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Pixar Post - T.J.
I was just looking at an article on Business Insider and Josh Cooley said that in an earlier version of TS4, that Forky was "actually talking to Bonnie at the end of the movie," and all the toys freaking out about how he isn't supposed to interact with people. That may have been out there before, but I don't recall reading that. How crazy would that be - that would have been the first time the TS gang was having a full-on conversation with humans (not just the gang talking "at" Sid).
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PixarsBiggestFan
This interview described the evolution of the ending - first where Bo goes with Woody to Bonnie, then what shown in the deleted scene clip the other day where Bo and Woody go separate ways, and finally what we saw in the actual film where they both become “lost toys.” Also some other interesting stuff as well.

https://www.theverge.com/2019/9/23/20879388/toy-story-4-director-interview-josh-cooley-forky-design-behind-the-scenes-at-pixar
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Pixar Post - T.J.
Just a quick note that Josh was asked 'what's next' for him in a recent MovieWeb interview and he said...

Quote:
Josh Cooley: I just took a vacation and a kind of coming back slowly from that, which is great and I have some original ideas I want to pitch and see if any of those takeoff. So we'll see.

Good to hear he already has original ideas and that he'll be pitching!
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Pixar Post - T.J.
One more that we came across today...an interview with Producer Mark Nielsen (via SYFY) where he noted that they tossed around the idea of involving technology or an iPad toy, but felt that it wasn't all that interesting.

Quote:
The Toy Story movies are as much for adults as for children, and when the first one came out, the technology and the construction of toys had changed only incrementally over the past half-century, making it easier for those '50s toys to resonate with audiences of all ages. But now, 25 years later, kids are as likely to use iPhones as LEGOs and plastic green army men, a shift that complicates a movie series based on toys with faces.

"We talked a lot about that, and we had the idea of like, do we introduce a technological toy into all of this?" Nielsen recalls. "We even tried a few things in our story reels along the way. But at the end of the day, it just wasn't that interesting. When you're talking about a screen and a phone or an iPad, we tried a few things, and it just wasn't interesting to watch."
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Thepixarfanofthefamily05
I’m assuming Josh Cooley probably meant that he is pitching a short and a film. It just seems weird that he would pitch more than one movies at once.
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Pixar Post - T.J.
Whenever they pitch, they have to pitch multiple ideas at one time. If you pitch a short, you have to have three ideas ready to go - I presume it's a similar setup when pitching feature films. Pete Docter noted before as well that after Inside Out, he had several ideas he was going to pitch to see which he'd develop. It's probably more stressful that way, but also really cool that you have to have at least a few ideas ready to go.
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Thepixarfanofthefamily05
It's probably way more stressful because there's more that could go wrong.
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PixarsBiggestFan
This video has some interesting insights on the cameras in TS4 and past camera work Patrick Lin has developed for Pixar.

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Pixar Post - T.J.
What a great video. I mean, most of the info was available before the video itself (from prior interviews), but you can't argue with a video that's put together so well and does such a wonderful job explaining all the lens, techniques, and such! We hope to do a post on this as well to share it more broadly and throw in some more of our comments as well (love this stuff since I'm a photographer as well).
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Pixar Post - T.J.
Stumbled across this interview with Carl Weathers (Combat Carl) and although nothing is earth-shattering, it's funny hearing how casual and nonchalant his experience in the recording booth was. You can read the whole interview on BlackFilm's website, but these are the three questions that had the most details (at least to me)! ðŸ˜ 

How did it come about the they called you up for a role in this movie?

Carl Weathers: My representatives were approached about me being in it, which is usually the way those things go unless you actually know someone who’s working on it. And because I worked on Toy Story of Terror, which is a Toy Story movie that plays every Halloween on TV. First of all, those were successful, and I guess they really liked the idea of the character Combat Carl when you’re putting this together, and the character became a part of it.

Did you have to do anything different other than what you did on Toy Story of Terror?

Carl Weathers: Not really. The character is the character and all I had to do was follow the script and try to be creative as possible. If there was a difference, it was that there were three Combat Carls instead of one. That was funny and entertaining. For me, it was just a blast. That was probably the major difference.

Did you have to create different voices for all three of them?

Carl Weathers: No, I did not at all because you know now with all the technology they can manipulate things and create things. In in Toy Story of Terror, I created a bit of a different voice and they tweak that. But in this one, to try to do three different voices, God only knows how long I would have been in the studio.
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Pixar Post - T.J.
In a recent interview with Producer, Mark Nielsen, he was asked about how Toy Story seems to be willing to change their characters and worlds quite drastically. The interviewer wondered if they ever get push-back from management or Disney about that? Here's an except from the ScreenCrush interview.

Looking at other franchises, I don’t see many that are as willing to change the characters, push the characters, the way Toy Story does. Toy Story 3 completely alters the world of those films, and then Toy Story 4 does it again. Is there ever any trepidation from Disney about these risks you guys are taking? Do you ever get push back on some of these bold ideas?

We haven’t really gotten much pushback, but I do think the filmmakers we have at the studio, and the filmmakers we have as our creative executives — I think of Andrew Stanton, for example. I can’t count how many times I’ve heard him in braintrust meetings say the words “Make me care” as one of his notes. If he doesn’t care, and it’s not emotionally affecting him, he’s just going to let you have it. And he’s one of the creative executives that drive these things. And he’s right! We’re trying to make stories that people are going to care about, and are emotional and impact them. That is our goal. Those are the types of films we love.
--

I love the braintrust meeting note of "Make me care!" You need to work hard to find something that makes people connect with the story and characters. Love it! Good tip!
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