Add to that the studio's sparkling wit, manifested in gags or allusions often accessible only to older viewers, as well as a wealth of incidental detail that positively demands repeated study, and it's no wonder that Pixar's movies can withstand tens, even hundreds, of viewings by any age group. Among Pixar's contemporaries, only Japan's Studio Ghibli (much beloved of the Pixar crowd, who even pay tribute to the Ghibli classic My Neighbour Totoro in Toy Story 3) has been more consistently groundbreaking in animation, and even it has floundered somewhat with its last two films.įrom the first frame of the original Toy Story, 15 years ago, the marriage of eerily realistic computer animation and old-fashioned, emotionally plausible storytelling was a bountiful one. With the imminent UK release of Toy Story 3, the apparently final instalment of the groundbreaking series that began Pixar's reign in 1995, the question of how one studio has maintained such incomparably high quality control remains intriguing. That word is Pixar, and you don't have to be a shareholder in Disney, which bought the computer animation studio in 2006, to feel reassured when you hear it. I n the notoriously precarious film industry, where nothing is certain and no one knows anything, there is one word that functions simultaneously as talisman, balm and kitemark.
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