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团队做好了电影的前半部分，到伯班克给卡曾伯格和其他迪士尼管理层看。动画长片部门的总监彼得·施奈德（PeterSchneider）从未喜欢过卡曾伯格让外人为迪士尼做动画的想法，他当场宣布这个电影简直一团糟，命令停止制作。卡曾伯格也同意了。“为什么会这么糟糕呢？”他问同事汤姆·舒马赫（TomSdmmacher）。“因为这已经不再是他们的电影了。”舒马赫直言不讳地说。他后来解释说，“他们遵从了杰弗里·卡曾伯格的所有修改意见，这个项目也被完全带走样了。”

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.

拉塞特意识到舒马赫说得没错。“我坐在那儿，屏幕上放映的东西令我感觉很尴尬，”他回忆说，“那个故事里充斥着一群我见过的最不开心、最尖刻的角色。”他请迪士尼给他一次机会，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.”

乔布斯跟埃德·卡特穆尔承担了该片联合执行制片人的角色，但他自己没有过多参与创作过程。考虑到他那么有控制欲，尤其是在审美和设计方面，在这件事上他的自我克制显示了他对拉塞特和皮克斯其他艺术家的尊重——也显示了拉塞特和卡特穆尔让乔布斯保持距离的能力。但是乔布斯还是帮忙协调跟迪士尼的关系，皮克斯团队也对此很感激。当卡曾伯格和施奈德叫停《玩具总动员》的制作后，乔布斯用个人资金支持工作继续进行。他也站在拉塞特他们一边反对卡曾伯格。“他把《玩具总动员》都搞乱了，”乔布斯后来说，“他想把胡迪写成一个坏人，当他叫停这个项目时，我们就把他踢了出去，我们说，‘这不是我们想要的’，然后按照我们一直希望的去做。”

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个月之后，皮克斯团队拿出了一个新版本。胡迪的形象从统领安迪其他玩具的暴君式老板，转变成了他们的英明领导者。他在巴斯光年到来后表现出的嫉妒被描绘得更值得同情，配乐用了兰迪·纽曼（RandyNewman）的歌《奇怪的事》（StrangeThings）。胡迪把巴斯推出窗外的那一幕，被改写成是胡迪发起的一个小把戏引起的一场意外，其中还出现了顽皮跳跳灯（向拉塞特的第一部获奖动画短片致敬）。卡曾伯格和迪士尼公司通过了这个新版本，1994年2月，电影恢复制作。

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.

卡曾伯格对乔布斯的成本控制意识印象深刻。“即使是在早期的预算过程中，史蒂夫对成本都非常关注，希望尽量可以低成本髙效率。”他说。但是迪士尼批准的1700万美元的预算后来不够用了，尤其是在卡曾伯格迫使他们把胡迪的个性锐化以后，必须要作很多重大改动。所以乔布斯申请更多经费来完成这部电影。“听着，我们是说好了的。”卡曾伯格对他说，“我们把运营控制权给了你，你也同意了我们提出的资金规模。”乔布斯大发雷霆。他给卡曾伯格打电话或干脆飞去找他，用卡曾伯格的话说，“只有乔布斯能那么疯狂地没完没了。”乔布斯坚持说，迪士尼应该对成本超出预算负责，是卡曾伯格把最初的构思搅得一团糟，因此才需要做额外的返工。“等一等！”卡曾伯格反击道，“我们是在帮你。你得益于我们那么富有创造性的帮助，而你现在却要让我们因此付钱给你。”两个控制狂互不相让，争论到底谁帮了谁的忙。

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·卡特穆尔比乔布斯要圆滑得多，他能够解决问题。“我对杰弗里的看法比其他一些做这部电影的同事要正面得多。”他说。但是这件事确实促使乔布斯开始策划如何在未来对迪士尼有更大的影响力。他不想仅仅做个承包商。他喜欢控制局面。这意味着皮克斯未来必须把自己的资金带进项目，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.”

随着电影制作的进展，乔布斯越来越为之兴奋。他跟很多公司谈过出俜皮克斯——从贺曼贺卡（HallmarkCards）到微软——但是看到胡迪和巴斯的诞生，他意识到他可能即将改变电影业。当电影一幕幕完成后，他会反复观看，并邀请朋友到他家分享他的新愛好。“我都没法儿跟你说我在《玩具总动员》出品前总共看了多少个版本，”拉里·埃利森说，“到最后，这就变成了一种折磨。我要去他家看最新的那10%改进的内容。史蒂夫执迷于把一切都做好——无论是情节还是技术，任何不完美的东西他都不会满意。”

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，迪士尼在曼哈顿中央公园一处帐篷里举行了电影《风中奇缘》（Pocahcmtas、的新闻发布会，乔布斯受邀参加。这次活动进一步加强了他认为对皮克斯的投资会有所回报的想法。在现场，迪士尼CEO迈克尔·艾斯纳（MichaelEisner）宣布，《风中奇缘》的首映式将在中央公园的大草坪举行，将采用80英尺高的巨幅屏幕，观众将达10万人。乔布斯本身就是表演大师，知道如何举办一场成功的首映式，但即使是他都被这个计划震惊了。巴斯光年的那旬口号——“飞越太空，宇宙无限！”（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.”

乔布斯决定，那年11月发布《玩具总动员》的时候，就是皮克斯上市的最佳时机。然而，即使那些一贯非常积极的投资银行家也都觉得不靠谱，认为那根本不可能。皮克斯烧钱已经烧了5年。但是乔布斯决心已定。“我有些紧张，我认为我们应该等到第二部电影推出之后，”拉塞特回忆说，“史蒂夫否定了我的建议。他说我们需要钱，我们可以用一半资金做电影，然后跟迪士尼重新谈合同。”