Moreover, that kind of introduction immediately evokes each audience member to ponder their own former cinematic childhood obsession. It makes you wonder why Disney/Pixar didn’t just lead with that stance in the first place because it changes every advertised presumption. This is that movie.īam! Those three sentences couldn’t frame or sell Lightyear any better, putting all false sequel doubts and cash-grab naysayers to rest. In 1995, Andy got a toy for his birthday.
Swapping pixels of a manufactured plastic for richer digital sinew, heart, and guts, the intent behind this Lightyear is presented up front in one of the simplest and most effective uses of pre-credit text in this or any world: From the surface, Lightyear was initially marketed as a vague origin story that did not seem to fit where this character and world began or where small-screen cartoon spin-offs took him since.
The same division can be pressed against the external event itself. He is his own man, not a packaged program of settings and market research. This beefier Buzz Lightyear may still be narrating to himself, but his talk expresses strong emotions and virtuous desires more than push-button quips.
Within the movie, we are granted a dramatic hero truer than the memorable action figure caricature we have come to cherish playing alongside other toys. There is a tremendous dichotomy of thought and talk amid Pixar’s Lightyear.
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