The Pixar Story (2007)

2018 #110
Leslie Iwerks | 88 mins | Blu-ray | 16:9 | USA / English | U / G

The Pixar Story

Made to celebrate the first 20 years of Pixar, Leslie Iwerks’ documentary charts not only the genesis, founding, and rise to industry-changing prominence of the beloved computer animation company, but also the birth of computer animation itself.

It starts at the very beginning, with John Lasseter’s education and time as a traditional animator at Disney, and, separately, explaining how computer graphics and animation even came to be. I won’t recap the full story here, but it recounts how Pixar come to be formed, how they pushed at boundaries, and, eventually, how the massive success of their feature films came to transform the American animation industry. While the documentary is primarily narrative, then, it also exposes a little of why all this happened — the processes and philosophies behind-the-scenes at Pixar that helped make their early films so good, and consequently so loved. It doesn’t explicitly dig into this, but their mindset and attitudes seep through in the stories of what happened.

For example, there’s the case of Toy Story 2: Lasseter had just come off the gruelling production and promotion schedule of A Bug’s Life when Disney decided to upgrade Toy Story 2, which was being made by another team, from direct-to-video to a theatrical release. Pixar reviewed the project and were unhappy, but Disney thought it was fine and refused to move the release date. So Lasseter abandoned plans for a much-needed break to spend time with his family and set about retooling the sequel from scratch — but while the original Toy Story and Bug’s Life had each taken years to make, for Toy Story 2 they had just nine months. The rest is history: not only did they get the film out on time, it’s arguably even better than the first one. Quite rightly, that whole palaver is named as their proudest achievement — the way everyone came together to make it happen helped define the company.

Ed Catmull, Steve Jobs and John Lasseter

It also exposes another major contributing factor to the company’s success: Steve Jobs’ patience. Toy Story is when the wider world noticed Pixar, but they’d been going for years, pushing boundaries and breaking ground with short films and advertising, but not making a profit. But Jobs stuck with it, giving them more money, because he took a long-term view. Of course, it paid off, and when they did hit it big, it was his business acumen that secured the future of the company: taking them public (which brought in massive funds) and striking a new, better deal with Disney. It’s easy for us to look at the quality of their films and go “that’s what changed things”, but the business side is a vital component too.

Change things they certainly did, as the documentary shows towards the end, with 2D animation dying off and the Disney buyout-cum-merger with Pixar that would lead to 2D being saved — hurrah! Of course, this film is now 11 years old, and we know things didn’t end so happily: despite Lasseter & co’s commitment to helping 2D stay alive, Disney have released jus two traditionally-animated feature films since then, and the last of those was in 2011, apparently with no more planned.

Luxo, pre-logo

It’s at this point the film is also forced to acknowledge Cars, which I think most would regard as Pixar’s first real critical flop. They talk about how it was “beautiful” and a “hit”, but then move past it speedily, presumably to gloss over the fact it didn’t go down nearly as well as their other movies. This highlights two things: firstly, that this is certainly no “warts and all” telling — if there were internal conflicts or difficulties, they’re glossed over. Secondly, that the film could do with an update. As I said, it’s 11 years old now, and much has changed in that time. Pixar had only released seven movies at that point and were on top of the world, but since then they’ve released many more (they’re up to 19 now, with #20 imminent) and faced challenges of less-well-received films, a resurgence in the quality and popularity of Disney’s main output, and the likes of DreamWorks and Illumination gaining ground. It would be very interesting to see an update on how that time has been for the company.

Despite those drawbacks, The Pixar Story feels like a very good overview of one of the most significant forces in 21st Century movies. Without being too sycophantic, it definitely feels like a celebration, but one that they’d earned.

4 out of 5

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Steve Jobs (2015)

2016 #109
Danny Boyle | 122 mins | streaming (HD) | 2.35:1 | UK & USA / English | 15 / R

Steve JobsWritten by Aaron Sorkin and directed by Danny Boyle, with a name cast and plenty of awards buzz, this biopic of the eponymous tech genius was an inexplicable box office flop on its release last year — proof if proof were needed that box office does not equal quality, because I thought it was thoroughly excellent.

Rather than taking the usual route of telling a whole life story, Sorkin’s screenplay drops in on Jobs (Michael Fassbender) at three key product launches: the original Apple Macintosh in 1984, the NeXT Computer in 1988, and the iMac in 1998. At each one he battles personal and professional issues while surrounded by the same group of people, including marketing exec and Jobs’ right-hand-woman Joanna Hoffman (Kate Winslet); sidelined Apple co-founder Steve Wozniak (Seth Rogen); Jobs’ mentor turned friend turned nemesis, Apple CEO John Sculley (Jeff Daniels); and the mother of Jobs’ alleged child, Chrisann Brennan (Katherine Waterston).

First off, I don’t know how historically accurate it is. Some say it demonises Jobs; some say it lets Sculley off for his crimes. Whatever the truth, this presentation makes for a damn good story. It’s both inherently cinematic and easy to imagine as a stageplay — quite some feat! In the latter camp, it takes place in a handful of locations with a limited, recurring cast. A few costume and make-up changes and you feel most of it could be reconfigured for the stage relatively easily. However, in favour of the former camp, the way Boyle has mounted the production is filmic to the hilt. This is especially discernible in the montages that help guide us from one time period to the next, or the cleverly-edited flashback-strewn confrontation between Jobs and Sculley at the end of act two. Sequences like that help define Steve Jobs’ greatness — it is a hair-raisingly good scene, with the writing, acting, directing, editing, score, everything, coming to a magnificent crescendo of sheer cinema.

Boyle’s decision to use different film formats for each section — 16mm, then 35mm, then digital HD — helps delineate the eras and, in a way, reflect the products being launched (though I’ll instantly concede that last point may be a bit of a stretch). I imagine it’s too technical a concern to be noticed by your average filmgoer, but I’m sure it must have a subtle effect; and for those of us who are so minded to spot the change, it’s kinda fun and effective. Shot by Alwin H. Küchler, each section has its own charm, from the warm fuzziness of 16mm, to the gloss of 35mm, to the precision of digital. This is a mighty fine looking film, and while modern tech meant the 1080p Amazon Video stream I was watching looked darn near Blu-ray quality, I’m still miffed I didn’t just go straight for the disc, because now I’m going to have to pay for it again at some point.

Throughout, Sorkin’s writing is awe-inducing, especially to anyone who’s ever dabbled in or dreamed of being a writer. The construction of it all, at every level — from line to line, from scene to scene, from act to act, across the whole piece… And this is a particularly magnificent construction, so precisely structured, rife with mirroring and repetition, and yet done so well that it doesn’t feel locked in to or constrained by an unwavering structure. I’d wager some viewers might not even notice how precise it is — I’m thinking, for example, of the order Steve has his primary meeting with each major supporting character in each of the three acts. There is an order, but it doesn’t feel like the film is bending over backwards to slavishly adhere to it — as I said, I’d wager many wouldn’t even notice.

The dialogue they’re delivering is so Sorkin. Rearrange character names and you could drop this into The West Wing or The Newsroom without batting an eyelid. That’s not to say Sorkin’s writing is samey, but he has a very specific style. I guess if you don’t like it then it must make his works a chore, but if you do, it can help elevate things that are in other ways wobbly (by which I mean swathes of The Newsroom, not Steve Jobs). It requires a cast that are up to the task, too, and he certainly has that here. Fassbender is the obvious stand-out, and Winslet is too often overshadowed by her variable accent, but even Rogen holds his own against the heavyweights around him. Daniels and Waterston may seem to have comparatively small roles, but they help carry much of the true dramatic weight opposite Fassbender.

It did cross my mind that perhaps I liked the film more than average because I’m a little bit of an Apple fan. I mean, I’m not a proper hardcore Apple fanboy, although my household does have in regular usage an iMac, a Macbook Air, an iPhone, two iPads, and two iPods… but the iPads are hand-me-downs, and I discarded a similarly-acquired Apple TV in favour of an Amazon Fire stick, and I certainly don’t upgrade that iPhone every year (in the device’s entire lifespan I’ve owned two). My point is: yes, I like Apple stuff, but I concluded that had no bearing on my opinion of the film. It’s not good because it’s about The God Of Apple or something; it’s good because the people who made it made a good film. It could be about Jeeve Sobs, co-founder of Banana and inventor of the Banana Wellington and the iWelly, and it would be… well, it would be silly if it used those names, but hopefully you get my point.

In a similar vein, I suspect it would make a great companion piece to The Social Network. I guess that’s an obvious point — they’re both biographical dramas written by Aaron Sorkin about tech geniuses with social problems who end up in legal disputes with former friends about their companies — but sometimes obvious companion pieces are obvious for a reason. What deeper things do they say about each other, or the wider world, especially our modern tech-obsessed age, when paired up? I don’t know; watch them back to back and find out.

Steve Jobs may fit the Sorkin template of “people stood in rooms and walking down corridors talking to each other very quickly and cleverly”, but when he’s firing on all cylinders it doesn’t matter that you can pigeonhole it if you must. Besides, with Danny Boyle’s hand on the directorial tiller and a quality cast to bring out the dramatic arcs between the posturing, the whole may not have added up to box office gold, but it is worth even more than the considerable sum of its parts.

5 out of 5

Steve Jobs premieres on Sky Cinema tonight and is available on demand now.

It placed 3rd on my list of The 20 Best Films I Saw For the First Time in 2016, which can be read in full here.