Word: toying
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...decade or so, its market share dwindling to single digits. Jobs resigned himself to swimming in smaller and smaller ponds, founding NeXT, which made an elegant jet-black computer for the university market, but not much money, and buying Pixar, which eventually produced such computer-animated film masterpieces as Toy Story and A Bug's Life. In 1995, just after Toy Story's release, Jobs took Pixar public in an exquisitely timed IPO that made him, for the first time, a billionaire...
...when they can get a new one that works better? Despite his misgivings, Tommy must go along for the ride to care for his younger brother as Chuckie and the twins take Dil back to the hospital in the Reptar Wagon, a crazy contraption built by Stu in his toy workshop...
...haunting painting The Introduction to the Game, two older men hold a pawn before the eyes of a blindfolded, timid man. The mouths of the elders begin to explain the beginning and rules of the game. Some sets of Bak's work show pawns escaping from a toy horse, an allusion to a Trojan horse, only to win the game. The notion of a battle won by the supposed weaker player is an idea that radiates from these rare, passionate pieces of Bak's paintings. In Symposium, sagacious men discuss where to replant their tree which floats above, its roots...
Even as A Bug's Life debuts this week, Pixar is hard at work on Toy Story 2 and a project dubbed Monsters, Inc., about the creatures living beneath a child's bed. DreamWorks is hoping for Antz-size success with Shrek, set for 2000 and featuring an ogre who pines for a beauty (some things never change). Universal is working on a Frankenstein project with CGI pioneer Industrial Light & Magic. Warner Bros. is readying The Iron Giant, about a machine that befriends a boy in 1950s Maine. And although both of Disney's '99 releases, Tarzan and Fantasia...
...smooth, seamless look, for instance, of Toy Story's indoor scenes and plastic dolls--sorry, "action figures"--counted as dazzling effects in 1995. But before the film was even out, Pixar's digital warriors had moved on to the thornier challenges posed by A Bug's Life. "The more symmetrical the object, the easier it is for a computer to render," says John Lasseter, who directed both films. "The more organic, the more difficult...