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乔布斯和玩具总动员

第二十二章，《玩具总动员》的一炮而红，让一直处于烧钱状态的皮克斯动画尝到了甜头，也让本欲卖掉它的乔布斯看到了改变电影业的可能。（he might be on the verge of transforming the movie industry）对于乔布斯而言，《玩具总动员》不仅让皮克斯赚到了钱，更是一个起点，让皮克斯成为和苹果一样伟大的公司的起点。这一期就让我们看看这部电影的基本框架是如何构思出来的吧！

【英语原文】

The idea that John Lasseter pitched was called “Toy Story.” It sprang from a belief, which he and Jobs shared, that products have an essence to them, a purpose for which they were made. If the object were to have feelings, these would be based on its desire to fulfill its essence. The purpose of a glass, for example, is to hold water; if it had feelings, it would be happy when full and sad when empty. The essence of a computer screen is to interface with a human. The essence of a unicycle is to be ridden in a circus. As for toys, their purpose is to be played with by kids, and thus their existential fear is of being discarded or upstaged by newer toys. So a buddy movie pairing an old favorite toy with a shiny new one would have an essential drama to it, especially when the action revolved around the toys’ being separated from their kid. The original treatment began, “Everyone has had the traumatic childhood experience of losing a toy. Our story takes the toy’s point of view as he loses and tries to regain the single thing most important to him: to be played with by children. This is the reason for the existence of all toys. It is the emotional foundation of their existence.” (Chapter 22 TOY STORY:Jeffrey Katzenberg )

【译文】

约翰-拉塞特脑海里构思的故事叫做“玩具总动员”，灵感源自他和乔布斯共有的一个理念即产品是有灵魂的，它们皆有生来之使命。如果物体也有感情，这种感情的基础就是其对自身价值实现的渴望。好比玻璃杯的使命在于盛水。如果它有感情，那么它会杯满则喜杯空则哀。 又好比计算机屏幕的使命是与人交流，独轮车的使命是在马戏团内供人骑行。对于玩具们来说，他们的使命就是同孩子们玩耍，因而他们的恐惧来源于被抛弃或是被新玩具替代。因此一个饱受喜爱的旧玩具和一个闪亮登场的新玩具联袂出演的兄弟电影才会有了必不可少的戏剧效果。特别是所有的故事都围绕着同孩子分离的玩具们展开。电影原始脚本是这样开头的：“每个人在童年都有遗失玩具这样痛苦的回忆。我们的故事从一个玩具的视角展开，他一度失去但努力尝试寻回对他最重要一件事，那就是同孩子们玩耍。这是所有玩具存在的意义，也是他们存在的情感基础。