The American fashion doll was released by Mattel in According to Wikipedia , Barbie has been an astronaut, surgeon, Olympic athlete, downhill skier, aerobics instructor, TV news reporter, vet, rock star, doctor, army officer, and the list goes on from there!
While some playsets of toy soldiers date back as early as the 19th century and were made out harmful metals such as lead, the troops from the Toy Story movies are of a plastic variety that became popular after WWII. Spell, Etch-a-Sketch and Doodle Pad, along with the Creepy Monkey from Toy Story 3 who smashes his cymbals together to sound the alarm when the toys are escaping!
Even though we could only come up with about 14 real-life Toy Story toys, we bet you can spot a few more if you watch the movies carefully! Can you name some other toys from Toy Story films that actually exist? Tell us what they are in the comments below!
Check out some of the most expensive Disney items you can buy online! We're breaking Molly is sharing five holiday looks that are perfect for decking the halls this season!
We sure do! Check out our picks for the best pizza In no particular order, here are our picks We're taking a look at the places you should be eating in Magic Kingdom. We're sharing the list of the worst places to stay in Walt Disney World Resort Follow us as we visit some popular spots in Disney's Animal Kingdom with our new Your email address will not be published. This was an era during which the West was greatly romanticized, something Walt Disney was on to when he created Frontierland at Disneyland in Cowboys, in particular, were revered as rough and tough, independent, honest, and hardworking characters—at the time considered laudable traits for young boys and girls to emulate.
This game from our collection was named after a real TV show called Cheyenne that ran from to Rocket Darts game, s. Buzz Lightyear also represented an era and a larger group of toys and games. During the mid th century, outer space was considered really mysterious and it fascinated people. At first, it was depicted as pure science fiction, as represented by the aliens and Pizza Planet in Toy Story and shown on the cover of this Rocket Darts game from the s.
Potato Head playset, Potato Head were and still are real toys. They were introduced in and , respectively. Back in the s, when this playset was produced, it included 28 different face pieces and accessories—like eyes, noses, mouths, and mustaches—that kids would stick on real potatoes! Hasbro began supplying a plastic potato with each kit in Life magazine ad, Slinky in original box, s.
He evolved from the invention of the Slinky, along with a host of other rather bizarre-looking Slinky-related toys shown in this ad. The original Slinky was introduced in , when a marine engineer was trying to invent a spring for the motor of a naval battleship. Toy army men, mid- to late 20 th century. Even in the most spectacular exemplars of digitally created cinematic imagery to date - Terminator 2, Apollo 13, Casper, to name a few - the computer illusions make up but a fraction of the running time ranging from a total of 6 minutes in Jurassic Park to 40 minutes in Casper.
The difference with Toy Story is that everything is virtual. Each one of the movie's 1, shots was created on Silicon Graphics and Sun workstations by artists working from some computer-generated mathematical models and backgrounds.
The shots were then edited using Avid editing systems and painstakingly rendered by powerful Pixar-developed RenderMan software. Four years in the making, the minute film required , machine-hours just to produce a final cut.
As they like to say around Pixar's Point Richmond studios, Toy Story was shot entirely on location - in cyberspace. Never given to understatement, Steve Jobs, Pixar's founder and owner, confidently predicts the film will give birth to a whole new era of filmmaking, possibly even supplanting traditional 2-D cel animation entirely. For Jobs, who negotiated Pixar's deal with Disney and played a hands-on role as Toy Story's executive producer, the new tools are revolutionary.
You looked at it and thought, There's an awesome amount of technology in this box, but you don't need to know that to enjoy its output. There are more PhDs working on this film than any other in movie history, and yet you don't need to know a thing about technology to love it.
Here in the Pixar screening room, the only thing on the collective minds of John Lasseter and his team is jiggering and polishing the brief clip on screen to eek out the maximum slapstick yuks. The shot shows one of the film's major characters, a rag-doll cowboy named Woody the voice of Tom Hanks ,flat footedly taking a flying poker-chip square on the chops.
Over and over the scene loops, undergoing excruciating nit-picking by the assembled crew. Should the chip perhaps be bigger? Should it come in at a higher angle? How about two chips? The old saying in the trade is that doing animation is like watching grass grow, and here, too, in the futuristic realm of the virtual studio, the labor is endlessly exacting.
Key to the entire process is a Pixar-developed program called Menv Modeling Environment. Nine years in the making, Menv is an animation tool used to create 3-D computer models of characters with built-in articulation controls; these controls enable the animator to isolate specific frames of a desired motion - the hinging of an elbow, say, or the movement of lips to match dialog - and then leave it to the computer to interpolate the whole sequence of animation.
This not only obviates the tedious process of frame-by-frame animation, but achieves an almost preternatural fluency of motion. If you want to slow down an arm movement 15 percent, you have to go back and erase all the animation and redraw it. Here we just move a key frame, and it's done quickly. If Lasseter wants to exaggerate Woody's reaction to being smacked by the chip, say, by having his eyes bulge out, the animator needs only to reset Woody's controls governing this specific motion Pixar calls them articulation variables, or avars, for short and let the computers go to work.
Virtually everybody who's seen any part of Toy Story so far raves about its breakthrough techniques, but no one knows how the film will be received once it reaches the world's cineplexes. Meanwhile, more than people have been pouring heart and soul into the project for more than four years, and now, as they enter the final stages of production, it's nonstop crunch.
Given this, you'd imagine the pressure level to be just a little tense around the Pixar studios. Forget it. If things were any looser, everybody's pants would fall off.
As Lasseter puts it, animators are kids who never grew up, and Pixar is the kind of place where people navigate the mazelike hallways on kiddie push scooters, where rainbow displays of penny-candy jars are to be found at every corridor intersection, and where successful shot completions are rewarded with trips to the in-house freebie toy box.
A few weeks hence, when a particularly difficult phase of making the film is accomplished, a calypso band will appear unannounced in the Pixar hallways, and a spontaneous conga line will go dancing deliriously through the offices. Here in the screening room, the ambience is so raucously sub-teenoid, you'd think you were sitting around in some kid's bedroom watching a bunch of precocious 9-year-olds try to crack each other up with gross body-part jokes and armpit farts.
Then we could call it Peanut Trouble. In fact, in the hothouse world of computer animation, Lasseter is not in any trouble at all. On the contrary, it seems, he can do no wrong. Lasseter is already regarded as one of the authentic, trailblazing stars; his short films have consistently turned into landmark events in the evolution of this young craft.
But it was the sensational Luxo Jr. A simple story involving cunningly animated desk lamps, the film was the sensation of that year's Siggraph conference and went on to win some 30 filmmaking awards, including a Silver Bear at the Berlin Film Festival, and an Academy Award nomination - the first 3-D computer-animated movie to have been officially lined up for an Oscar.
Only you'd probably end up down on the floor crayoning the wall along with him and never make it out of the house. If, as they say, whimsy is coded into the genes of animators, Lasseter was definitely born with it. One look at him sitting in the director's chair his production team fashioned for him - a wheelchair with drink holder, ooga-ooga horn, and gaudy bike streamers coming from the armrests - and you know the man was destined to make cartoons.
In fact, says Lasseter, the lead character of Toy Story has its origins in his own childhood. Woody is based on his favorite toy, a pullstring Casper the Ghost talking doll, which the director still keeps in his office. He loves to demonstrate it for visitors. Growing up in Whittier, California, Lasseter, now 38, was a precocious artist blessed to have a family that recognized his talents. His mother, a high school art teacher, actually encouraged him, he says, to get up early on Saturdays to watch the cartoons.
My folks thought doing animation was a noble profession, a wonderful thing to shoot for, and that's pretty rare. In high school, the budding artist wrote to the Disney studios of his ambitions and was invited to take a tour of the fabled animation department.
In , he attended the California Institute of the Arts in Santa Clarita, just in time to be a part of the school's new character-animation program.
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