmont, Calif. with his wife and their two children.

ANDREW STANTON (Screenplay, Original Story, “Toy Story,” “Toy Story 2”) has

been a major creative force at Pixar Animation Studios since 1990, when he became the

second animator and ninth employee to join the company’s elite group of computer animation

pioneers. As Vice President, Creative, he currently oversees all features and shorts

development for the studio. He wrote and directed the Academy Award®-winning feature film

“WALL•E,” for which he also received a Best Original Screenplay Oscar® nomination. Stanton

is currently working on a future feature film project.

Stanton made his directorial debut with the record-shattering “Finding Nemo,” an original

story of his that he also co-wrote. The film garnered Stanton two Academy Award®

nominations (Best Original Screenplay and Best Animated Feature), and “Finding Nemo” was

awarded an Oscar® for Best Animated Feature of 2003, the first such honor Pixar received for

a full-length feature.

Stanton was one of the four screenwriters to receive an Oscar® nomination in 1996 for his

contribution to “Toy Story,” and went on to receive credit as a screenwriter on every

subsequent Pixar film. Additionally, he served as co-director on “A Bug’s Life” and was the

executive producer of both “Monsters, Inc.” and the 2006 Academy Award®-winning

“Ratatouille.”

A native of Rockport, Massachusetts, Stanton earned a Bachelor of Fine Arts in Character

Animation degree from California Institute of the Arts (CalArts), where he completed two

student films. In the 1980s, he launched his professional career in Los Angeles animating for

Bill Kroyer’s Kroyer Films studio, and writing for Ralph Bakshi’s production of “Mighty

Mouse, the New Adventures.”

LEE UNKRICH (Editor, “Toy Story,” Co-Director, “Toy Story 2”) has played a variety

of key creative roles in nearly every animated feature film produced by Pixar Animation

Studios since his arrival at the company in 1994. Unkrich initially collaborated with John

Lasseter, Pixar’s Chief Creative Officer, as a film editor on “Toy Story” and supervising film

editor on “A Bug’s Life.” He made his directing debut in 1999 as co-director of the Golden

Globe®-winning “Toy Story 2.” Additionally, Unkrich co-directed “Monsters, Inc.” and served

as co-director and supervising film editor of the Academy Award®-winning animated feature

film “Finding Nemo.”

Prior to joining Pixar, Unkrich worked for several years in television as an editor and director.

Unkrich graduated from the University of Southern California’s School of

Cinema/Television in 1991, where he directed several award-winning short films.

A native of Cleveland, Ohio, Unkrich spent his youth acting at the Cleveland Playhouse.

He lives in Marin County, California, with his wife and three children.

DR. ED CATMULL (Executive Producer, “Toy Story”) is co-founder of Pixar

Animation Studios and president of Walt Disney and Pixar Animation Studios. Previously,

Catmull was vice president of the Computer Division of Lucasfilm Ltd., where he managed

development in the areas of computer graphics, video editing, video games and digital audio.

Dr. Catmull has been honored with five Academy Awards®, including a Technical

Achievement Award, two Scientific and Engineering Awards, and one Academy Award of

Merit for his work. In 2009, the Academy of Motion Picture Arts and Sciences awarded

Catmull the Gordon E. Sawyer Award for his lifetime of technical contributions and leadership

in the field of computer graphics for the motion picture industry. He also received the ACM

SIGGRAPH Steven A. Coons Award for his lifetime contributions in the computer graphics

field, and the animation industry’s Ub Iwerks Award for technical advancements in the art or

industry of animation.

Dr. Catmull is a member of The Academy of Motion Picture Arts and Sciences, the

National Academy of Engineering, the Visual Effects Society and the University of California

President’s Board on Science and Innovation. Dr. Catmull was honored with the Randy Pausch

Prize from Carnegie Mellon University’s Entertainment Technology Center in 2008 and was

selected as the recipient of the IEEE Computer Society’s 2008 Computer Entrepreneur Award.

Dr. Catmull earned Bachelor of Science degrees in computer science and physics and a Ph.D.

in computer science from the University of Utah. In 2005, the University of Utah presented

him with an Honorary Doctoral Degree in Engineering.

WILLIAM T. REEVES (Supervising Technical Director, “Toy Story”) served as

supervising technical director on a number of Pixar’s feature films, including “A Bug’s Life”

and the Academy Award®-winning “Finding Nemo.” Reeves led the preproduction teams for

“Cars” and “The Incredibles,” and was the Global Technical Supervisor on “Ratatouille.”

In 1980, Reeves joined the computer division of Lucasfilm as project leader of the systems

group and a member of the computer graphics group. In 1982, Reeves moved on to work full

time in the graphics division as project leader of the modeling and animation group. During

this period, Reeves invented a new image synthesis technique called Particle Systems that has

been used to model fire, fireworks, trees, grass and flowers. His research was used in the

feature film “Star Trek II: The Wrath of Khan” and published by ACM SIGGRAPH in 1983

and 1985.

In 1986, Reeves left Lucasfilm, along with the majority of the computer division, to join

Pixar Animation Studios as Head of Animation Research and Development. Between 1986

and 1991, he devoted his time to enhancing Pixar’s computer animation software to raise it to

the level where it could be used to create a full-length feature animated film.

Reeves’ extensive short-film credits at Pixar include “The Adventures of Andre and Wally

B,” “Red’s Dream,” the Academy Award®-nominated “Luxo Jr.” and “Knick Knack.” In 1988,

Reeves received an Academy Award for Best Animated Short Film for his work as technical

director on “Tin Toy.”

In 1997, Reeves was awarded a Technical Academy Award® for his invention of Particle

Systems. In 1998, Reeves and three others garnered another Technical Academy Award for

their development of the Marionette animation system, the body of software Pixar has used

for modeling and animation since 1988.

Reeves studied mathematics at the University of Waterloo in Canada and received a

ABOUT THE FILMMAKERS

Bachelor of Science degree in 1974. He then went to the University of Toronto, where he

received a master’s degree in computer science in 1976 and a Ph.D. in 1980. In 1986, Reeves

and Alain Fournier published a paper presenting a simple computer graphics model of ocean

waves that led to extremely realistic images. With co-authors David Salesin and Rob Cook,

Reeves published a paper in 1987 detailing a new shadow algorithm to efficiently compute

anti-aliased shadows.

RANDY NEWMAN (Composer, “Toy Story,” “Toy Story 2”) is an Oscar®-, Grammy®and

Emmy®-winning composer and songwriter whose numerous film credits include “James

and the Giant Peach,” “A Bug’s Life,” “Monsters, Inc.” and “Cars.”

Newman has been nominated for 17 Academy Awards,® including two each for “Ragtime”

(1981), “Monsters, Inc.” and “Toy Story.” He won his first Oscar® in 2002 for the song “If I

Didn’t HaveYou” from “Monsters Inc.” The song also earned him his second of five Grammy

Awards®. Newman’s song, “When She Loved Me,” written for “Toy Story 2,” won a Grammy

for Best Song Written for a Motion Picture, Television or other Visual Media.

Newman’s other film scores include “The Natural,” “Avalon,” “Parenthood,” “Seabiscuit,”

“Awakenings,” “The Paper,” “Pleasantville,” “Meet the Parents” and “Meet the Fockers.” He

has also written songs for television, including the Emmy Award®-winning “Monk” theme song

“It’s a Jungle Out There.” The multi-talented Newman co-wrote the screenplay for “Three

Amigos!” with Steve Martin and Lorne Michaels, and also wrote three songs for the film.

Born in 1943 into a famously musical family, Newman began his professional songwriting

career at 17, knocking out tunes for a Los Angeles publishing house. His uncles Alfred, Lionel

and Emil were all well-respected film composers and conductors. Randy’s father, Irving

Newman, a prominent physician, wrote a song for Bing Crosby.

In 1968, Newman made his recording debut with the lushly orchestrated album “Randy

Newman.” Before long, his extraordinary and evocative compositions were being covered by

a wide range of top artists, from Pat Boone and Peggy Lee to Ray Charles and Wilson Pickett.

Critics raved about Newman’s 1970 sophomore effort “12 Songs,” and increasingly the public

started to take notice of his sly, satirical songwriting in albums such as 1970’s “Live,” the 1972

classic “Sail Away,” and the acclaimed and provocative 1974 release “Good Old Boys.” His

1977 album, “Little Criminals,” included the left-field smash hit “Short People.”

In the 1980s, Newman divided his time between film composing and recording his own

albums, including 1988’s “Land of Dreams,” another breakthrough work marked by some of

his most personal and powerful music.

The ’90s saw the release of Newman’s comedic take on “Faust,” which included

performances by Don Henley, Elton John, Bonnie Raitt, Linda Ronstadt and James Taylor; the

compilation “Guilty: 30 Years of Randy Newman”; and a new 1999 album, “Bad Love.”

Newman’s most recent studio album is “Harps and Angels,” produced by Mitchell Froom and

Lenny Waronker and released in August 2008.

Information contained within as of September 28, 2009.

OSCAR® and ACADEMY AWARD® are the registered trademarks and service marks of the Academy of Motion Picture Arts and

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