 It was so exciting that we were inventing this stuff, and it was so fun to keep developing new stuff in this incredible circle that kept happening. Our whole philosophy was that the technology's never going to entertain an audience by itself. It's what you do with the technology. One of the greatest moments in my career at Disney. There was one animator in particular that became probably my closest mentor and was Ollie Johnston. I would go in to his office, I was working on this scene, and he would flip it. He did this to a number of the young animators. Glen Keane would tell me that he did this to him too, but he would flip the scene and he would look at it. My drawing was fairly weak. My brain, I knew what I wanted the animation to be, but I just couldn't get the drawings to work on. I would go in to see if he could help me with drawing, and I was so focused on the drawing, and he would look at it and he goes, John, what's the character thinking? He never, ever, ever, ever, ever thought about the drawings. It was always the character. He was always looking past the character, looking deeper through it and into it. A character was always alive to him, and he always said that all of the characters' actions are driven by that character's thought process. So you have to be clear as to what the character is thinking before you can ever make him move. And also then he would say, well, what's his emotional state? Because he would say a character would move completely differently in two different emotional states. I could pick people and we could walk up stairs together and everybody walks up stairs differently. And it defines a character, these simple movements. And then you have a character, you know, sort of like sometimes you want to have a character do emotion, you know, some sort of action, and then when you see him do the action in a different emotional state, he'll do it completely differently. Case in point, when you go to the exhibit and you see the short film Luxo Jr., there's a little baby lamp, the Luxo Jr. character, and he hops. You know, when he's hopping, chasing the ball, he's so excited and happy. He can barely spend any time on the ground, he's hopping forward. At a certain point, he pops the ball and he's really sad. And he hops out. But it's a completely different hop because he's just really sad. He hops and he spends a lot more time on the ground in between hops. And it's so clear, he's sad. There's no dialogue. In fact, there's no faces on these characters. But every single person watches it will say, he's happy here, he's sad here. And it's that kind of thing that Ollie was talking about. What's the character thinking? And it was so kind of profound. And that's what I would kept talking to the guys at Lucasfilm about story and character and all like that. And I was successfully brainwashed every single one of them to say the thing that they love the most is not as important as the story and the characters. The technology is always in service of the story and the characters. If we make films, if we get a chance to make a feature film, that's what's going, that's what's going to entertain the audience. And you got that chance with Toy Story. We did, in the beginning of the existence of Pixar, the Lucasfilm Computer Division existed from 1979 to 1986. There was about 40 people in the Lucasfilm Computer Division. And it's a pretty remarkable moment in history that people don't quite know about. Ed Katman was hired by George Lucas. And George Lucas funded it with his own money, the belief that computer technology could come into filmmaking and really be able to make things better. And so that group of 40 people during those years did four projects. Three of them George asked Ed to develop and Ed brought the fourth one. Digital non-linear film editing. If you know Final Cut Pro or the Avid, it's a predecessor to that one, made that possible. Digital sound editing, anybody who does Pro Tools or any kind of digital sound editing, the digital compositing of images to replace the optical printer, I mean, our phones can do that now, and 3D computer animation. Those things didn't exist before 1979 and that 40 people led by Ed Katman invented those four things during that period of time. Which is really remarkable and that story is really never told. And so we went to, and so then Steve Jobs came into our life and he purchased our group, the 40 of us, from Lucasfilm in February of 1986 when he founded Pixar. So one of the things that Ed Katman, who was, you know, the president of the company wanted to do is there was a computer, there was not much going on in computer animation at the time and there was one conference called SIGGRAPH, it still exists, but it was where everything was happening. It was like, you know, it's so funny to have like thousands of pasty white nerds coming out of their basements to party their brains out for one week a year and then they go back in their basements, you know, to, you know, dark, dark rooms to develop this stuff. But it was so exciting because so much invention was happening and it all was shown there. So they had this film show that was like a rock concert and so Ed wanted to have something to show, you know, in our first year in 1986 as Pixar and that's when I created Luxo Junior. We did a series of short films during those years, in fact, when Nancy and I got together, she moved out during Luxo Junior, Redstream we were recording, we got married during Tin Toy and we had our first baby during NICDAC, that's how I know those years. And I did, it's funny, I did, you know, during that time for this, we get started and we start making the films from about February till about May, the deadline for SIGGRAPH to deliver was generally like early June, you had to get the films in to there and so I would, the animation department had like two computers and, you know, I would take the midnight shift, you know, I'd work through the night and so I actually had a futon under my desk and those, you know, from 84, 84, 85, 86, 87, 88, 89, during the springtime I basically stayed at work and worked through the night. Even as we got married and had our first baby I was doing this, you know, to build, you know, and it was because I loved it and it was building this new art form and working towards the, you know, building this company and so Nancy would show up with clean laundry and she'd make meatloaf for me and come up and it was so, it was so cute and stuff and I just, it was so much fun, you know, and I'd come home usually once a week to come home and stuff but we worked really hard during this time to do these films and it was all working towards doing a feature film and one of the first contracts Pixar had as a separate company from Lucasfilm was to do a digital in campaign system for Disney, they called it CAPS system and so it started our relationship with Disney and they kept trying to hire me back because it was the new Jeffrey Katzenberg, Michael Isner, Roy Disney, Frank Wells were all back at the Disney studio and they were bringing animation back and they always saw me as someone that they had kind of lost and let go so they kept trying to hire me back. Every time I finished one of the short films I get another call trying to hire me back and so it really got to a point where, you know, we, I wasn't making very much money at all, I had a salary freeze for the whole 80s, I was making the same amount of money the entire time, Nancy was working at Apple, I had to give my incredible wife in the history of computer animation, she was the very first person ever to do 3D computer animation on a Macintosh, she was in the advanced research group at Apple Computer, she worked her way through Carnegie Mellon University as a single mom on welfare and then got a job at Apple and her group invented, she didn't invent QuickTime but her group invented QuickTime in that time period and she utilized it by doing this computer animation and to prove the Macintosh was a real computer that you could really do something with and that was in 1988 and so the same year I did 10 toys she was doing this incredible groundbreaking work at Apple at the same time and we had gotten married and we didn't have much of a honeymoon, we always said we would catch up on the honeymoon but now we're empty nesters so we can, 35 years of kids, we can do it honey, we can go on our honeymoon but it was so exciting during that time period because it was so much invention going on, the cigarette was so exciting but it got to a place where it's like, Ed and I looked at each other and said let's, let's do our dream, let's work towards doing a feature film and so finally we kept and Steve Jobs really helped out with Disney and said instead of trying to hire John away just let him make a movie at Pixar and the thing that made it, and Disney always said no, every animated feature film with a Disney name on it will be made by Disney, end of story. What changed was blessed Tim Burton's heart, my dear friend and I went to college with, he had done, when I was doing the Wild Things test and developing Toaster right across the hall from him, he was doing this puppet animated film called Vincent and he had developed a feature film just like me to utilize that technology, it was called The Nightmare Before Christmas, it was an original idea he'd come up with and then he left to do Pee Wee Herman and all, all that, you know, in his career just Beetlejuice and all like that, it just exploded, it was great, he's so talented, but he always wanted Nightmare Before Christmas back from Disney and so Disney said why don't you make it for us and so at that point in time he had enough clout to where he called his own shots, I wanted puppet animated and we're going to set up a studio up in San Francisco which he did and Henry Sellick, he picked as his director and he, they created Nightmare Before Christmas up there and it was the first time an animated film made and Disney justified it by saying it's a different technique than sell animation which was a bread and butter, would be made and by somebody else but released by Disney. That opened the door for us, then they came to us and said we're doing this puppet animation with Tim Burton, now we're ready to talk to you about doing a computer animated film with you guys, because we had been working on them for a long time, every time they would call me to try to hire me back it's just let me make a film for you up here and they go no and finally they said okay we're interested in doing that, come back when you have an idea. So we're like looking at each other, Andrew Stanton, Pete Docter, Joe Ranford myself saying like you know and and we always said we had done the short film Tintoy which was the first computer animated film to win an Oscar for animated short film in 1988 and it was about toys being alive and we always thought that the idea of toys being alive was the perfect perfect kind of subject for computer animation, because we were in the really really really unique unique opportunity and unique position that we had invented much of computer animation and we knew what computer animation could do really well, its strings and we also knew what its weaknesses were, you know it liked doing things very geometric, anything that was really organic was really hard for the computer to do and it tended the renderers back then tended to make everything look kind of like plastic and so toys was the perfect subject matter for that, we knew it because toys are man-made they're pretty much geometric and toys aren't made of plastic so it worked perfectly for the renderer, you know humans were really hard and that's why we you know Andy his mom and Molly were really kind of like you didn't hardly see them, you know they were they were off, you know it is just feet and hands and stuff like that just because they were really hard to do and then you know toy story is awesome but those humans are a little you know you know just look past them it's you know it's not about them anyway you know it's the toys and then but also the great thing is that we thought toys are in kids rooms kids rooms have completely flat floors straight walls geometric this is awesome so we really leaned in and that's why you know it just knowing the limitations of your art and your medium and then being creative and saying let's lean into those limitations and do what it does really really well and that's what toy story was and you know it was so exciting when we were making this movie and so we pitched the idea to Disney and one of the things that as we were trying to figure out toy story the what the story was going to be was kind of a long evolution to this we made a list actually of what we didn't want what we didn't want the movie to be we didn't want it to be like what Disney was doing so well right they they had the corner on the musical they were doing Little Mermaid Aladdin Beauty and the Beast Lion King right in that time frame and they were just nailing it and they were great and we were like we're not gonna we don't want to do that we want to do something more contemporary something different something that felt you know a different type of story and then and then we discovered the genre of the buddy picture and they had never been done an animation before and what we were looking for was simply we wanted our main character to be the most interesting character in the film Disney tended to to not want to ever make their characters flawed their main characters like Aladdin Aladdin is one of my favorite animated films but you know the Aladdin character himself is is kind of the the most boring character in the movie when Jafar and the genie and and you know all the other characters are brilliant because they're all deeply flawed you know and so he said we want to have a flawed main character and then when we discovered the buddy picture it's like by nature the main character grows tremendously a buddy picture is where you have two characters that are as opposite as possible and some situation caused them to be forced to be together beyond their choice they don't want to be together and through the through the association in the adventure of being forced together they grow tremendously to the point where where they all they want to do is be together they love each other so much and we just love that idea of this growth and so it fit perfectly in the idea of toys being alive because we we said well what if we had an old toy there was a child's favorite and in a new toy on his birthday there's two days a year that the toys fear the most birthdays and Christmas because new toys come in become the kid's new favorite and they get relegated to the bottom of the toy boxes with the Happy Meal toys you know they smell like hamburgers all the time and and so we had this idea you know and and we just really started blossoming and and you know Toy Story was born and so we did Toy Story from 1991 through 1995 and it was released in Thanksgiving of 1995 and like Snow White became the highest grossing film of the year yeah yeah yeah my everyone not just kids right right so so the belief that we all had you know that animation was for everybody you know happened and we can and Disney had helped by by by really bringing animation back for everybody with Little Mermaid and you know all those films but this just came out and and we didn't want it to be a music on our list of what we didn't want it to be we didn't want it to be a musical and I'll never forget this Disney Disney development executive who was helping us in the beginning who is just basically following the orders of her her bosses and she came up once and she sat down we were developing the story and she said okay now we need to talk about where the the six to eight songs are gonna go with the clipboard and we went and my son remember we were it was me and Andrew and Joe and Joe Rampton Pete doctor we looked at each other and say we're actually kind of thinking about not having any songs in it oh my goodness her face just turned pure white and she was like I knew what was going in her head it's like what am I gonna say to them they're gonna fire me what am I gonna say and and one of my what became it one of my my dearest friends came in and saved the day was the executive music producer the VP of music for Disney the Disney studio Chris Montan came in and sat with us and he explained to me and to us how actually songs can really really give you give the audience a really strong emotion that even just dialogue and stuff can't it just can really really add emotion and and further the characters development really well and and so he came back with a great idea where we looked at we looked at two movies and how how songs were used of the graduate and Simon and Garfunkel had they had written songs specifically for the movie and they were played in the movie in a particular you know place and time but they were sung by someone in the Garfunkel it was somebody somebody else but you it worked you got it also Harold and Maude with Cat Stevens was the same thing and so we we actually then turned around and he he great he made up a name that sounded so good that the head of the studio would never admit he didn't he didn't know what it meant because he didn't want to show that he didn't know anything but he and so it was cohesive song song score it was like we're gonna do a cohesive song score it's like sounds good you know yeah sure I know this like that and Chris had made it up you know just to make it sound official but but anyway we went to Randy Newman and to because he did beautiful scores but also he wrote really funny songs as well as really emotional songs and so that started our our long friendship and association with Randy Newman and so Toy Story actually had three songs in it that you can't imagine Toy Story without these songs and so it was something so we were it was really exciting during that time because we were so learning so much and and it's really really exciting to do something no one else had ever done before in history because we did not know what we didn't know and that was a really wonderful thing and John is it hard how was it I keep thinking when you tell me stories about these amazing people in a room just having a conversation about that movie how was it how was it today at Pixar are you able to capture that same magic but how can you do it at that vast scale that you have now you know it's still the rooms are the same sizes with the same people right yeah we have we have lots of people there but but but the you know we when you're really working on a story when you're really crafting story digging into the story and really doing it you know you don't have 1200 people in the room you which is how many people we have a Pixar you have the same kind of amount that we had at Toy Story is a small group and and the the the way that we evolved during Toy Story became the foundation of how we work as a creative organization and it was interesting when we started Toy Story we were getting mandatory notes from Disney and we would have to do the mandatory we would have to do and we had a had a sheet we had to fill out of how you're gonna address these notes and send it back and they had to approve how you were gonna address these notes and so we would do this and we had gotten we had started working down and developing this idea and there was an inherent fear from Disney some some some of the executives at Disney about if it's a story about toys being played with by kids what's in it for the adults and they were really really scared of that so they kept using the word make it edgy make it edgy make it edgy you know make it edgy you know and we're like whatever and so well we kept doing that and can me and and we we we put together the first two acts of the film and story really we went down to Disney and we had made the kept pushing and pushing the characters to be more and more and more edgy and you know we the screening room was full of people we were showing it and I was sitting in the back looking up going this is not the movie I want to make and it was a disaster Woody was so repellent as a character he was awful he was mean and he was he was like the he was he was the the leader he was the Andy's favorite toy and he was kicking everybody off the bed he was not you know all this stuff and it was like all trying to make it edgy and and it really was like and they had kind of they they basically walked out of there and they were this is terrible you know that's like what you know this is this is terrible what happened yeah yeah they're gonna what happened and you know what we're doing was we were following notes the whole time you guys yeah we didn't say that of course but that's that's what luckily what you know some of the some of the the sort of executives that were a really fantastic at Disney that were really helping us out they kind of said that to them that they were following those and so but they basically we're gonna we had right after that they got called us in and they said we're gonna shut production down you're gonna lay everybody off and you we're gonna move your entire story team down to Disney because clearly you guys can't do it on your own and we are going to work with you until we can get get the story you know story back on track and get what we like or else we're not gonna make this movie Nancy and I had just broken ground and building a new house it was three weeks before Christmas it was like you know it was I never I remember they're sitting there going you know it's like that everything all of our dreams and everything was just like ending right then and there and you're like and so I said give us two weeks give us two weeks it's right before Christmas just give us two weeks let us come back with something and they were like really reluctant but they said okay so we went back up and it was the most profound thing the fundamental change in in the foundation of Pixar happened in these two weeks is we basically sort of trusted our instinct we stopped listening to their notes we only took the net we like notes because we use the notes that make the movie better we disregard you know any of the notes and we just sat there and worked day and night all on the floor in front of storyboards together and because we had we had at parts of Lucasfilm computer division had developed digital non-linear editing we were the very first animation studio to use the avid because we believed in in this technology we knew that what what it could do and so because of that we were able to turn around from if you know Toy Story from the beginning of the movie until Buzz Lightyear is in the room and flies around the room and lands you know and said you got I could fly around this room with you my eyes open you know do it okay any he lands and he goes can you know and and from that point you know we came back with a story reel of that in two weeks we storyboarded that whole thing rewrote it and storyboarded it the way we wanted to do it and and they had never seen anything turned around so fast like this and it was so different and it wasn't great because we made it even better since then but it was good it was what we wanted it was the movie we wanted to have Woody was a benevolent leader but then something comes in and he just is pushed too far you know and and that's what we wanted to show you know that there's someone who who you liked you know the repellent Woody was you just didn't like him and no matter what he did what we wanted is that Woody be someone who you really liked but then you go don't do that Woody you know like that that's that's the feeling I wanted to have that he was a flawed character but he was flawed in a way that probably all of us would be and and it was someone that you could get behind and you could you go down his journey and so so we we showed it to him and they were blown away by how how good it was but also how quickly we turned it around and then they basically said they they said okay keep going and so we we basically no one got laid off we were able to not stop production and we really keep going but we we were so empowered for trusting our own instinct of doing what we fundamentally believed in because we were making you know at Pixar we make movies the kind of movies we like to watch it's not a tour thing it is because we love movies we love the way movies make you feel you know when you go to those movies that just you cry in and just like or you laugh or you know y'all that it's like that's the kind of movies you know that that that we want to make and and that's what we were just trusting that instinct and we kept and we kept going and we just got kind of empowered and from that point on quietly without really letting anybody Disney know we basically kept using the notes that made the movie better and just ignored the notes that were topical or this or that it was just we did felt like we're off base and as long as we kept showing them great it kept moving in the right direction kept going everybody was happy and then and then you know they they kept they kept it really close to their chest because they didn't know if this computer animation thing would work out or not and then and then so about a year before it came out they were looking and going this is looking like because you have to understand in hand-drawn animation when you go from storyboards to kind of lay out to rough animation to clean up animation to painted cells you know you could you could see one kind of naturally leads into the the other you know you could see the you could see sort of from the storyboards you can pretty much see what it will be in animation and computer animation we were from from storyboards to bizarre aliens landing on some other planet because all we could do was spheres for their heads and eyes bulging out and stuff because we knew what we were looking at but everybody would look at like what happened to Woody oh that's just a standard kid that's our simple geometric stand-in just it's gonna be Woody and they go it's he's weird I understand that but why does he look that way and it was just so weirdly no one could no one can make I mean I could see the finished product as when everything we were making but we realized no one could really see it and so when we started seeing rendered images come through everybody was like oh wow this is this is turning out to be pretty good you know and and so we we they started kind of getting excited about it and and we we were gonna come out in Thanksgiving and it's a great great story about this to the door they they waited a long time to talk to any toy company now and it's as you've heard my office is full of toys I realized that that you can work in animation with everybody who's studying animation in and stuff like that it's awesome you never have to grow up you can have a family you can make a living you can do all that and you never have to grow up you can be a kid your entire life you can have toys in in your office and all that stuff that's what I realized it was so awesome about animation I have its huge toy collection and I couldn't wait to have toys from something we were creating I thought oh my goodness it's gonna be so much fun but they never taught they kept waiting and waiting waiting to talk to toy companies so by the time they did that was about this year in advance they they called they they called I love to say this Hasbro and in Mattel both passed on making toys for a toy story and I work with both companies today but I always remind them of that and and and so they they called that there's this one tiny little toy company out of Toronto Canada called thinkway toys the owner's name is Albert Chan and he so they called him said would you like to make to be a master toy licensee for this new movie he goes yes we haven't told you what the movie is he goes I don't care I'm in and so he he flew to Pixar and it was January of 1995 it we're coming out in Thanksgiving of 1995 so it was less than a year we talked to him and he he sees the movie and then he basically it says and back in those days you know the I grew up on the full-size GI Joe's that's why Buzz Lightyear is the height he is he's in 12 inches high and and but but they weren't making those those toys didn't exist in in stores at that time if they were a lot you know the Star Wars action figures about the six inch high you know all those that that was really the standard action figure at that time and so he came in he was pitching we're gonna do a set of a toy story toys of six inch action figures this will be great that you know and they were very clever and they did all sorts of fun stuff and all like that and they go but where's the full-size Buzz Lightyear because well there's no market for a 12 inch action figure if I was a kid in the theater looking up and seeing Andy playing with the toys that's the toy I would want not a six inch version but the big one and he goes but there's no market for him I go I don't know the toy industry but I know the little boy in me is saying I want the big Buzz Lightyear and he said well how about we go ten inches I go how would want the big Buzz Lightyear and Albert looked across the table at me I'll never forget he looked at me long and hard he says okay I believe in you I'll make a 12 inch Buzz Lightyear and a 15 inch Woody pull string doll that talks and I go great and in and I'm still gonna do the six inch action figures I go go ahead and do those I got the big size so so he was so smart he recognized that we were the first computer animated feature film that meant our characters were in a digital format so he took our data went over and did a computer milling of all of the parts and made the tooling of the toys from the actual data from the computer and that was how we could do it that fast yeah and he did and so one month he turned around a prototype of Buzz Lightyear and I could not believe I was holding Buzz Lightyear in my hand it was amazing and I remember I said Albert come with me and so I just walked into the screening room where I knew a review was going on and I didn't say a word I just held up Buzz Lightyear in my hand the place went nuts and I remember ebb and ospy who who modeled Buzz Lightyear he walked over all of the couches all the way down from the front speed line and just took it and held it and tears are rolling down his eyes we couldn't believe it so they went around and so they had had this beautiful prototype we blessed of Buzz Lightyear and Woody with the pull string and it worked it was awesome it was great they went around and and stores just wouldn't the retailers wouldn't buy it and so in all of North America he got sold placed for delivery in in you know in November only 60,000 Buzz Lightyear some 45,000 Woody dolls it sounds like a lot but it's nothing for all of North America Canada and the US so he believed in the movie enough and believed in us so much that he invested his own money to make another extra 250,000 Woody's and Buzz Lightyear's and they were in a warehouse ready for reorders he believed in the reorders the toys hit the hit the shells of stores about two weeks before the movie opens from the advertising alone all the toys got sold out a week before the movie opens the reorders for Buzz Lightyear's in the week following the opening of the movie was 1.6 million Buzz Lightyear's and 1.4 and a half million Woody dolls Albert says that you know you have a hit toy when in January the stores reorder because 60% of all toys are sold during the holiday season so he got re he every year since then in January he's gotten massive reorders of Buzz Lightyear he's now made over 35 million Buzz Lightyear's 12 inch buzz light years and but I think I I think it goes you know everybody there's a certain level of you know we all we all have a personal like Michael you know you have a personal level of satisfaction of creative satisfaction of job well done you know and everybody it's different you know in the film industry it's like opening week in box office it's Academy Awards all that to me it is really represented by deeply entertaining audience and there's two stories one five days after the movie comes out and traveling with my family we went down I had heard the Disney was doing a very small toy story parade at the Disney Hollywood studio Disney MGM studios back then in Orlando and I said I'm gonna see that and so we packed up the kids they were all little at that time and we flew down there and we saw it was great and we were flying home and we got off the airplane in Dallas in the Dallas Fort Worth Airport and as we got off there was a little boy and his mom and the dad was at the back of the plane and they were in the front of plane they got off and they were waiting for the dad and the little boy was holding a woody the cowboy doll and my son and it was like it was so moving to me to I stopped and looked at this little boy's face and at that moment I realized this character doesn't belong to me anymore for four years I'd labored over this character and bring it to life this character now belongs to him and the look on his face he was so excited to show his dad this woody the cowboy doll that he had and I'll never forget that little boy's face every single day of my life in work I think of that little boy's face and I go that's why we do what we do and you know and now it's like making frozen and seeing all the little girls dressed up as Anna and Elsa seeing all the incredible YouTube videos of them singing let it go walking through walking through the airports you know I see I remember seeing this little boy with a lightning McQueen rolling suitcase he could barely walk it but he was not gonna let his parents he was real slow but there was no way they were gonna you know carry the bus like I remember a little boy holding a die cast lightning McQueen and Mater and going through security and and they were metal and so they let them and they put he put him in a tray and he kind of put him in there and they put it through the thing and he was so scared and he kind of ran through the other side waited for him to come out and you know these these are the most precious moments to me and I think my most precious possession that I have I've won two two Academy Awards two student Academy Awards Emmys you know won all these awards which are fantastic the Golden Lion from the Venice Film Festival that was really awesome but but hands down my my most prized possession was this this package that came from Walt Disney World it was from the guest relations desk you know in in the Magic Kingdom in the city hall there where you go in and it came with a letter and I opened it up and it was this Woody doll that was so worn out just completely worn out the fabric it was dirty and hat was gone one boot was gone completely and it was so beat up and like the legs have been sewn on had it been three or four times right and and the letter said that a little boy named Caleb who's six years old came into the city hall today and gave us his old Woody doll you see his parents bought him a new Woody doll and he wanted his he wanted his old Woody doll to have a great new home so he was leaving it with them to be with Buzz Lightyear for Infinity and Beyond yeah and I get tears I just broke down crying when I read this I get look at me I'm a mess I mean you just telling the story again every time I get choked up because it's like that's arguably the greatest illustration of why I do what I do why we at Pixar and Disney animation do what we do why what you can do in your life and it's what Sullivan's travels told me it's what what what you know Preston surges created there that notion of deeply entertaining audiences to the point where you know something really touches them you know it it's it's so it's so profound when you can achieve that you know and it's done through through incredible creativity incredible risk and belief in oneself and belief in the process and belief in each other you know and in the creative process that we developed Steve Jobs I remember he was like my brother and we worked together for 25 years and he I remember when we were working really hard on Toy Story and it was tough we were working long hours and really trying to figure this out and invent it in it and get the story working right and all that stuff and then he decided that he was gonna take the company picks our public a public stock offering the week after Toy Story comes out it's hard enough making a good movie don't bet he was betting the entire company on Toy Story and I was like so he took me out to dinner we talked a long time and we walked down we're standing on the curb it was his favorite Japanese restaurant in San Francisco and we were sitting there or we were standing on the curb and we talked for about an hour and a half on that curb and I remember he said you know when he hadn't gone back to Apple at that time he said you know back when I was at Apple when we were making computers the lifespan of our computer was about three years so in five years it's literally a doorstop he said but if you do your job right what you create can last forever and that was that was typical Steve right in the sense that he was looking way beyond everybody else and recognizing this and I started thinking about what he said and I was like you know he's right name another movie that was released in 1938 that's watched today as much as Snow White in the Seven Doors or frankly any year that a Disney movie comes out guarantee you that's the most watched film and will be for generations to come and and he was right you know there's something really special about animation that if you do it right it really does last forever it and and I see that in our own films of our DVDs they there's no way that they can they have stats for everything in in in our business but they don't have a stat for once a DVD or now you know online or whatever how many times our movies are watched in people's homes you know but I just I hear about it with families and just you know when we were making Toy Story our boys were really young and I remember clear as a day she said it Nancy the boys wanted to watch something and it was terrible but they loved it and they wanted to watch it again and again and again and again and again and she's putting this VHS tape in there and looking at me and she said make sure that you don't make Toy Story for the first time someone sees it but for the one hundredth time a parent has to suffer through it on video and and it was it was and I and I I laughed so hard just like you did and it but she was so right and it's like that her statement and then what Steve was saying is what we strive for you know it's something you don't mind and I hear it from parents and all like that it's like you know oh some movie you know they're watching some movie in the kids and they they're cleaning or they're doing something they look and they watch it and the next thing you know they're standing behind the couch they kind of sit down at the couch and they're there until the movie's over again and they've seen it all you know and you know we just we just it's why we do what we do