Toy Story 5

[Farerb]

Tim Allen Teases ‘Toy Story 5’ After Recording “First Five-Hour Session” For Buzz Lightyear: “It’s A Really Good Story, Guys. It’s Really Good”
https://deadline.com/2024/12/tim-allen- ... 236242933/

[D23ExpoVisitor25]

Tim Allen Teases ‘Toy Story 5’ After Recording “First Five-Hour Session” For Buzz Lightyear: “It’s A Really Good Story, Guys. It’s Really Good”
https://deadline.com/2024/12/tim-allen- ... 236242933/

As much as I think he can sometimes be a bit of a d—k, I believe him.

[Patricier21]

Tim Allen Teases ‘Toy Story 5’ After Recording “First Five-Hour Session” For Buzz Lightyear: “It’s A Really Good Story, Guys. It’s Really Good”
https://deadline.com/2024/12/tim-allen- ... 236242933/

As much as I think he can sometimes be a bit of a d—k, I believe him.

Well, his actual last name is that! Allen is actually his middle name!

[D23ExpoVisitor25]

As much as I think he can sometimes be a bit of a d—k, I believe him.

Well, his actual last name is that! Allen is actually his middle name!

Well, would you look at that.

[D23ExpoVisitor25]

I’d better see Randy Newman come back to score this movie. Toy Story’s music won’t be the same without him.

If Andrew Stanton can have Randy Newman score a Pixar movie he directs with A Bug’s Life all the way back in 1998, so should Mr. Stanton reunite with Randy Newman almost 30 years later for Toy Story 5.

[Kyle]

At this point I'm kind of doubtful he'll return for it. His injuries seem to be keeping him from working.

Edit: ok, maybe he will. This is an excerpt from his recent biography he released.

____
Newman said his only regret is that he didn’t make more records. But even amid his continued physical recovery — just last month he had surgery to repair a bad knee — he’s started writing again.

“I guess there’s always the possibility of making another record. And I really want to get back on the stage. Maybe work on a couple more movies, too,” Newman said, chuckling. “Those are the things I’d like to do before I take up the harp and head upstairs or grab a pitchfork and head down.”


Of course, sometimes its easier said than done at his age. I'm sure phil colins would like to return to music as well, but I dont see him ever doing that. Could be the same deal here, he just hasn't accepted it yet.

[PatchofBlue]

Tim Allen Teases ‘Toy Story 5’ After Recording “First Five-Hour Session” For Buzz Lightyear: “It’s A Really Good Story, Guys. It’s Really Good”
https://deadline.com/2024/12/tim-allen- ... 236242933/

That's typically how stars tend to feel about their own work, whether or not the final product ends up actually being good. Not saying they're deliberately lying, that probably reflects their honest experience with the film, which certainly emerges from a different context than that for the masses consuming the film. They just don't always know how to be objective about their own projects.

[Kyle]

Its less that they don't know how, but they're gonna want to stay on good terms, so of course they're not gonna openly mock their own projects. They get paid and sign a contract to promote it.

[PatchofBlue]

I'm sure that's part of it, and in some cases that may just be the whole truth, but I also think there's something to be said for the attachment a person gets to something they've devoted months or years to versus the experience a random consumer has with something they watch on their phone while making dinner.

People will give Daisey Ridley a hard time, for example, for getting emotional talking about her experience working in Star Wars and jump straight into the lines about PR talk and not getting in trouble with Disney, but she got to embody this story and this character for five years in a way that is just not comparable to the experience of scouring internet comments on the movie. Of course she's going to have a special kind investment in that story, no matter how the internet feels about it.

I don't personally know where Allen falls on this spectrum, I just know it's probably not going to be enough to persuade me to see this movie.

[Disney's Divinity]

I will always watch the new Toy Story films, but I admit I have less interest after 4 than I thought I would have about the series. I like the idea of Woody going off on his own for a while, it might allow the other characters some time to shine. They haven't really done anything much with Buzz or Jessie beyond the first films they appeared in.

[Sotiris]

I’ve already begun, I’m in the third act now. It’s remarkable what they’ve done… with Pixar they didn’t say I couldn’t say anything but… I wish I could… There’s a lot of real intrigue with Buzz. Jessie’s got a big trouble, she needs help, so it’s a really cool thing. I’m startled because it’s a big part of my life. I love that character. You know I’m a sci-fi guy and always think, with Star Wars, 'did you go too far?' and some people think we went too far with [Toy Story 4].

Source: https://www.youtube.com/watch?v=8rVElrZ8h8k

[UmbrellaFish]

I think he’s just excited because this is the first time his Buzz is the focus of the story since the original Toy Story.

[The Disneynerd]

Normally i would be sceptical, but giving that its Pixar, who didnt really dissapoint at all with their latest few outputs (especially with a sequel like IO2) and is known for being a studio that puts story and emotion first, im optimistic about this one.

Its not WDAS after all

[Disney's Divinity]

IDK about that. Both Inside Out 2 and especially Toy Story 4 have been accused of the studio putting greed before story. Not to mention all the fire Soul, Turning Red, and Luca received for being supposed "agenda-driven" films lacking broad appeal. Seems like PIXAR are receiving the same criticisms as WDAS to me, although it goes without saying they're just as false.

[Lavendergolden]

I'm excited for this. I like the emphasis on Buzz and Jessie. TS4 was basically entirely Woody's story with Bo Peep and nobody ever cared about Bo. She seemed like such an Elsa carbon copy so it's nice to go back to TS's real female lead. Pixar always does a great job with their sequels outside of that dreadful Lightyear movie which should be forgotten.

[Disney's Divinity]

Ah, yes, I'd forgotten to point out how Lightyear, Elemental, etc. all flopped, too.

Bo Peep in 4 didn't remind me of Elsa at all, not even Frozen 2 Elsa. I suppose she was a little like Rapunzel as far as all the jumping around and using a prop the way that character used the frying pan.

[The Disneynerd]

Both Inside Out 2 and especially Toy Story 4 have been accused of the studio putting greed before story.

Well, duh! The TS franshise is extremely successful, same with IOs hype still being there many years after their releases, so of course they considered creating sequels for them. But what makes them more special is that they really tinker around and wanna EARN the right to continue their franshises, unlike WDAS who desperately milks their successes with no real afterthought or time to develop. WDAS needs a small mediocre success, and they will gurantee you 3 sequels AND many spinoff Shorts in the next 5 years, while Pixar will will wait even decades to develop a sequel.

Moana 2 could have EASILY made or even surpassed Inside Out 2s Box office numbers, given its brand is way more active with the streaming Services, but it only slowly makes its way to 1Billion, because at the end, story and characters were just an obvious afterthought, unlike IO2 who really DID something with its story that was worthy and gave it all the boost with its numbers. M2 is obviously still successful, but just because of its predecessor, nothing more. The movie is even way more forgettable than Frozen 2.

Regarding Pixars original slate, atleast their movies tried to do unique executions with its designs, tones, and characters, quite even reaching too far with its specificness, especially with Ming or whatever her name was from Red Panda, with her pubity arc, or Luca with the strong italian tone or the forced gay agenda the movie got from viewers, which is something that is faaaar more welcomed than a movie that simplifies everything to a certain point that it has nothing unique and personal to tell and only has nostalgia to be the whole selling point, like more than half of the WDAS slate the last 8 years, with the exception of maybe Raya or Encanto.

So Pixar gets criticzised for sometimes reaching too far with ideas, which is i guess preferred, to something like WDAS who gets criticised for trimming their creative Box smaller and smaller, thinking their audiences are so dumb to quickly eat everything up they present, just because its disney


I thought Elemental was actually quite good! It had many interesting Elements (pun definetly intended yippie) and made the racial metaphora quite unique. I also liked their dynamic, especially since its rare to have a bubbly male character with a more cynical female, when normally those traits are genderswapped.

Also, the movie made atleast 400 Million, which is atleast the double a flop like Wish could only dream of.

I agree Lightyear didnt do anything but they are allowed to have one or two misssteps in their mostly flawless catalogue, unlike WDAS who only got nothing BUT missteps, Strange flop World will take the cake as biggest Animated flop of the 21st century. And Wish symbolizing the clichee and formula the studio embraces the last few years.

Ah and Toy Story 4, while still being a more obvious example of stretching out a completed franshise, was still extremely worthy and managed to give Woody an emotional last arc.

I will change my mind if Woody reunites with them again in 5 which would be the most stupidest thing ever.

In short: Studios approach for sequels
WDAS: MONEY. MERCH. RUSH. =QUICK MONEY (to avoid spoilers and brand recognition)
PIXAR: MONEY. Emotion. Story. Time. =Money (because its good and its brand recognition)

Also Pixars upcoming slate looks wayy more promising, with only like 2 sequels for the next 5 years, while WDAS will love to give us Frozen 3, 4 Zoo2, Moana 3 and Encanto 2

Long ass post lol

[PatchofBlue]

In my experience, both WDAS and Pixar have been called out at some point for putting merchandise before story, but critics are generally quicker to defend Pixar than they are WDAS. This is why both Disney and Pixar can release a sequel to their most successful franchise in 2019, and one of those movies can win the Best Animated film of the Year while the other gets shut out. And when they DO talk about Pixar's failings, they always find a way to somehow attribute them all to Disney. "Then, everything changed when the Mouse Nation attacked."

This Atlantic article from 2017 kind of lays that out. I think the piece makes some valid observations, but it does ultimately default to the thought process of "Well, looks like even the divine touch of Pixar could not hold its ground against the corrupting force of Disney ..." which is something I think about.

How Pixar Lost Its Way
For 15 years, the animation studio was the best on the planet. Then Disney bought it.
https://www.theatlantic.com/magazine/ar ... ay/524484/

And then, after Toy Story 3, the Pixar magic began to fade. The last film of the golden era, it was also the first film begun after Disney acquired Pixar for $7.4 billion in 2006, when Lasseter and Catmull were made, respectively, the chief creative officer and the president of both studios. The sequels that followed—Cars 2 (a spy spoof) in 2011 and Monsters University (a college farce) in 2013—lacked any thematic or emotional connection to the movies that spawned them. Though better than either of those two, Brave, Pixar’s 2012 foray into princessdom, was a disappointment as well. The studio rallied with Inside Out in 2015. But the inferior The Good Dinosaur (also in 2015) and last year’s mediocre Finding Dory only confirmed the overall decline, which was particularly noticeable in comparison with the revival under way over at Disney Animation.

_________

Still, the erosion of Pixar’s uncompromising creative independence can’t be reduced to a case of inadequate oversight. The Disney merger seems to have brought with it new imperatives. Pixar has always been very good at making money, but historically it did so largely on its own terms. The studio, remember, rejected a low-quality direct-to-video Toy Story 2, and instead worked round the clock to come up with another tour de force. But Lasseter, among his other obligations, now oversees Disneytoon Studios as well. In that capacity he served as the executive producer of 2013’s Planes and its 2014 sequel, Planes: Fire & Rescue. The two movies are—like virtually all Disneytoon films—shameless, derivative cash grabs. What makes them unique is that they are also explicit spin-offs of Pixar’s Cars franchise, a development that would have been almost unimaginable before the merger. As Lasseter himself explained, “By expanding the Cars world, Planes gave us a whole new set of fun-filled situations.”

Not to mention a whole new set of toys. Merchandising has, naturally, always been a temptation for Pixar (as for any purveyor of kids’ movies). And Disney has played a central role in the marketing and merchandising of Pixar films since 1991. But when you become a division of the largest entertainment conglomerate in the history of the world, commercial opportunities multiply exponentially. There are a dozen Disney theme parks scattered across the globe in need of, well, themes for their rides. So the year after its acquisition of Pixar, Disney announced that it would open Toy Story Midway Mania the following year at both Disney World and Disney California Adventure. Later in 2007, Disney announced a $1.1 billion redesign of its failing California Adventure park, featuring a new, 12-acre Cars Land. Additional Toy Story– and Finding Nemo–themed rides are in the works in Shanghai and Tokyo.

___________

Pixar has promised that after the upcoming glut of sequels, the studio will focus on original features. But we’re grown-ups, and though the once inimitable studio has taught us to believe in renewal, it has also trained us in grief and loss. I’m not sure I dare to expect much more of what used to make Pixar Pixar: the idiosyncratic stories, the deep emotional resonance, the subtle themes that don’t easily translate into amusement-park rides.

What really sticks with me is how we DID have that space of non-franchise films that felt very comparable to Pixar's classics, but critics chose not to rally behind them for a whole bunch of nothing-reasons that I think reveal more about the state of film criticism than the quality of the movies. And that lack of support feels like a part of the reason why they were never allowed to touch the zeitgeist in the same way. (There are other potential reasons I might track at a later date, like the natural nostalgia cycles that movies like "Toy Story" are currently benefiting from and all the ways that Disney+ has ruined everything, but for this argument ...)

This is the one space where I would say critics were as willing to punish Pixar as they are for Disney at a moment's notice, and that's contributing more to Pixar's reversion to sequels than "theme park rides." A lot of critics became married to the idea that Disney somehow stole Pixar's pilot light, and when they come across films that contradict that theme, they invent reasons to reject it. Pixar "can't make masterpieces" anymore, but they can make money (and still win Oscars), and so we're more or less back to where we were back in 2017.

[Farerb]

Pixar spent the previous decade releasing 7 forgettable sequels (with the exception of Toy Story 3) and only 4 original movies, only two of which were critically acclaimed. The only reason people are defending them is because they still remember their Golden Age from 1995 to 2010, while Disney Animation's greatest films are disregarded as "silly fairytale musicals for children" or they are disregarded as "problematic".

[Disney's Divinity]

Well, duh!

Must not have been that obvious if you needed reminding
Elemental is a flop, comparing it to another flop can't make it a success. And, no, literally nobody thought Moana 2 would do more than Inside Out 2 considering the original Moana didn't sell as well as the first Inside Out; Moana 2 wasn't going to reach Frozen II heights. It's just reality distortion to think anyone expected that. And criticism of the plot and new characters in TS4 and IO2 is pretty common, although IO2 wasn't as poorly received as TS4 was. Most people found the new emotions redundant.

PIXAR and WDAS have the same overlords and they'll both be pumping out oodles of sequels for the next decade. There's no pretending that one studio's going to do more sequels than the other, especially after Elio joins Turning Red, Luca, Soul, and Elemental in the flop box. I don't have high hopes for the beaver movie being successful either, there is nothing unique about that movie's concept or Soul's and Elemental's plot and structure. Turning Red and Luca were probably the only halfway "fresh" films they've delivered in a decade or more. If only they hadn't landed in the middle of the pandemic.

Anyway, I thought Elemental was as dumbed down as Wish. I remember posting here about it and wondering if oversimplification was some kind of company mandate after all the flops.