Cut!

停！

Lasseter and his Pixar team had the first half of the movie ready to screen by November 1993, so they brought it down to Burbank to show to Katzenberg and other Disney executives. Peter Schneider, the head of feature animation, had never been enamored of Katzenberg’s idea of having outsiders make animation for Disney, and he declared it a mess and ordered that production be stopped. Katzenberg agreed. “Why is this so terrible?” he asked a colleague, Tom Schumacher. “Because it’s not their movie anymore,” Schumacher bluntly replied. He later explained, “They were following Katzenberg’s notes, and the project had been driven completely off-track.”

1993年11月，拉塞特和他的皮克斯團隊做好了電影的前半部分，到伯班克給卡曾伯格和其他迪士尼管理層看。動畫長片部門的總監彼得·施奈德（PeterSchneider）從未喜歡過卡曾伯格讓外人為迪士尼做動畫的想法，他當場宣布這個電影簡直一團糟，命令停止制作。卡曾伯格也同意了。“為什么會這么糟糕呢？”他問同事湯姆·舒馬赫（TomSdmmacher）。“因為這已經不再是他們的電影了。”舒馬赫直言不諱地說。他后來解釋說，“他們遵從了杰弗里·卡曾伯格的所有修改意見，這個項目也被完全帶走樣了。”

Lasseter realized that Schumacher was right. “I sat there and I was pretty much embarrassed with what was on the screen,” he recalled. “It was a story filled with the most unhappy, mean characters that I’ve ever seen.” He asked Disney for the chance to retreat back to Pixar and rework the script. Katzenberg was supportive.

拉塞特意識到舒馬赫說得沒錯。“我坐在那兒，屏幕上放映的東西令我感覺很尷尬，”他回憶說，“那個故事里充斥著一群我見過的最不開心、最尖刻的角色。”他請迪士尼給他一次機會，回皮克斯去返工。

Jobs did not insert himself much into the creative process. Given his proclivity to be in control, especially on matters of taste and design, this self-restraint was a testament to his respect for Lasseter and the other artists at Pixar—as well as for the ability of Lasseter and Catmull to keep him at bay. He did, however, help manage the relationship with Disney, and the Pixar team appreciated that. When Katzenberg and Schneider halted production on Toy Story, Jobs kept the work going with his own personal funding. And he took their side against Katzenberg. “He had Toy Story all messed up,” Jobs later said. “He wanted Woody to be a bad guy, and when he shut us down we kind of kicked him out and said, ‘This isn’t what we want,’ and did it the way we always wanted.”

喬布斯跟埃德·卡特穆爾承擔了該片聯合執行制片人的角色，但他自己沒有過多參與創作過程。考慮到他那么有控制欲，尤其是在審美和設計方面，在這件事上他的自我克制顯示了他對拉塞特和皮克斯其他藝術家的尊重——也顯示了拉塞特和卡特穆爾讓喬布斯保持距離的能力。但是喬布斯還是幫忙協調跟迪士尼的關系，皮克斯團隊也對此很感激。當卡曾伯格和施奈德叫停《玩具總動員》的制作后，喬布斯用個人資金支持工作繼續進行。他也站在拉塞特他們一邊反對卡曾伯格。“他把《玩具總動員》都搞亂了，”喬布斯后來說，“他想把胡迪寫成一個壞人，當他叫停這個項目時，我們就把他踢了出去，我們說，‘這不是我們想要的’，然后按照我們一直希望的去做。”

The Pixar team came back with a new script three months later. The character of Woody morphed from being a tyrannical boss of Andy’s other toys to being their wise leader. His jealousy after the arrival of Buzz Lightyear was portrayed more sympathetically, and it was set to the strains of a Randy Newman song, “Strange Things.” The scene in which Woody pushed Buzz out of the window was rewritten to make Buzz’s fall the result of an accident triggered by a little trick Woody initiated involving a Luxo lamp. Katzenberg & Co. approved the new approach, and by February 1994 the film was back in production.

3個月之后，皮克斯團隊拿出了一個新版本。胡迪的形象從統領安迪其他玩具的暴君式老板，轉變成了他們的英明領導者。他在巴斯光年到來后表現出的嫉妒被描繪得更值得同情，配樂用了蘭迪·紐曼（RandyNewman）的歌《奇怪的事》（StrangeThings）。胡迪把巴斯推出窗外的那一幕，被改寫成是胡迪發起的一個小把戲引起的一場意外，其中還出現了頑皮跳跳燈（向拉塞特的第一部獲獎動畫短片致敬）。卡曾伯格和迪士尼公司通過了這個新版本，1994年2月，電影恢復制作。

Katzenberg had been impressed with Jobs’s focus on keeping costs under control. “Even in the early budgeting process, Steve was very eager to do it as efficiently as possible,” he said. But the $17 million production budget was proving inadequate, especially given the major revision that was necessary after Katzenberg had pushed them to make Woody too edgy. So Jobs demanded more in order to complete the film right. “Listen, we made a deal,” Katzenberg told him. “We gave you business control, and you agreed to do it for the amount we offered.” Jobs was furious. He would call Katzenberg by phone or fly down to visit him and be, in Katzenberg’s words, “as wildly relentless as only Steve can be.” Jobs insisted that Disney was liable for the cost overruns because Katzenberg had so badly mangled the original concept that it required extra work to restore things. “Wait a minute!” Katzenberg shot back. “We were helping you. You got the benefit of our creative help, and now you want us to pay you for that.” It was a case of two control freaks arguing about who was doing the other a favor.

卡曾伯格對喬布斯的成本控制意識印象深刻。“即使是在早期的預算過程中，史蒂夫對成本都非常關注，希望盡量可以低成本髙效率。”他說。但是迪士尼批準的1700萬美元的預算后來不夠用了，尤其是在卡曾伯格迫使他們把胡迪的個性銳化以后，必須要作很多重大改動。所以喬布斯申請更多經費來完成這部電影。“聽著，我們是說好了的。”卡曾伯格對他說，“我們把運營控制權給了你，你也同意了我們提出的資金規模。”喬布斯大發雷霆。他給卡曾伯格打電話或干脆飛去找他，用卡曾伯格的話說，“只有喬布斯能那么瘋狂地沒完沒了。”喬布斯堅持說，迪士尼應該對成本超出預算負責，是卡曾伯格把最初的構思攪得一團糟，因此才需要做額外的返工。“等一等！”卡曾伯格反擊道，“我們是在幫你。你得益于我們那么富有創造性的幫助，而你現在卻要讓我們因此付錢給你。”兩個控制狂互不相讓，爭論到底誰幫了誰的忙。

Ed Catmull, more diplomatic than Jobs, was able to reach a compromise new budget. “I had a much more positive view of Jeffrey than some of the folks working on the film did,” he said. But the incident did prompt Jobs to start plotting about how to have more leverage with Disney in the future. He did not like being a mere contractor; he liked being in control. That meant Pixar would have to bring its own funding to projects in the future, and it would need a new deal with Disney.

埃德·卡特穆爾比喬布斯要圓滑得多，他能夠解決問題。“我對杰弗里的看法比其他一些做這部電影的同事要正面得多。”他說。但是這件事確實促使喬布斯開始策劃如何在未來對迪士尼有更大的影響力。他不想僅僅做個承包商。他喜歡控制局面。這意味著皮克斯未來必須把自己的資金帶進項目，并且跟迪士尼重新燁判。

As the film progressed, Jobs became ever more excited about it. He had been talking to various companies, ranging from Hallmark to Microsoft, about selling Pixar, but watching Woody and Buzz come to life made him realize that he might be on the verge of transforming the movie industry. As scenes from the movie were finished, he watched them repeatedly and had friends come by his home to share his new passion. “I can’t tell you the number of versions of Toy Story I saw before it came out,” said Larry Ellison. “It eventually became a form of torture. I’d go over there and see the latest 10% improvement. Steve is obsessed with getting it right—both the story and the technology—and isn’t satisfied with anything less than perfection.”

隨著電影制作的進展，喬布斯越來越為之興奮。他跟很多公司談過出俜皮克斯——從賀曼賀卡（HallmarkCards）到微軟——但是看到胡迪和巴斯的誕生，他意識到他可能即將改變電影業。當電影一幕幕完成后，他會反復觀看，并邀請朋友到他家分享他的新愛好。“我都沒法兒跟你說我在《玩具總動員》出品前總共看了多少個版本，”拉里·埃利森說，“到最后，這就變成了一種折磨。我要去他家看最新的那10%改進的內容。史蒂夫執迷于把一切都做好——無論是情節還是技術，任何不完美的東西他都不會滿意。”

Jobs’s sense that his investments in Pixar might actually pay off was reinforced when Disney invited him to attend a gala press preview of scenes from Pocahontas in January 1995 in a tent in Manhattan’s Central Park. At the event, Disney CEO Michael Eisner announced that Pocahontas would have its premiere in front of 100,000 people on eighty-foot-high screens on the Great Lawn of Central Park. Jobs was a master showman who knew how to stage great premieres, but even he was astounded by this plan. Buzz Lightyear’s great exhortation—“To infinity and beyond!”—suddenly seemed worth heeding.

1995年1月，迪士尼在曼哈頓中央公園一處帳篷里舉行了電影《風中奇緣》（Pocahcmtas、的新聞發布會，喬布斯受邀參加。這次活動進一步加強了他認為對皮克斯的投資會有所回報的想法。在現場，迪士尼CEO邁克爾·艾斯納（MichaelEisner）宣布，《風中奇緣》的首映式將在中央公園的大草坪舉行，將采用80英尺高的巨幅屏幕，觀眾將達10萬人。喬布斯本身就是表演大師，知道如何舉辦一場成功的首映式，但即使是他都被這個計劃震驚了。巴斯光年的那旬口號——“飛越太空，宇宙無限！”（toinfinityandbeyond）——突然看似值得留意了。

Jobs decided that the release of Toy Story that November would be the occasion to take Pixar public. Even the usually eager investment bankers were dubious and said it couldn’t happen. Pixar had spent five years hemorrhaging money. But Jobs was determined. “I was nervous and argued that we should wait until after our second movie,” Lasseter recalled. “Steve overruled me and said we needed the cash so we could put up half the money for our films and renegotiate the Disney deal.”

喬布斯決定，那年11月發布《玩具總動員》的時候，就是皮克斯上市的最佳時機。然而，即使那些一貫非常積極的投資銀行家也都覺得不靠譜，認為那根本不可能。皮克斯燒錢已經燒了5年。但是喬布斯決心已定。“我有些緊張，我認為我們應該等到第二部電影推出之后，”拉塞特回憶說，“史蒂夫否定了我的建議。他說我們需要錢，我們可以用一半資金做電影，然后跟迪士尼重新談合同。”