I’ve been observing Pixar since 1995 when they released their first full-length film, Toy Story. I remember staring in awe at the movie screen, amazed by the characters and colors and comedy-drama that was a seamless, nonstop adventure. It was unprecedented, seeing this computerized style of animation: I’d gotten so use to Disney traditions of cell shading and musical numbers that to seeing Woody and Buzz bicker like a old married couple was an a fresh breath of air into my world of movies. 

Fifteen years later and I’ve seen Pixar progress from a studio that once rented a small rented complex in Point Richmond with half-built cubicles to the sleek, Apple-esque building commissioned by none other than Steve Jobs. I’ve seen the studio transition from A Bug’s Life to Monster’s, Inc. and missed seeing Finding Nemo in theaters (one of my biggest regrets). I’ve seen them tread lighter tides  in Cars to darker ones in The Incredibles. I’ve read and seen how Pixar and Disney’s relation strained and reconciled after Eisner’s handling of the studio’s creative assets essentially violated the artist’s code of honor. I’ve seen Brad Bird and Michael Arndt and, more recently, Gary Rydstrom and Brenda Chapman, join the Pixar Brain Trust which includes John Lasseter, Bob Peterson, Lee Unkrich, Pete Docter, and my favorite of all Andrew Stanton. One of my best friend’s brother works there as a computer programmer, and she’s been able to tour the studio and attend the San Francisco premiere of Wall•E in 2008, which was arguably the height of Pixar’s Golden originals, the last of the stories the original brain trust of Stanton, Lasseter, Docter and the late Joe Ranft brainstormed in 1994 at Hidden City Cafe, Point Richmond. 

Since Wall•E I’ve begun to observe Pixar’s current progression – their projects, their business dealings, their press, their critical reception – and, based on blogs (primarily The Pixar Blog), newspaper articles and interviews of animators, directors, and producers, I’ve noticed something: it’s possible that Pixar might be in creative limbo post-Wall•E. 

By creative limbo, I’m not talking about mediocrity; I’m speaking specifically about how their stories are constructed and what they thematically explore. Wall•E, The Incredibles and Ratatouille arguably present some of the more mature and adult thematics than their counterparts, which are inevitably appealing to general movie goers for their childhood charm and loving craftsmanship. 

Now with their two recent releases post-Hidden Cafe meeting, Up last year and Toy Story 3 this year, I’m beginning to see a certain pattern in their storytelling:

• Including Wall•E, Up and Toy Story 3 all present some serious thematics that are usually unexplored in stories that appeal to children (and in Pixar’s case, to adults as well). These themes include a dystopia resulting from destructive consumerism, the emotional pull of love and how death severs its reciprocation, and the difficulty of transitioning from an adolescent high schooler to a young college adult (as well as what it feels like to not change so much while everything else around changes – from the toys’ perspective, at least). 
• To not distraught viewers too much, Pixar writers pad out a secondary story in conjunction with the main thematic. This secondary story is usually less serious, more fun and more adventure-oriented; in a sense, it’s “fluff,” but it’s so well done that for the most part people don’t really care. The best example would be the Sunnyside portion of Toy Story 3, where the secondary story revolved around Woody and the gang breaking out of the dystopian daycare. This secondary story is easily stand alone from the more emotional and overarching thematic, which is Andy’s transition period from teenage adolescence to college life, and how he, Woody and the toys cope with their memories of one another and how things have changed since then. 
• However some viewers and critics have noted or been affected by the discrepancy in tone between the main thematics and secondary stories; for instance, Stephanie Zacharek disliked the second half of Wall•E because it was significantly less thematic and more “cartoon-y” than the first half; Roger Ebert felt that the toys in Toy Story 3 would be overwhelmingly traumatized by the ordeal they went through during the secondary story that was fleshed out during the middle arc; I personally think the opening of Up was pure brilliance, and right after the marriage montage ended the secondary story took over the rest of the movie, from the cute Korean-American kid Russell to dutiful Dug to Kevin the girl. 

Pixar’s writing team has demonstrated in their three most recent films a interesting pattern of narration. Like Disney’s The Lion King, these three films – Wall•E, Up, and Toy Story 3 – pushed into more mature realms than most other Pixar films. Now it could easily be said that Brad Bird’s The Incredibles and Ratatouille also explored more mature themes as well, but the difference is that Bird’s films are allegorical – the former on social acceptability (with a subtext about adultery that Bird copped out on at the end) and the latter on criticism – and are, in a sense, narratively, emotionally and thematically seamless, while these three more recent films are, to an extent, inconsistent regarding these three characteristics. Like The Lion King, which intensely hailed of Hamlet’s drama up until the point of Hakuna Matata, Wall•E, Up and Toy Story 3 begin digging into exceptionally difficult themes but shy away just enough to make room for a secondary story that invariably pulls audiences in, though to varying degrees. For instance: 

• Wall•E suffers from the differing tone between the first and second of the film, the difference solely being location – abandoned earth during the first, the AXIOM during the second. The Simpson’s-esque slapstick humor of the AXIOM contrasted sharply with the quieter moments of Wall•E and EVE together on earth (though to be fair, it’s always funny to poke fun at OCD germaphobes). 
• Up emotionally enraptures from its opening sequence until Eli’s death, which was one of the saddest death scenes I’ve seen in awhile. However, Carl’s road to emotional recovery is overshadowed by an adventure filled with cute (but alas, unnecessary) side characters that are cheerful and bubbly and everything the audience wants after something devastating. 
• Toy Story 3 tackles some of the least explored and most difficult thematics – the transition from childhood, feeling significant even though things have changed, and holding onto the memories that bind us all. However, the middle arc – which is exciting, thrilling and hilarious – by virtue of its length, muffled out some of the weight and emotional complexity of the main thematic, leaving some viewers (most who were not familiar with or were never attached to the original two movies and characters) feeling emotionally hollow by the time the credits rolled. 

Make no mistake – in no way do I think any of these mentioned films are bad (in fact, Wall•E happens to be on my list of personal favorites). They are entertaining, smart, moving, and lovingly crafted, which is a big deal given how so many productions – live and animated – fall through due to creative differences and other extenuating circumstances that could stretch out over a mile in qualms and complaints. 

Pixar is a superb animation studio, no doubt about that. They’ve always had the benefit of not following in Walt Disney’s footsteps: instead of relying on the same musical number format and adaptations of other stories (“distillations,” some might say), Pixar sprinted out with original stories and never depended on Alan Menken broadway sashays (though Randy Newman has been on board for a lot of Pixar films; I’m glad Michael Giacchino and Thomas Newman are also Pixar veterans in lieu of ol’ Randy singing about). And for awhile, besides the Toy Story franchise, Pixar avoided penning sequels that, to us embittered fans, echoed too resiliently of Michael Eisner’s infamous direct-to-video sequel reign and more recently, Dreamwork’s extension of the Shrek franchise (the first film was brilliant, but its successors effectively shut me off from being emotionally engaged with Shrek and Donkey and Fiona again). However, after hearing that Pixar is in production for Cars 2 and Monsters, Inc. 2, and even possibly looking at Finding Nemo 2 and 3 after a original story, Newt, was effectively shut down during production, I worry: is one of my favorite studios becoming too big too fast, and now too established to take more risks like before? 

I ask this because like any large, successful institution, there’s always an increasing pressure to take less risks since the stakes are higher – marketing, investors, employees, management, everything. When Pixar first started out in the little Point Richmond complex, they essentially had nothing to lose: the main focus was to write a great story and make a great movie, period. Fifteen years later and Pixar has essentially become a celebrity studio, ironically in the same vein of Disney animation; there are thousands of fans, and I assume there’s much more bureaucracy to be dealt with when getting a project greenlit. The safest bet is always to start from a established narrative that was successful, as there will always be fans of the original story who want to see another adventure in the same universe fleshed out. 

Maybe I’m worrying too much. Pixar may very well still be in its Golden age of originality, and at this very moment are concocting up a savory dish of films that I’m sure we’ll all love. Regardless, I think it’s important and interesting to consider where they currently are as a studio, and to see whether or not they continue creating films that are universally appealing or begin entering more mature grounds like The Iron Giant, Princess Mononoke or even Akira. Obviously imagining Pixar making a film as dark and adult as Akira is pushing it a bit, but it’s still an interesting gradient to consider – that is, how much more “mature” are they willing to push, and will they push for it without fluff? 

I guess we’ll just have to wait and see. Here’s hoping for some more Pixarian quality, which I’m sure I won’t be disappointed by lack thereof. 

Additional Links/Readings

• Wall•E trailer released on 2007 – Shows a nice montage of how the original Pixar Brain Trust met at Hidden City Cafe and brainstormed out all their movies from A Bug’s Life to Wall•E. 

• Pixar Canada – a nice article about Pixar’s expansion to Vancouver, Canada. 

• Monkey Shines: Meet the Breakout Star of Toy Story 3 – a New York Times interview with a character from Lee Unkrich’s directorial debut (warning: it is awesome)