And loss is an important part but ultimately, the message of engaging with what you have in the present is not a sad message.” She says after some tinkering they figured out how to get Buzz into his next life chapter in Act II a lot quicker which introduces him to a new set of characters and gets the movie out of its case of the sads. Susman agrees, adding, “It was a little sad for several versions. The profound nature of his journey in the first act can be really emotionally devastating.” “And there were heavier versions, in the sense of how much tragedy befell our character. “Tone is really interesting because there's a lot of heavy moments in the film,” MacLean shares. However, MacLean and producer Galyn Susman admitted that early cuts of the first act were a bit overly overambitious about earning those sobs. And we didn't want this new Buzz to look like a toy.” It Was Super Sad but Not AnymoreĪ great Pixar movie almost always gets the audience to use their snack napkins as tear-catchers, and Lightyear is no different. “This original Buzz has a tremendous sense of chunk inspired by a healthy dose of NASA and influenced by Japanese anime. “I want there to be a thickness and an obvious construction to things,” he says. We'd have bold lighting, emphasizing the graphic and letting the detail fall away, drawing the viewer into a rich world of a tangible alien landscape.”Īs for the chunk, MacLean means he wanted the ships, landing pads, and Space Command outposts to all look substantial. We'd build a believable, tangible world, and then we throw it away using shadow and atmosphere. “Lightyear would mark a bit of a departure from the earlier films by using lenses and lighting techniques to give the film a more cinematic look. “I envisioned a graphic image that would utilize a high contrast atmosphere inspired by the look of a 1970s film,” he says. He's still a fully-rounded character just like the rest of our cast.” Lightyear is Chonky!Īctually, MacLean clarifies that “chunk and cinematic aesthetics” were his visual mandates to give Lightyear the kind of realism that would separate it from the Toy Story world. “Most importantly though, Zurg's new mechanized form doesn't mean that he's a mindless automaton. “Zurg is a force to be reckoned with in our movie, and he has a crazy array of awesome features that you get to see him use in the film,” he teases. The result is a giant robot Zurg which is aesthetically influenced by the designs of Super Robots, Mecha and Japanese anime. His design has to be intimidating so he could carry the menace and the presence our story demanded.” “But above all, Zurg needs to be a threat. “We needed our Zurg to fit within the hard-boiled sci-fi world that we had created,” he explains. And as for his look, Lightyear sets art director Greg Peltz helped guide Zurg’s more mature reinvention. ![]() He’s now voiced by James Brolin with some added vocal effects. In Lightyear, Zurg has undergone a major makeover to get rid of his cartoony silhouette and to gain some emotional and physical heft as a character. Labeling it a fish out of water story, he adds, “It's like Rip Van Winkle, trapped in a future he doesn't recognize, desperately trying to get back to the past to correct a mistake of his youth a hero out of his own time.” Zurg Is a Reimagined, Scarier VillainĮvery hero needs a worthy nemesis and for Buzz that’s always been Emperor Zurg who was introduced in Toy Story 2. “It’s a story where Buzz is traveling rapidly through time because of his job, and because of that, it would separate him from society and his loved ones,” MacLean explains. This movie is his official origin story and spells out the whole, very grounded story of how Buzz’s mission goes awry and turns him into a man out of time. ![]() In Lightyear, Buzz Lightyear is the earnest Star Command test pilot/astronaut that the toy is based upon. ![]()
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