Toy Story 2 in Disney Digital 3-D The Movie in Apex, NC

• Info
• Cast & Crew

• Genre: Animated, Adventure, Comedy, Fantasy
  
  Synopsis:
  When a toy collector kidnaps Woody, Buzz Lightyear and the other toys band together to bring him home.
  
  Release Date: -1/02/2009
  Running Time: 92
  
  Rating: G - General Audiences
  
  http://www.toystory2.com
  
• Cast:
  Tom Hanks, Tim Allen, Joan Cusack, Kelsey Grammer, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts, Wayne Knight, John Morris, Laurie Metcalf, Estelle Harris, R. Ermey, Jodi Benson, Jonathan Harris, Joe Ranft, Andrew Stanton, Jeff Pidgeon
  
  Crew:
  Director - Ash Brannon, Director - John Lasseter, Director - Lee Unkrich, Writer (Story) - John Lasseter, Writer (Story) - Peter Docter, Writer (Story) - Ash Brannon, Writer (Story) - Andrew Stanton, Writer - Andrew Stanton, Writer - Rita Hsiao, Writer - Doug Chamberlain, Writer - Chris Webb, Producer - Karen Robert Jackson, Executive Producer - Sarah McArthur, Producer - Helene Plotkin, Original Music - Randy Newman, Cinematographer - Sharon Calahan, Film Editor - Edie Bleiman, Film Editor - David Salter, Film Editor - Lee Unkrich, Casting - Mary Hidalgo, Casting - Ruth Lambert
  
  Production Companies:
  Pixar Animation Studios, Walt Disney Pictures
  
  Distributors:
  Walt Disney
  
  Notes:
  -Notes provided by Walt Disney Pictures- PRODUCTION NOTES Toys will be toys except when their owners aren't around and now the gang from Andy's room is all wound up and ready to play once again in "Toy Story 2," the exciting all-new sequel to the landmark 1995 blockbuster from Disney and Pixar. Buzz Lightyear, Woody and a colorful cast of toys are joined by a delightful group of new characters for an incredible action-filled comedy-adventure that is loaded with laughs, emotion and surprises. Tom Hanks, Tim Allen and all the terrific voice talents from the first film reprise their original roles. Taking the art of computer animation to the next plateau, the film utilizes state of the art technology to work its storytelling magic and create a world of infinite possibilities. A Walt Disney Pictures presentation of a Pixar Animation Studios film, "Toy Story 2" picks up as Andy heads off to Cowboy Camp, leaving his toys to their own devices. Things shift into high gear when an obsessive toy collector named Al McWhiggin (owner of Al's Toy Barn) kidnaps Woody. At Al's apartment, Woody discovers that he is a highly valued collectible from a 1950's TV show called "Woody's Roundup," and he meets the other prized toys from that show Jessie the cowgirl, Bullseye the horse and Stinky Pete the Prospector. Back at the scene of the crime, Buzz Lightyear and the other toys from Andy's room Mr. Potato Head¨, Slinky¨ Dog, Rex and Hamm spring into action to rescue their pal from winding up as a museum piece. The toys get into one predicament after another in their daring race to get Woody home before Andy returns. "Toy Story 2" is the third feature directing credit for Pixar's acclaimed resident filmmaker John Lasseter. He received a special achievement Academy Award¨ in 1996 for the first "Toy Story" and went on to garner additional kudos last year for his second feature, "A Bug's Life." Lasseter has earned a reputation as one of the best storytellers of his generation and continues to be one of the leading pioneers in computer animation. The original "Toy Story" became an international sensation, grossing $360 million at the worldwide box office and selling more than 22 million videocassettes in the U.S. alone. It also became the first animated feature ever to be nominated in the best screenplay written directly for the screen category. Among its other distinctions, "Toy Story" currently ranks as the third highest grossing animated film of all time (behind "The Lion King" and "Aladdin"). Assisting Lasseter on "Toy Story 2" were two talented co-directors Lee Unkrich and Ash Brannon. Unkrich was a film editor on both "Toy Story" and "A Bug's Life" while Brannon had previously served as a directing animator and story artist on "Toy Story," as well as story artist on "A Bug's Life." The film's producers are Helene Plotkin (whose past credits include executive producing commercials and film special effects) and Karen Robert Jackson (an eight-year Pixar veteran who was production supervisor on "Toy Story"). "Toy Story 2" reunites the same creative team that gave birth to the original. Andrew Stanton (who received an Oscar¨ nomination as one of the screenwriters on "Toy Story") once again lent his hand to writing the screenplay. The film's other screenwriters were Rita Hsiao, Doug Chamberlin & Chris Webb. Dan Jeup served as co-head of story (along with veteran Disney/Pixar storyman Joe Ranft). Pete Docter worked closely with Lasseter in developing the film's story concept. Also making a major contribution to the sequel is acclaimed songwriter/composer Randy Newman, who wrote the songs and score for "Toy Story" and "A Bug's Life" and continues his successful collaboration with Lasseter on this film by providing another colorful score and two original songs. Multi-platinum and Grammy-winning recording artist Sarah McLachlan sings "When She Loved Me," a beautiful ballad that poignantly expresses Jessie's feelings about being abandoned by her owner. Popular western group Riders in the Sky sings the Newman-composed theme song from the "Woody's Roundup" TV show. Robert Goulet lends his style and phrasing to a lively big band rendition of "You've Got a Friend in Me." Academy Award¨-winning sound designer Gary Rydstrom is another favorite Pixar collaborator ("Toy Story," "A Bug's Life") who once again brings his special talents to this film. "Toy Story 2" boasts an incredible cast of vocal talents. Academy Award¨ winning actor Tom Hanks is back in the saddle as the voice of Woody, the popular pull-string Sheriff who finds himself facing a mid-life crisis when he becomes the victim of a toynapping. Acclaimed comedian/actor Tim Allen once again provides a down-to-earth performance as the voice of Buzz Lightyear, a space ranger action figure who soars to the rescue when his cowboy pal needs him. All of the other favorite toys from Andy's room are also on board for this new adventure. Mr. Potato Head¨ is as irreverent and irritable as ever with legendary wisecracker Don Rickles adding insult to entertainment through his voice performance. Woody's canine companion, Slinky¨ Dog, who is long on loyalty, is once again voiced by Jim Varney. Actor Wallace Shawn speaks up for Rex, the neurotic plastic dinosaur who gets new chances to confront his anxieties. John Ratzenberger lends his vocal expertise to Hamm, a pig-headed piggybank who's ready to bring home the bacon. Annie Potts once again illuminates the character of Bo Peep with her voice. Getting a big Andy's room welcome in this film is Estelle Harris as Mrs. Potato Head¨, the devoted wife who keeps an eye out for her spud stud. Veteran storyman Joe Ranft (voice of Heimlich in "A Bug's Life") is heard as the voice of Wheezy, a hapless squeak toy penguin who's lost his squeaker. Also making their debut in the film are several new toy characters from the "Woody's Roundup" TV show. Actress Joan Cusack provides the voice of Jessie, the energetic and emotional cowgirl doll who sometimes gets the blues. Kelsey Grammer lends his vocal talents to Stinky Pete the Prospector, a cunning and manipulative character with a kindly exterior. At Al's Toy Barn, audiences are introduced to the character of Al McWhiggin, the shifty proprietor of Al's Toy Barn and occasional toynapper, voiced by funnyman Wayne Knight and to Barbie¨, with versatile singer/actress Jodi Benson ("The Little Mermaid") providing all the right perks. Also making his screen debut is the evil Emperor Zurg, scourge of the galaxy and Buzz Lightyear's archenemy, who is voiced by writer/director Andrew Stanton. Jeff Pidgeon was chosen once again to voice the Alien characters. In the human realm, John Morris returns as the voice of Andy, a toy's best friend, and Laurie Metcalf encores her vocal duties as Andy's mom. Among the other key players on the "Toy Story 2" creative team are supervising animator Glenn McQueen and directing animators Kyle Balda and Dylan Brown. Galyn Susman was the supervising technical director for the film who oversaw the shading, lighting, effects, modeling and rendering departments. Oren Jacob and Larry Aupperle served as the film's associate technical directors. Eben Ostby was the modeling supervisor. Sharon Calahan was responsible for lighting in her role as director of photography. Brad West supervised the creation of thousands of shaders (surface textures which define the exteriors of characters and models) for the film. The film's editors were Edie Bleiman, David Ian Salter and Lee Unkrich. Graham Walters served as production manager. More than 250 artists, animators and technicians were involved in this production, including 90 technical directors and nearly 60 animators. Production designers Bill Cone and Jim Pearson were responsible for overseeing the look of the film. An ambitious eighteen different sets along with 1200 different model packets (props, set dressing, buildings, etc.) were created for "Toy Story 2." Among the most elaborate sets are a ten square block section of the Downtown area; the interiors of Al's Toy Barn (stocked with shelves and shelves of toys) and his Art Deco apartment; and the labyrinthine interior of the airport baggage area. Art direction for the film included inventing an entire line of merchandise for the "Woody's Roundup" TV show complete with 1950s vintage lunchboxes, thermoses and mechanical banks. Layout supervisors Rikki Cleland-Hura and Ewan Johnson helped Lasseter and the production team bring an added sense of movement and excitement to the story with their innovative handling of the main staging and dynamic camera placement. In some ways, computer animation lends itself to the same filmmaking language and techniques that live-action does. The production team continues to push the envelope for the medium using cutting, camera angles and staging to help them tell their stories in new and exciting ways. "Toy Story 2" is the latest feature project from Disney and Pixar. The relationship between the two studios goes back over a decade. In 1997, Steve Jobs, chairman and CEO of Pixar, formalized and extended his studio's creative partnership with Disney by announcing an exclusive five-picture deal. As part of that arrangement, several other computer animated features are currently in the works including "Monsters, Inc." (tentative title), which is due for release in 2001. New projects are also in development for directors John Lasseter and Andrew Stanton. According to Peter Schneider, president of The Walt Disney Studios, "Disney and Pixar have been partners for over ten years now and the relationship is a seamless one. Clearly they are an amazing animation studio with a brilliant technique and great instincts for storytelling. Disney's Feature Animation team, under the leadership of Thomas Schumacher, worked closely with John Lasseter and his team to provide their expertise and creative guidance throughout the production. I think it's been an amazing partnership of sharing on both sides and I'm so proud of what we all do together and what John and Pixar have accomplished. Thomas Schumacher, president of Walt Disney Feature Animation, observes, "'Toy Story 2' gives us a chance to revisit characters that we know and love. It's a very entertaining story but it's also a very profound movie. The story has a beautiful message about seizing the day and taking control of your life. John Lasseter has once again brought the story a great sense of humanity, told from the toys' point of view. I have never known anyone who is more committed to his projects than John. Not only is he a brilliant leader with great ideas, but he is also a brilliant artist and collaborator as well. His co-directors, Ash and Lee, along with the creative team at Pixar share his remarkable vision and work together to get him what he wants on the screen." "One of the things I love about making these films," says Lasseter, "is that we get to work with Thomas Schumacher and his team at Disney Feature Animation. Tom helps to make our films the best that they can be." He adds, "In making a sequel to 'Toy Story,' we were able to concentrate on the story since the main characters and the world already existed. We didn't want to retell the same story with the same people like so many sequels do. We wanted to build upon the foundation and create a new adventure that would be equal to the first. For me, it's the story that holds the audience, not the technology and not the look of the film. With 'Toy Story 2,' we concentrated on making a good story. Yes the technology has advanced phenomenally since we finished the first film. The advancements that we made on 'A Bug's Life' were huge. But moviegoers are going to want to see the world that these toys inhabit from the first film. The film has a lot of depth and a lot of texture, which I think is going to please and surprise 'Toy Story' fans. "We make movies for ourselves," notes Lasseter, "the kind of movies that we want to see. And the movies that I am most affected by are the ones that make me laugh hysterically but also move me. I'm not ashamed to cry in movies. I was tremendously affected by Frank Capra and the way his films grab your heart and your emotions. We tried to do that with 'Toy Story 2' and bring the characters up to another level. It's a classic Disney tradition and we've put that into this new medium." BUILDING A BETTER SEQUEL: THE RETURN OF BUZZ LIGHTYEAR AND WOODY Creating a sequel to one of the most successful and beloved animated films of all time is a daunting undertaking, but for John Lasseter and the creative team, the challenge was well worth it. It gave them a chance to work with established characters that they knew and loved as well as to create a cast of fresh new characters that would complement and add to the story possibilities. Ironically, some of the key plot points for the sequel (the garage sale, the kidnapping, the obsessive toy collector, a squeak toy penguin, etc.) date back to the development of the first feature. Lasseter hatched the idea for "Toy Story 2" one day over lunch with his colleague Pete Docter (who received a story credit on the first film). Andrew Stanton, who helped create the story and screenplay for the original "Toy Story" and went on to write and co-direct "A Bug's Life" with Lasseter, helped to flesh out the story and characters with a draft of the screenplay. A trio of other screenwriters Rita Hsiao ("Mulan"), Doug Chamberlin & Chris Webb are also credited with adding structure and dimension to the final film. Story development for the sequel officially began in the spring of 1996. Lasseter notes, "The most exciting part about 'Toy Story 2' is that we get to see Buzz and Woody again. In making the first film, we created these characters and got to know them so well that by the end of the production they were our friends. When the film played around the world, audiences came to love them as much as we did and they became popular beyond the boundaries of the movie. It's been so much fun to go back to these friends of ours and create a new adventure for them. "When we were done with the first film," he continues, "we felt that there were so many more ideas and stories with these toys being alive that we hadn't dealt with. One of those was the notion of a toy being outgrown by its child. If you're lost, you can be found and everything will be okay. If you're broken, you can be fixed. But for a toy, being outgrown is the worst thing that can happen. That's it." Another idea for the sequel came from Lasseter's personal experiences as a toy collector. He explains, "I have five sons and my four little ones love to come to Daddy's office and play with my toys. A lot of them are antiques and one-of-a-kind items. I love my boys and I wanted them to play with these toys, but I found myself saying, 'No, no, you can't play with that one. Oh, here play with this one instead.' And as I looked at myself I began laughing because toys are manufactured and put on this earth to be played with by a child. That is the essence of 'Toy Story 2' and the core of the toys being alive. Everything that prevents them from being played with by a child causes them anxieties in their life." Drawing on a talented group of storytellers, the plot for "Toy Story 2" began to take shape. Screenwriter Andrew Stanton observes, "Our responsibility as writers is to analyze the story, discover the truth and utilize it. The hardest part of writing a feature is to come up with characters that are 3-dimensional and worth spending time with for the entire film. You pretty much spend every waking minute until the thing is in the can trying to make sure you've done it right. In the case of a sequel, I already knew who the characters were. It was great because I could sit there and go, 'Oh well, Buzz would say this' and 'Woody would say that.' There's three balls that you have to juggle when you're writing plot, character and what I call drive, the thing that keeps an audience interested. With the main characters already established, we had the freedom to concentrate on the other two elements." Stanton adds, "I'm a believer that you can't force a sequel just because of popular demand. If you want it to be liked as much as the first one, there's got to be a whole self-sufficient reason for the movie to exist. Getting together with John and Joe Ranft and the co-directors (Lee and Ash) was like a class reunion. The ideas just started to flow and we began drawing from the same memory banks. We feed each other in the way a group like Monty Python must have worked. In addition to all the great humor and action, 'Toy Story 2' has a depth of emotion that we were able to do better than in the original film. I'm proud of that and I think it makes the film unique." Dan Jeup, the film's story supervisor, says, "One of our biggest challenges was dealing with the issue of Woody's motivation and his emotional arc. Basically, he is separated from his family and we didn't want him to come off as being too uncaring or self-serving. We had to find a turning point that would be convincing and make the audience still care about him." "One of the things we're really proud of on this film," notes co-director Lee Unkrich, "is the amount of heart that it has. 'Toy Story 2' is as action-packed as the first film and has as many jokes. But at the same time, there's a richness to the characters that was only hinted at in the first film. We've gone even further with this one and spent a lot of time plumbing the depths of a toy's psyche. The film taps into a lot of themes and a lot of primal human emotions being afraid of growing up and getting older, being afraid of your kids moving away from home, etc. These feelings are really universal and people of all different ages can relate to them." Joe Ranft, who shared a story supervisor credit on the film and is one of animation's top storymen, observes, "Usually when you start off on a project, things move very slowly. But on this one, we had a turbo rocket pack full of ideas ready to use. It was fun getting back to those characters and creating some great new ones. John has such a vision and he expresses things so clearly that when he's talking, it's almost like 'Oh, I can see that' and 'Yeah, that'll be great.' He gets the ball rolling in such a positive direction. When he was pitching the film to the Studio, it reminded me of the stories I've heard about Walt Disney telling his team the story of 'Snow White' for the first time." According to producer Helene Plotkin, "One of the great themes of this film is that it's better to have loved and lost than never to have loved at all. Basically what Woody and Jessie and all of the characters discover is the value of life. You have to experience life while you can. Nothing lasts forever, but that's okay. As long as you've experienced it and you love someone and you're affecting others, life is worth living." ANIMATING THE CHARACTERS: REVISITING OLD FRIENDS AND CREATING SOME NEW ONES "Toy Story 2" turned out to be a dream come true for the film's talented group of animators. Just as Lasseter and the story team enjoyed revisiting their friends, so too did the animators. Additionally, the story for the sequel called for a diversity of acting styles ranging from subtle movements to slapstick comedy and heartfelt drama. Compared to their previous assignment on "A Bug's Life" which had a large cast of complicated characters with multiple appendages working on the toy characters was a change of pace for the animators. Supervising animator Glenn McQueen observes, "We know exactly who these characters are. It's like slipping on a pair of shoes that have been in the closet for a couple of years. They fit perfectly, they're already broken in, no chafing, no bunions. It's just comfort from the word go. Buzz and Woody are like our Mickey Mouse. The other real advantage we have here is that our animators have a lot more experience so the animation is far better on this film than it was on the original 'Toy Story.'" "Toy Story 2" also offered the animators lots of new and improved tools for doing their job. Technology is faster and more sophisticated than on previous Disney/Pixar films, allowing the animators to concentrate on their performance. Despite its many advantages, computer animation is still a labor intensive art form where even the most skilled artist creates typically four or five seconds of animated footage in a given week. Working closely with McQueen on this film were directing animators Kyle Balda and Dylan Brown. Balda had studied traditional animation techniques while attending CalArts but was attracted to computer generated imagery. He went on to create special effects for such films as "Jumanji" and "The Mask" during a four-year stint with ILM before joining Pixar to work on "Toy Story 2." Brown was already interested in computer animation when he saw "Jurassic Park" in 1993. The film blew him away and led him to pursue a position at Pixar. "The thing I really like about animation is the motion," says Balda, "and computers let you concentrate wholly on that aspect. You don't have to worry about being on model with the character; you can just focus 100% on the performance and the timing. Working on the sequel to 'Toy Story,' gave us the added advantage of having an entire film to look at for reference. It would be like a painter studying Picasso. You're trying to match that style but at the same time you're doing something completely original. The original 'Toy Story' gave us something to live up to. You have to make sure that these characters remain consistent from one show to the next." He adds, "'Toy Story 2' is a real animator's film. Unlike 'A Bug's Life' which was a big epic tale with so much to look at in the world around you, this film is a little bit smaller and more about the characters themselves. What's happening in their lives; what's motivating them. I think you get into the heads of the characters a lot more. From an animator's point of view, there's much more acting and performance so it gives you a chance to really explore a lot of different things." Unlike traditional animation, where a directing animator usually specializes in one particular character, the animators on "Toy Story 2" tend to be generalists who work on whatever characters are needed in a shot. Still, some animators gravitate towards and excel in bringing specific characters to life. "Buzz is definitely my favorite character," notes Brown, "whereas Kyle prefers to animate Woody. Among the new characters, Jessie has been very popular and some of the animators have been jockeying to get more of her scenes. Al McWhiggin is really tough to animate because he moves so slow that you have to slow down your mindset to work on him. The fun thing about him is that he's got so many amazing facial controls that once you've got the basic stuff down, you can keep layering things on and he gets better and better and better. We learned a lot from 'Geri's Game' (Pixar's 1997 Oscar¨ winning short) about moving muscles and making humans a lot more realistic." Balda adds, "I really enjoy animating Woody because he's so loose. He's kind of gangly and his motion is very fluid whereas Buzz is more staccato and every pose has to communicate a really strong idea. Woody has this kind of nervous energy inside and his gestures tend to be really broad and extreme. Buzz is more minimal going from one pose to another." The new characters proved to be very popular with the animators as well. With her extreme moods and wild gymnastic antics, Jessie the cowgirl was an instant favorite with the artists. The Prospector had his share of limitations and challenges, but the character's duplicitous personality appealed to many of the animators. Others enjoyed the unbridled exuberance of the playful Bullseye. Helene Plotkin says, "A lot of the animators really wanted to work on scenes with Jessie because she's so vivid and such an incredible character to animate. She has big emotional swings. When she's excited, she's extremely excited. When she is low, your heart goes out to her because it's so heart-wrenching. Joan Cusack's voice provided something real and dimensional to work with. She made it very appealing." With regard to the acting skills of the animators, McQueen notes, "A lot of the subtlety you see in this film comes from the artist and not the technical advances. We really had to stretch ourselves on 'Bug's' and we learned a lot in the process. How do you make an insect with no eyebrows look surprised? Moving back to the 'Toy Story' characters with their incredibly expressive faces, great eyebrows, really nice eyes and features that are easy to animate, was like a breath of fresh air for us." Of course no animated cast would be fully realized without the right combination of vocal talents. "Tom Hanks is the pinnacle of voice talent for animation," says Brown. "You watch the tape of the recording sessions and you get so much out of it. Little things that you might not have thought of like an eye flutter can inspire an on-screen performance. Similarly Tim Allen's voice suggests a lot of attitude and all of the vocal ensemble gave us incredible gestures and vocal tracks to work with." JOHN LASSETER: A VISIONARY DIRECTOR TOYS WITH NEW ADVENTURES With three feature films to his credit, John Lasseter has established himself as one of today's most original and successful filmmakers. As a pioneer in computer animation for the past seventeen years, he has also helped to expand the boundaries of the art form. For the cast and crew involved with the making of "Toy Story 2," Lasseter's dedication and vision proved to be a great inspiration. Thomas Schumacher notes, "John Lasseter is a brilliant leader, a brilliant artist and a brilliant collaborator. He carries on a vision that great directors have of trying to do things that have never been done before. His goal is to take audiences to new and exciting places and he does that beautifully. He is an inspired filmmaker with a tremendous sense of passion and commitment." "What I love about John is his vision and his ability to be completely focused on the moment," says producer Karen Robert Jackson. "He knows exactly how things are going to link up. He so values the artist that he's completely there for them. He never tires of telling the story or inspiring the crew. He has the ability to zero in on something and make the artist feel so valued. It tells them what they're doing is so important at this moment. It may be a screw, it may be a shader on a vent. John has the ability to tell an artist exactly when that thing in the show will be of the most importance and why it is so valued and why it is important for them to be working on it." Lasseter's ability to communicate extends to the actors on the film as well. In recording sessions, he was able to bring the voice talents up to speed and give them a sense of what is going on in the story. The actors had nothing but praise for his talents as a director and storyteller. Lasseter explains, "The most important thing we look for in casting our films is great actors. We don't ask them to put on voices. We want them to be themselves. As I direct the actors, what I look for is believability, a natural performance. Everything has to feel right. They become the character. Since these films take years to make, we have the opportunity to adjust the personality and the design of the character to fit with the voice. The voice and the animation have to work together. "The same thing is true with our creative team," adds Lasseter. "What I try to do is hire the best and most talented people we can. And we let them do what they're really good at. With every task in the production, I try to let people have a little creative ownership. I don't tell them how to do their job. I tell them what is needed and then let them put their own creativity into it. That's the way to get people invested and really enjoy what they're doing. In the end, the most important thing to me is that everyone is creatively satisfied. "I love what I do. I have the best job in the world here at Pixar. And I believe that the corporate culture of any place the morale, the emotion comes down from the top. So that gives me license to be the biggest nut, the biggest kid here because I have so much fun with what I do. I believe in honesty and just having so much fun with what I'm doing and finding humor in everything. If you're having fun and you love what you're doing, the work that ends up on the screen is going to reflect that." Lee Unkrich observes, "I think working with John is the closest we can come in our time to working with Walt Disney. I really don't think that there's anybody who is as much a visionary as John. I've learned a lot from him through the years and I'm really proud to be his partner on this movie. He's open to input from anybody from me to someone who just happens to be standing in the back of the room observing. He often says that the only bad idea is an idea that somebody doesn't say. Good ideas come from anywhere and John appreciates that." As for Lasseter's leadership, supervising animator Glenn McQueen sums it up this way: "One thing I've learned is that John is always right. You may be convinced that you are correct, but I have found time and time again that he is always right. Now, I bow at the inevitable. If he says it should be faster and I know in my soul it should be slower, it's like, 'okay, he's right, it probably should be faster.' When you see the thing rendered and in context, he was right. He has an enthusiasm that literally carries the film and he leads by example. He is able to act things out for us with great enthusiasm. He's a great inspiration because he&apo