Though the film deals with big themes like death, loss and abandonment, the initial idea for the toys accidentally winding up at Sunnyside, Unkrich says, came from a mistake he made during a move: He accidentally threw out all of his wife's childhood toys. (And runs the place more or less like a prison.) After a series of mishaps, Andy's toys end up in a completely different location - Sunnyside Daycare Center, where a huggable bear named Lotso, voiced by Ned Beatty, calls the shots. In the third film, Andy is now a teenager, preparing to leave home and go to college, and his mother tells him he must decide what to do with his childhood toys: take them to college, put them in the attic or throw them out in the garbage. "So what we arrived at was that it was vital to have Andy grown up and be at that transition where the toys were no longer being needed or wanted or loved."
"Ultimately, we wanted to treat this third film like the completion of a saga, as if we had been telling one grand story of the course of the three films," Unkrich says. Lee Unkrich was part of the Pixar team that won the Oscar for Best Animated Feature for Finding Nemo in 2003.īoth Unkrich and Toy Story 3's screenwriter Michael Arndt join Terry Gross for a wide-ranging discussion about the Toy Story trilogy, which will be released on DVD Nov. "We made the best film that we could but at the same time, even though it was so groundbreaking and visually so stunning and unlike anything anyone had ever seen before - we always used to joke that we knew Toy Story was going to be the ugliest movie we'd ever make," Unkrich says.
Unkrich, who edited Toy Story, co-directed Toy Story 2, Monsters, Inc., and Finding Nemo and most recently directed Toy Story 3, says Pixar's animators embraced the computational limitations of their early projects. So it's no accident that our first film was about toys made out of plastic and wood and metal," explains Lee Unkrich, a member of Pixar's creative team since 1994.
"Things that were shiny or plastic or hard - like wood or plastic or metal - those were pretty easy to make. So they focused on designing a movie based around items they knew they could render: toys. In the early 1990s, Pixar's animators had a hard time creating lifelike representations of organic material like water, hair and animal fur on their computer screens. This interview was originally broadcast on October 19, 2010.
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