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Directed by | |||
| Lee Unkrich | |||
Writing credits | ||
| John Lasseter | (story) and | |
| Andrew Stanton | (story) & | |
| Lee Unkrich | (story) | |
| Michael Arndt | (screenplay) | |
Produced by | |||
| Darla K. Anderson | .... | producer | |
| Nicole Paradis Grindle | .... | associate producer | |
| John Lasseter | .... | executive producer | |
Original Music by | |||
| Randy Newman | |||
Film Editing by | |||
| Ken Schretzmann | |||
| Lee Unkrich | |||
Casting by | |||
| Natalie Lyon | |||
| Kevin Reher | |||
Production Design by | |||
| Bob Pauley | |||
Art Direction by | |||
| Daisuke 'Dice' Tsutsumi | |||
Production Management | |||
| Cynthia Slavens | .... | post-production supervisor | |
Art Department | |||
| Marty Baumann | .... | graphic artist | |
| Erik Benson | .... | storyboard artist | |
| Susan Bradley | .... | art director: creative film services | |
| Craig Foster | .... | director of graphics | |
| Aaron Haynes | .... | storyboard artist | |
| Mark Cordell Holmes | .... | graphic artist | |
| Bud Luckey | .... | storyboard artist | |
| Erin Magill | .... | art coordinator | |
| Sarah Mercey-Boose | .... | art department | |
| Laura Meyer | .... | graphic artist | |
| Adrian Molina | .... | storyboard artist | |
| Juliet Pokorny | .... | art department manager | |
| Jay Shuster | .... | sketch artist | |
| Nick Sung | .... | additional art | |
| Belinda van Valkenburg | .... | shading art director | |
Sound Department | |||
| Benjamin A. Burtt | .... | assistant sound editor (as Benny Burtt) | |
| Vince Caro | .... | original dialogue recording engineer | |
| Dustin Cawood | .... | sound effects editor | |
| Frank Clary | .... | assistant sound effects editor | |
| Teresa Eckton | .... | sound effects editor | |
| Sean England | .... | foley recordist | |
| Pascal Garneau | .... | supervising foley editor | |
| E.J. Holowicki | .... | additional sound designer | |
| Doc Kane | .... | original dialogue mixer | |
| Tom Myers | .... | sound designer | |
| Tom Myers | .... | sound re-recording mixer | |
| Tom Myers | .... | supervising sound editor | |
| Al Nelson | .... | sound effects editor | |
| Timothy Nielsen | .... | sound effects editor (as Tim Nielsen) | |
| Justin Pearson | .... | additional sound services | |
| Brian Reed | .... | additional dialogue recordist | |
| Ronald G. Roumas | .... | recordist | |
| Dee Selby | .... | foley editor | |
| Michael Semanick | .... | sound re-recording mixer | |
| Brad Semenoff | .... | foley recordist | |
| Michael Silvers | .... | supervising sound editor | |
| Steve Slanec | .... | adr editor | |
| Mac Smith | .... | assistant supervising sound editor | |
| Dennie Thorpe | .... | foley artist | |
| Jana Vance | .... | foley artist | |
| Andrew Vernon | .... | additional sound services | |
| Dan Scott | .... | dialogue recordist (uncredited) | |
Visual Effects by | |||
| Alexander Adell | .... | technical director | |
| Laura Beth Albright | .... | character shading and groom artist | |
| Eric Andraos | .... | shading artist | |
| Mimia Arbelaez | .... | lighting technical director | |
| Audrey Bagley | .... | character technical director | |
| Nick Bartone | .... | lighting technical director | |
| Benjamin Beech | .... | sets shading artist | |
| Jeffrey Benedict | .... | shot lighting artist | |
| Chris Bernardi | .... | shading lead | |
| Jeremy Birn | .... | lighting artist | |
| Neil Blevins | .... | digital artist | |
| Stas Bondarenko | .... | software engineer | |
| Brian Boyd | .... | master lighting artist | |
| Jacob Brooks | .... | groomer and fx artist | |
| Chris Chapman | .... | effects artist | |
| Tracy Lee Church | .... | sets paint artist | |
| Kathleen Cosby | .... | master lighting artist | |
| Katie Coyle | .... | shot lighting artist | |
| Trent Crow | .... | shading technical artist | |
| Andrew Dayton | .... | digital artist | |
| Brad Falk | .... | digital artist | |
| Nathan Fariss | .... | sets modeling artist | |
| Susan Fisher | .... | optimization artist | |
| Jared Fong | .... | character modeler/rigger | |
| Michael Fong | .... | simulation and effects supervisor | |
| Christopher Lee Fowler | .... | master lighting artist | |
| Maël François | .... | lighting technical director | |
| Carl N. Frederick | .... | lighting optimization engineer | |
| Eric Froemling | .... | sequence lead | |
| Michael Fu | .... | simulation and effects artist | |
| Christina Garcia Weiland | .... | sets dressing artist (as Christina Garcia) | |
| Tolga Goktekin | .... | visual effects artist | |
| Rogan Griffin | .... | simulation and effects artist | |
| Dave Hale | .... | effects artist | |
| Jim Cody Harrington | .... | effects technical director | |
| Bernhard Haux | .... | character modeler/rigger | |
| Jesse Hollander | .... | master lighting artist | |
| Michael Honsel | .... | character modeler/rigger | |
| Tiffany Erickson Houghton | .... | visual effects artist | |
| Ian House | .... | shot lighting artist | |
| Wen-Chin Hsu | .... | lighting technical director: Pixar | |
| Andrew Jimenez | .... | digital artist | |
| Sungyeon Joh | .... | shot lighting artist | |
| Jason Johnston | .... | effects artist | |
| Thidaratana Annee Jonjai | .... | sets shading artist | |
| Sandra Ford Karpman | .... | technical lead: stereoscopic (as Sandra Karpman) | |
| Erik Langley | .... | visual effects coordinator | |
| William Austin Lee | .... | character modeling and articulation artist | |
| Hsiao-Hsien Lo | .... | simulation and effects artist | |
| Alex Mandel | .... | lighting department manager | |
| Paul McAfee | .... | stereoscopic manager | |
| Daniel McCoy | .... | character shading artist | |
| Ian Megibben | .... | master lighting artist | |
| Shawn Neely | .... | production engineering | |
| Alexander Nehls | .... | character technical director | |
| George Nguyen | .... | character shading artist | |
| George Nguyen | .... | sets shading artist | |
| Leon Jeong Wook Park | .... | technical director | |
| Davide Pesare | .... | shader writer | |
| Andrew Pienaar | .... | lighting artist | |
| Ben Porter | .... | groom artist | |
| Konstantin Promokhov | .... | simulation and effects artist | |
| Guido Quaroni | .... | supervising technical director | |
| Farhez Rayani | .... | lighting artist: Pixar Animation Studios | |
| Jordan Rempel | .... | shot lighting artist | |
| Doug Rigby | .... | shading technical director | |
| Justin Ritter | .... | shot lighting artist | |
| David Ryu | .... | simulation & effects sequence lead | |
| Afonso Salcedo | .... | lighting artist | |
| Julien Schreyer | .... | lighting technical director | |
| Sajan Skaria | .... | character modeler/rigger | |
| Erik Smitt | .... | master lighting artist | |
| Russell J. Stough | .... | effects production coordinator | |
| Joseph Suen | .... | sets modeling artist | |
| Eunkyoung Lee Swearingen | .... | lighting technical director | |
| Lan Tang | .... | sets shading artist | |
| Jason Topolski | .... | pre-production coordinator | |
| Jason Topolski | .... | sets coordinator | |
| Bill Watral | .... | effects artist | |
| Jesse Weglein | .... | lighting technical director | |
| Chris Wells | .... | digital artist | |
| Bob Whitehill | .... | stereoscopic supervisor | |
| Andy Whittock | .... | sets shading artist | |
| Gary Wu | .... | global technology intern | |
| Jane Yen | .... | simulation and effects artist | |
| Robin D. Young | .... | image mastering coordinator | |
| Lou Hamou-Lhadj | .... | character modeling and articulation artist (uncredited) | |
| Ted Kierscey | .... | effects animator (uncredited) | |
| Corey Mayne | .... | stereoscopic rendering (uncredited) | |
| Dan Weeks | .... | infrastructure (uncredited) | |
Camera and Electrical Department | |||
| Robert Frey | .... | vision engineer | |
| Jeremy Lasky | .... | director of photography: camera | |
| Kim White | .... | director of photography: lighting | |
Casting Department | |||
| Holly Dorff | .... | adr voice casting | |
| Mickie McGowan | .... | adr voice casting | |
Editorial Department | |||
| Adam Brailsford | .... | second assistant editor | |
| Ann Brilz | .... | editorial department manager | |
| Susan Brunig | .... | color grading operator | |
| Terry Claborn | .... | color timer | |
| Evelyn Gee | .... | post-production assistant | |
| Katelin C. Holloway | .... | management assistant | |
| Bill Kinder | .... | director of editorial and post-production | |
| David Lortsher | .... | colorist | |
| Jenn Nolan | .... | editorial coordinator | |
| Jim Passon | .... | color timer | |
| Richard Pinkham | .... | media control transfer operator: image mastering | |
| Greg Snyder | .... | second editor | |
| Renee Steen | .... | second assistant editor | |
| Robert Tachoires | .... | media control manager | |
| Christine Wilcock | .... | management assistant | |
| Anna Wolitzky | .... | second editor | |
Music Department | |||
| Jonathan Allen | .... | additional music recordist | |
| David Boucher | .... | music recordist | |
| David Boucher | .... | score mixer | |
| Ashley Chafin | .... | music production coordinator | |
| Donna Cole-Brule | .... | music business affairs | |
| Bruno Coon | .... | music editor | |
| Don Davis | .... | orchestrator | |
| Sandy DeCrescent | .... | orchestra contractor | |
| George Doering | .... | musician | |
| Mark Graham | .... | head of music preparation | |
| Andrew Hansen | .... | musician | |
| Tom Hardisty | .... | score mixing recordist | |
| Jill Heffley | .... | executive music assistant | |
| Brenda Heins | .... | assistant music editor | |
| Barney Jones | .... | production music editor | |
| Tom MacDougall | .... | music supervisor | |
| Chris Montan | .... | executive music producer | |
| Randy Newman | .... | conductor | |
| Randy Newman | .... | orchestrator | |
| Andrew Page | .... | music production director | |
| Danna Paola | .... | song performer: ("You've Got a Friend in Me": Spanish version ) | |
| Victor Pesavento | .... | music preparation | |
| Peter Rotter | .... | orchestra contractor | |
| Jonathan Sacks | .... | orchestrator | |
| Jonathan Sacks | .... | orchestrator | |
| David Slusser | .... | production music editor | |
| Steven L. Smith | .... | music preparation | |
| Aleks Syntek | .... | performer: (spanish version "We belong together") "You've got a friend in me") | |
| James Thatcher | .... | musician: French horn | |
| Derek Zhao | .... | assistant to composer | |
| Derek Zhao | .... | technical assistant to composer | |
| Germaine Franco | .... | midi programmer (uncredited) | |
| Jason Poss | .... | music transcription (uncredited) | |
Other crew | |||
| Tricia Andres | .... | production office manager | |
| Brad Bird | .... | senior creative team: Pixar | |
| Bryan Bird | .... | animal wrangler | |
| Malcolm Blanchard | .... | production engineer | |
| Michael A. Bordas | .... | software engineer | |
| Susan Bradley | .... | title designer | |
| John Broadhead | .... | production engineer | |
| Cathleen Brown | .... | clearance | |
| Shaun Brown | .... | data management group: Pixar studio team | |
| Cheryl Burke | .... | choreographer | |
| Michael Chann | .... | software engineer | |
| Alden Chew | .... | software engineer | |
| Lars R. Damerow | .... | desktop and infrastructure: Pixar studio team | |
| Beatrice De Luca | .... | production accountant | |
| Ross Dickinson | .... | systems administrator | |
| Pete Docter | .... | senior creative team: Pixar | |
| Driton 'Tony' Dovolani | .... | choreographer (as Tony Dovolani) | |
| Paul Edmondson | .... | production engineer | |
| Claire Faggioli | .... | production office assistant | |
| Tyler Fazakerley | .... | systems administrator | |
| Michael Frederickson | .... | software developer | |
| Joseph Frost | .... | technical lead: storage | |
| Remy Galang | .... | desktop and infrastructure: Pixar studio team | |
| Dominic Glynn | .... | lead engineer: image mastering | |
| Marc S. Greenberg | .... | production accountant | |
| Eric Gregory | .... | software developer | |
| Susan Boylan Griffin | .... | technical documentation | |
| Jon Hadden | .... | desktop and infrastructure: Pixar studio team | |
| Robert Hamrick | .... | desktop and infrastructure: Pixar studio team | |
| Mark Harrison | .... | data management | |
| Kitt Hirasaki | .... | software design | |
| Michael Hitson | .... | facility technician | |
| Dan Hoffman | .... | systems administrator | |
| Shawn Hovis | .... | systems administrator and support | |
| Ling Hsu | .... | desktop and infrastructure: Pixar studio team | |
| Jason 'Jayfish' Hull | .... | desktop and infrastructure: Pixar studio team | |
| Jose Ignacio | .... | desktop and infrastructure: Pixar studio team | |
| Ron S. Jong | .... | infrastructure | |
| Ben Jordan | .... | production engineer | |
| Ryan Kautzman | .... | production engineer | |
| Jason Kim | .... | software engineer | |
| Stephen Krug | .... | production coordinator | |
| Jacob Kuenzel | .... | production engineer | |
| Chris Lasell | .... | lead systems administrator | |
| John Lasseter | .... | senior creative team: Pixar | |
| Marty Lew | .... | systems administrator | |
| Matthew Lindahl | .... | desktop and infrastructure: Pixar studio team | |
| Ramiro Lopez Dau | .... | promo animator | |
| Ramiro Lopez Dau | .... | promo team | |
| John Robert Loy | .... | software developer (as John Loy) | |
| Aaron Luk | .... | software developer | |
| Erin Magill | .... | legal clearance coordinator | |
| BoB 'Naked BoB' Morgan | .... | desktop and infrastructure: Pixar studio team | |
| Terry Lee Moseley | .... | systems administrator | |
| Daniella Muller | .... | production assistant | |
| Allison W. Nelson | .... | production assistant: sets (as Allison Nelson) | |
| Catherine Obuhoff | .... | systems administrator | |
| Luigi Passalacqua | .... | craft service | |
| Laura Pearson-Smith | .... | marketing and distribution (as Laura Pearson) | |
| Kirsten Peterson | .... | simulation & effects production assistant | |
| Peter Plackowski | .... | systems administrator | |
| Suzanne C. Robertson | .... | story production assistant | |
| Bob Roden | .... | legal | |
| Gary Rydstrom | .... | senior creative team: Pixar | |
| Donald Schmidt | .... | production engineer | |
| Ozan Serim | .... | project manager | |
| Apurva Shah | .... | global technology | |
| Burton Siu | .... | software test engineer | |
| Nelson Siu | .... | desktop and infrastructure: Pixar studio team | |
| Nelson Siu | .... | unix systems administrator | |
| David Sotnick | .... | technical lead: Network | |
| Andrew Stanton | .... | senior creative team: Pixar | |
| Mike Sundy | .... | systems administrator | |
| Tiffany Taira | .... | video production lead (pixar university ) | |
| Andy Thomas | .... | systems administrator | |
| Erick Tryzelaar | .... | team: rendering pipeline group | |
| Lee Unkrich | .... | senior creative team: Pixar | |
| Dirk Van Gelder | .... | software developer | |
| Rudy Vucelich | .... | desktop and infrastructure: Pixar studio team | |
| Jay Weiland | .... | desktop and infrastructure: Pixar studio team | |
| Ian Westcott | .... | systems administrator | |
| Wayne Wooten | .... | RenderMan development | |
| Shiqi Yang | .... | software engineer | |
| Melissa Fuller | .... | production assistant (uncredited) | |
| Nick Pitera | .... | creative film services technical director (uncredited) | |
| Thomas V. Thompson II | .... | technology support: XGen (uncredited) | |
Thanks | |||
| Cathleen Brown | .... | special thanks | |
| Steve Jobs | .... | special thanks | |
| Hayao Miyazaki | .... | special thanks | |
| Toshio Suzuki | .... | special thanks | |
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| Toy Story 2 | P2 | Avatar | Toy Story | Breakdown |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Animation section |
| IMDb USA section |
Star Wars. Indiana Jones. Fistful of Dollars. Bourne. These are all incredible trilogies that can, will, and should stand the test of time. Yes, I am neglecting the fourth Indiana Jones. Upon the mention of the third Toy Story, I was deathly afraid. Afraid because it has some major, major shoes to fill. The original is a masterpiece that changed animation forever, and the sequel is among the best in the history of film (I mean that). The first two Toy Story films are among the best movies of all-time and to this day entire animation studios have failed to duplicate an ounce of the magic contained in Toy Story. Could part 3 even come close to the original two? My friends, I am very happy to say, the answer is a resounding yes.
Toy Story 3 does exactly what the first two did, delivered on all cylinders, all aspects of film-making and entertainment. The humor is back, the heart is back, the delightful cast of characters is back. This time, thanks to an incredible script, there's more suspense, more drama, and many more surprises. Like any spectacular trilogy, it wraps up all loose ends. It literally is difficult to find any flaw or any slow moment in this movie, and even if there is, it will immediately be forgiven by the next major laugh or the next major revelation. The predictability factor in this movie is low, and the payoff to all the suspense is extremely high. Guys, this is the go-to movie of the summer, and makes up for any disappointment you have seen this year or last.
Just like Toy Story 2's subtle and underlying themes, Toy Story 3 revolves around the group of toys and their latest adventure, but dwells far deeper than that. On the surface, this movie is about the toys in a series of circumstances, winding up in a daycare center that isn't all it seems. At the same time, Andy is heading for college, but Woody isn't quite ready to let go of his owner and the memories that follow. The deeper aspects involve aging, growing up, and moving on. Michael Arndt, the Oscar winner that wrote Little Miss Sunshine, was behind the spectacular screenplay in this third trip in the world of toys. Then with the help of John Lasseter and Lee Unkrich (who serves as the director), we see plenty of references to Pixar, other movies, the previous Toy Story installments, and even we even see nods to the influences of the entire animation studio (Miyazaki).
The writing wasn't the only thing that was on par with the first two Toy Story movies. The voice acting cast was once again phenomenal, with popular actors, underrated talent, and great character actors filling the bill. Come on now, just read em': Tim Allen, Tom Hanks, John Cusack, Wallace Shawn, Jody Benson, Estelle Harris, Blake Clark, John Ratzenburger, Ned Beatty, Jeff Garlin, and Michael Keaton. Unlike what Dreamworks pulls off on a yearly basis, Pixar carefully chooses their voice cast in terms of pulling off the best performances, not to generate more money. Because honestly, was there even a point to Angelina Jolie voicing the tiger in Kung Fu Panda? On the other hand, very few can pull an authentic Barbie like Jody Benson (a.k.a. Ariel in the Little Mermaid). It takes reliable and authentic acting to pull at the heartstrings, and everyone definitely was on their A-game.
Lee Unkrich directed this movie with incredible pacing and just as much heart and dedication as Lasseter, who was in charge of the first two. The truth is, Pixar directs the movie together, as they share ideas and suggestions amongst each other. This fact can be traced to the similar pacing and directing styles seen in Pixar's better works like Ratatoille, Finding Nemo, and Up. They all have the similar technique of incorporating just as many tears as laughs. But unlike all the other Pixar movies (with the exception of The Incredibles), Toy Story 3 has a heave dosage of suspense and peril, which is climaxed by one of the most exciting animated sequences this side of Castle in the Sky (a Miyazaki adventure masterpiece). Other reviewers have noted this before me, but this Toy Story is quite scary in depth and in imagery at some instances, so be wary of this while watching this with the kids. With so much time invested with these toys, the drama runs a bit high.
Bottom Line: Toy Story 3 secures its place in cinema brilliance by becoming the best third installment since Indiana Jones and the Last Crusade, the best sequel since Kill Bill Vol. 2, and the best movie we've seen this year. This movie is usually hilarious, sometimes thrilling, and sometimes downright tear-jerking. And yes, just like Up's opening 10 minutes, there is that one major sequence in which Pixar will play with your heartstrings like Eric Clapton playing tears of Heaven. If you enjoyed the first two Toy Stories, there's no need to worry about the third and hopefully final chapter in the quality-filled saga. How Pixar manages to deliver yet again is absolutely beyond me.
Walt Disney may not be one-hundred percent proud of his company if he were alive to see it now, but he would be absolutely delighted at seeing what beautiful art Pixar has delivered ever since 1995. Pixar has re-created Walt Disney 's magical methods of storytelling and movie-making, and arguably has taken it a step even further by adding depth to the characters and depth to the overall stories presented. The direction was fantastic, the writing was Oscar-worthy, and the overall production is Best Picture caliber. This is Pixar's best work since Finding Nemo, and a must see by any means necessary. Despite my cynical nature, there's no way I can grade this any less than perfect. Just no way.