Last week, while watching Toy Story 3, I came to a revelation. A cinematic discovery that shook the very foundation on which I had built my admiration for the art and craft of filmmaking—my overall love of movies. It wasn’t destroyed (and probably never will be), but I know for certain it will never be the same again.

In all honesty, I had been noticing cracks in that foundation for years. As my maturity and knowledge of film grew, mindless dreck became less appealing. The days of flooding my senses with new releases on weekday afternoons with my buddy Ryan after college classes have long since passed. Every once in a while, a guilty pleasure still appeases the mindless drone I once was, but for the most part, my tastes have gradually changed.

How is it that the creators at Pixar can pull tears from you, reach inside and stir emotions you haven’t felt in years, while the rest of Hollywood continues churning out emotionless, prepackaged, vacuum-sealed garbage?

I’ll confess there was more for me to relate to in Toy Story 3 than in other Pixar films. The movie’s effortless progression toward the realization that we all grow up and eventually let go of childhood certainly resonated with me, but what affected me most was the writers’ and director’s ability to create such compelling, admirable, and unforgettable characters across three films. Their acceptance of fate—travelling together toward the incinerator and willing to face death side by side—is what pulled at my heartstrings the most.

Pixar’s brilliance as a creative juggernaut has been throwing a wrench into the machinery of the Hollywood dream factory ever since its first theatrical release, Toy Story, in 1995. It’s beyond my comprehension that, even after all these years, they’re still associated with The Walt Disney Company, whose creative track record over the past two decades has often been less than stellar. In reality, that partnership has probably endured because Pixar became a subsidiary of Disney in 2006, allowing them to retain complete creative control over their films. Had they split from Disney, as they once planned, they would have lost the story and sequel rights to their original intellectual properties.

I’m sure it also helps that Pixar is nestled in Emeryville, a small city in Alameda County roughly six hours north of Hollywood. That separation has likely helped them stay true to themselves rather than conforming to the likeness of Tinseltown. Countless studios throughout Los Angeles are all striving to create the next The Matrix, Jurassic Park, E.T. the Extra-Terrestrial, Star Wars, or The Godfather. Most fall painfully short, producing garbage like Superbabies: Baby Geniuses 2 and other screen atrocities not even worth mentioning.

At Pixar, each story is nurtured through a lengthy, multi-step process. Creating the computer-generated animation alone is a daunting task, but before they even reach that stage, they devote enormous amounts of time to developing the story, the characters, and the richly detailed worlds surrounding them. Toy Story 3 reportedly took two and a half years just to write the screenplay and create the storyboards. Most studios would never devote that much pre-production time to a single film, but, as you’ve probably already guessed, Pixar is not most studios.

A typical Hollywood studio—such as Universal Pictures, Columbia Pictures, Warner Bros., 20th Century Studios, or Paramount Pictures—releases between 20 and 40 feature films every year. (That doesn’t even include distribution, which would greatly inflate those numbers.) In the sixteen years since Pixar released its first feature-length film, the studio had released only eleven films.

So, in honor of Pixar and the outstanding entertainment they’ve provided to millions of children and adults alike, here’s a short breakdown of each of their theatrical releases, along with my personal thoughts and any notable accolades each film achieved. Wins are represented in bold and marked with an asterisk (*).

TOY STORY (1995)

Directed by John Lasseter
Screenplay Written by Joss Whedon, Andrew Stanton, Joel Cohen, & Alec Sokolow
Story by John Lasseter, Pete Docter, Andrew Stanton, & Joe Ranft

The first feature-length animated film to be theatrically released using Computer Generated Imagery (CGI), Pixar introduced us to Woody (voiced by Tom Hanks) and Buzz Lightyear (Tim Allen). The concept was simple yet outstanding: What do toys do when they’re not being played with? Well, they come to life, of course! And what happens when, after being your owner’s faithful companion for years, you’re replaced by a new toy? A power shift occurs, and mayhem ensues.

Toy Story is a brilliantly executed concept from start to finish, where the attention to detail is so extensive that even the toy soldiers have distinctive marks from where they’ve been released from their plastic mold. Watching them come to life, with their limited movement, was like a trip down memory lane. In fact, Andy’s room was like walking into a time warp, where, even in 1995, most children didn’t play with the toys that filled his room. The Speak & Spell, Etch-A-Sketch, and Mr. Potato Head, among others, didn’t reside in most rooms of the children I used to babysit back in high school. Thankfully, most toys depicted in this film transcend time, crossing over multiple generations for all to relate to and enjoy in unison.

Trivia Worth Noting: Each frame took anywhere from 4 to 13 hours to render, depending on the complexity of the shot.  There are 24 frames in one second of film.  This film is 80 minutes long.  You do the math.

One Of The Funnier Quotes:
Mr. Potato Head: Oh, really? I’m from Playskool.
Rex: And I’m from Mattel. Well, I’m not really from Mattel, I’m actually from a smaller company that was purchased by Mattel in a leveraged buyout.

Academy Award Nominations:
Best Writing, Screenplay Written Directly for the Screen
Best Music, Original Song – “You’ve Got A Friend In Me”
Best Music, Original Musical or Comedy Score
Golden Globe Nominations:
Best Motion Picture – Comedy/Musical
Best Original Song
Producer’s Guild Nominations:
*Special Award of Merit

Toy Story was entered into the National Film Registry in 2005.

A BUG’S LIFE (1998)

Directors: John Lasseter, Andrew Stanton
Screenplay Written by Andrew Stanton, Don McEnery, & Bob Shaw
Story by John Lasseter, Andrew Stanton, & Joe Ranft

A “loose” remake of legendary Japanese filmmaker Akira Kurosawa’s epic masterpiece, Seven Samurai, A Bug’s Life tells the story of Flik, a quirky outsider ant who embarks on a quest to find “warriors” to help his colony battle the bullying grasshoppers that consume their hard-earned harvest each year.

Despite featuring voice talents such as Dave Foley, Kevin Spacey, and Julia Louis-Dreyfus, the film’s lasting impact has diminished over time, overshadowed by Pixar’s ever-expanding library of memorable characters. Nevertheless, A Bug’s Life, as Pixar’s second feature-length film, still showcases the studio’s keen eye for detail and delightful sense of humor.

Trivia Worth Noting: The two mosquitoes trapped in the light of the bugzapper (“Frank, don’t go towards the light!” “I can’t help it – it’s so beautiful!”) are the voices of the co-directors, John Lasseter and Andrew Stanton.

One Of The Funnier Quotes:
Slim: What’s the point of going out there? They’ll only laugh at me.
P.T. Flea: That’s because you’re a clown!
Slim: No, it’s because I’m a prop. You always cast me as the broom, the pole, the stick… a splinter!
P.T. Flea: You’re a walking stick. It’s funny! Now go!
Slim: You parasite.

Academy Award Nominations:
Best Music, Original Musical or Comedy Score
Golden Globe Nominations:
Best Original Score

TOY STORY 2 (1999)

Directed by John Lasseter, Ash Brannon, & Lee Unkrich
Screenplay Written by Andrew Stanton, Rita Hsiao, Doug Chamberlin, & Chris Webb
Story by John Lasseter, Pete Docter, Ash Brannon, & Andrew Stanton

With the success of Toy Story still lingering throughout Disney, Toy Story 2 was quickly green-lit, initially slated as a direct-to-video release with a runtime of only 60 minutes. Impressed by the early animation and imagery, Disney executives pushed the film toward a full theatrical release. Upon returning from Europe, John Lasseter discovered the story was not up to par—at least by Pixar standards—and had the entire script rewritten over a single weekend, with production ultimately completed in a staggering nine months. Thus began the ongoing turmoil between Pixar and Disney, which would continue until 2006.

A worthy sequel by any standard, Toy Story 2 reunites audiences with Woody, Buzz, Mr. Potato Head, Rex, Hamm, and many others as Woody is stolen by a toy collector attempting to complete a rare set to sell to a museum in Japan. An internal struggle begins to take shape within Woody as he wrestles with the idea of being immortalized for generations to see.

Pixar’s work on Toy Story 2 demonstrates the studio’s ability to avoid the common pitfalls that cause most sequels to stumble. The film also introduces the idea that toys can have a second life through collectors, though that appreciation is often driven more by financial gain than genuine affection. Throughout the entire Toy Story series, Pixar continually managed to surpass itself, making each installment at least equal to—and sometimes even better than—the original.

Trivia Worth Noting: The dust in the scene where Woody meets Wheezy set a record for number of particles animated for a movie by computer.

One Of The Funnier Quotes:
Tour Guide Barbie: And this is the Buzz Lightyear aisle. Back in 1995, short-sighted retailers did not order enough dolls to meet demand.

Academy Award Nominations:
Best Music, Original Song – “When She Loved Me”
Golden Globe Nominations:
Best Motion Picture – Comedy/Musical
Best Original Song

MONSTERS, INC. (2001)

Directed by Pete Docter, David Silverman & Lee Unkrich
Screenplay Written by Andrew Stanton, Dan Gerson, Robert L. Baird,
Rhett Reese & Jonathan Roberts
Story by Pete Docter, Jill Culton, Jeff Pidgeon & Ralph Eggleston

A shining example of Pixar’s creators’ remarkably active imagination, Monsters, Inc. pushes boundaries in animated storytelling. Released in November 2001, this fourth entry introduces us to Mike (voiced by Billy Crystal) and Sully (John Goodman), two ordinary monsters working their 9-to-5 job scaring children, whose screams are contained and used to power Monstropolis, a non-human city.

Of all the Pixar films, this one is my personal favorite. I never had a problem with monsters hiding in my closet as a child, but the universal theme is relevant to audiences and their children on many different levels. Monsters, Inc. holds a special place in my heart for various reasons, the most significant being my identification with Sully. He’s big and may appear intimidating, but on the inside, he’s just a ‘big softie’—much like myself.

Trivia Worth Noting: It normally took 11 to 12 hours to render a single frame of Sulley because of his 2.3 million individually animated hair strands (Total number of hairs: 2,320,413).

One Of The Funnier Quotes:
Yeti: [Referring to despondent Sully] Aw, poor guy. I understand. It’s not easy being banished. Take my buddy Bigfoot. When he was banished he fashioned an enormous diaper out of poison ivy. Wore it on his head like a tiara. Called himself “King Itchy”.

Academy Award Nominations:
*Best Music, Original Song – “If I Didn’t Have You”
Best Animated Feature
Best Music, Original Score
Best Sound Editing

FINDING NEMO (2003)

Directed by Andrew Stanton & Lee Unkrich
Screenplay Written by Andrew Stanton, Bob Peterson & David Reynolds
Story by Andrew Stanton

In Finding Nemo, Marlin (voiced by Albert Brooks), a clownfish and overprotective father, travels to Sydney in search of his son, Nemo, who gets scooped up by a diver after directly disobeying him. Along his journey, he befriends a forgetful regal tang named Dory (Ellen DeGeneres) and encounters various dangers, learning how to take risks and trust his son.

Pixar’s fifth studio release once again topped the charts in box office gross and landed on several critics’ top ten lists, paving a similar path for most of its successors. A beautiful, heartwarming story, Finding Nemo was the first film that made me notice small cracks in the foundation that would later be demolished. If you don’t believe me, just watch the opening scene and try not to be emotionally moved; if you’re not, then you have ice for blood.

Trivia Worth Noting: The Great White shark’s name in the movie was Bruce. “Bruce” was the nickname given to the models used for the shark in the original Jaws, named after Steven Spielberg‘s lawyer, Bruce Ramer.

One Of The Funnier Quotes:
Marlin: Now it’s my turn. I’m thinking of something dark and mysterious. It’s a fish we don’t know. If we ask it directions, it could ingest us and spit out our bones.
Dory: What is it with men and asking for directions?
Marlin: I don’t want to play the gender card right now. You want to play a card, let’s play the “let’s not die” card.

Academy Award Nominations:
*Best Animated Feature
Best Music, Original Score
Best Sound Editing
Best Writing, Original Screenplay
Golden Globe Nominations:
Best Motion Picture – Musical or Comedy

THE INCREDIBLES (2004)

Written & Directed by Brad Bird

Brad Bird, the director of the critically acclaimed animated film The Iron Giant (another personal favorite of mine), collaborated with Pixar to create their sixth feature-length film, The Incredibles. This brilliantly conceptualized movie pairs the voice talents of Craig T. Nelson, Holly Hunter, and Samuel L. Jackson (among others) as superheroes who have retired from their crime-fighting lifestyles to assume civilian identities and start families. This plan unravels after fifteen years when Mr. Incredible and his family are called back into action to save the world.

Due to the more intense action sequences and subject matter, this was the first Pixar film to be rated PG. Beyond the superhero element, all of the characters are well-rounded and easily identifiable. Like many, I find the desire to follow my heart while also owning up to the responsibilities of being a husband a constant struggle; feeling complete and achieving a sense of accomplishment in recent employment opportunities has also been a daunting task. The Incredibles remains personally relatable to this very day.

Trivia Worth Noting: In the whole movie, you can see 35 explosions, 189 buttons being pressed, and approximately 640 gunshots.

One Of The Funnier Quotes:
Lucius: So now I’m in deep trouble. I mean, one more jolt of this death ray and I’m an epitaph. Somehow I manage to find cover and what does Baron von Ruthless do?
Bob: [laughing] He starts monologuing.
Lucius: He starts monologuing! He starts like, this prepared speech about how feeble I am compared to him, how inevitable my defeat is, how the world will soon be his, yadda yadda yadda.
Bob: Yammering.
Lucius: Yammering! I mean, the guy has me on a platter and he won’t shut up!

Academy Award Nominations:
*Best Achievement in Sound Editing
*Best Animated Feature Film of the Year
Best Achievement in Sound Mixing
Best Writing, Original Screenplay
Golden Globe Nominations:
Best Motion Picture – Musical or Comedy
Producer’s Guild Nominations:
Motion Picture Producer of the Year

CARS (2006)

Directed by John Lasseter & Joe Ranft
Screenplay Written by Dan Fogelman, John Lasseter, Joe Ranft,
Kiel Murray, Phil Lorin & Jorgen Klubien
Story by John Lasseter, Joe Ranft, Jorgen Klubien & Brenda Chapman

Cars, Pixar’s seventh theatrical release, featured the voice talent of Paul Newman, Owen Wilson, and Bonnie Hunt. Lightning McQueen (voiced by Wilson), a hot-shot race car, gets waylaid in Radiator Springs before a big race. While there, he connects with Doc Hudson and discovers the true meaning of friendship and family.

While the story is cute, this film felt like it didn’t quite hit the mark. It wasn’t critically panned by any means, but it lacked heart. The film looks great—after all, which Pixar film isn’t visually stunning? However, Cars seemed to emphasize Disney marketing more than any of their other films. Compared to other children’s fare, it’s still exemplary, but when measured against Pixar’s standards, it falls short.

Trivia Worth Noting: The film’s animators drew up over 43,000 sketches for designs of the cars.

One Of The Funnier Quotes:
Harv: It is such an honor to be your agent that it almost hurts me to take ten percent of your winnings. And merchandising. And ancillary rights in perpetuity. Anyway, what a race, huh, champ? Uh, didn’t see it, but I heard you were great.

Academy Award Nominations:
Best Music, Original Song – “Our Town”
Best Animated Feature Film of the Year
Golden Globe Nominations:
Best Animated Film
Producer’s Guild Nominations:
*Animated Motion Picture

RATATOUILLE (2007)

Directed by Brad Bird & Jan Pinkava
Screenplay Written by Brad Bird & Jim Capobianco
Story by Jan Pinkava & Brad Bird

Pixar’s eighth feature-length release explores the subject of French cuisine. In Ratatouille, Remy (voiced by Patton Oswalt) has culinary aspirations to become a chef, but there’s just one obstacle in his path: he’s a rat. Remy, who possesses a keen sense of smell and previously used his talent to detect rat poison for his fellow rodents, soon bonds with Linguini, a restaurant garbage boy. Linguini’s position is quickly promoted when Remy assists him in recreating a dish that astonishes his boss, Skinner (Ian Holm). Bonding and mayhem quickly ensue as they strive to keep the restaurant afloat while dealing with food critics and a potential rat infestation.

Having seen this film only once, a good two or three years ago, it hasn’t made a lasting impression on me. It was critically praised and pleased millions of audience members who contributed to its box office success, but most of the characters didn’t resonate with me. Since my viewing, I have grown to love cooking, and this film might appear in my Netflix rental queue once again. Perhaps a second viewing will change my perspective on the potentially missed genius of this film. Until then, I can only express a passing interest in Ratatouille.

Trivia Worth Noting: To create a realistic-looking compost pile, artists photographed and researched the way real produce rots. Fifteen different kinds of produce were left to rot and then photographed, such as apples, berries, bananas, mushrooms, oranges, broccoli, and lettuce.

One Of The Funnier Quotes:
Emile: [notices Remy walking on his hind legs] Why are you walking like that?
Remy: I don’t want to constantly have to wash my paws. Did you ever think about how we walk on the same paws that we handle food with? You ever think about what we put on our mouths?
Emile: All the time.
Remy: When I eat, I don’t want to taste everywhere my paws have been.
Emile: Well, go ahead. But if dad sees you walking like that, he’s not gonna like it.

Academy Award Nominations:
*Best Animated Feature Film of the Year
Best Music, Original Score
Best Achievement in Sound
Best Achievement in Sound Editing
Best Writing, Original Screenplay
Golden Globe Nominations:
*Best Animated Film
Producer’s Guild Nominations:
*Animated Motion Picture

WALL-E (2008)

Directed by Andrew Stanton
Screenplay Written by Andrew Stanton & Jim Reardon
Story by Andrew Stanton & Pete Docter

In a conscious effort to address concerns about consumerism and the environment, Pixar boldly released their ninth film, WALL-E. Set in the year 2805, WALL-E is one of an army of small trash-compacting robots left to clean up Earth after it is deemed toxic and unlivable for humans. Seven hundred years later, WALL-E, the only functioning robot left on the planet who has gained the ability to feel and perceive, spends his days compacting trash and collecting miscellaneous items that seem special to him. Upon discovering a seedling growing among the trash, WALL-E encounters and falls in love with another robot, EVE, who is sent to extract the specimen, proving that Earth’s ecosystem has been restored.

The ingenuity and complexity of WALL-E and his environment left me speechless. On a visual standpoint, this film is Pixar’s crowning jewel in its cinematography and art direction. Pixar’s shining achievement with WALL-E, besides to masterfully tell a great narrative story with minimal dialog, is their social commentary on man’s unfortunate attraction and surrender to consumerism.  Yes, some of their observations may seem a little heavy-handed, but not by very much. Their representation of “Buy n Large”, an obvious knock to the likes of Wal-Mart, displays our all-too-easy willingness to conform and line up like sheep to find the easiest and cheapest form of consumption.

Trivia Worth Noting: Most of the robots are voiced by Ben Burtt, two-time Academy Award winner known for his sound designs for the Star Wars films, among dozens of others, through mechanical sounds of his creation.

One Of The Funnier Quotes:
Captain: Well, good morning, everybody, and welcome to day 255,642 aboard the Axiom. As always, the weather is a balmy 72 degrees and sunny, and, uh… Oh, I see the ship’s log is showing that today is the 700th anniversary of our five year cruise. Well, I’m sure our forefathers would be proud to know that 700 years later we’d be… doing the exact same thing they were doing. So, be sure next mealtime to ask for your free sep-tua-centennial cupcake in a cup. Wow, look at that.

Academy Award Nominations:
*Best Animated Feature Film of the Year
Best Music, Original Score
Best Music, Original Song – “Down To Earth”
Best Achievement in Sound
Best Achievement in Sound Editing
Best Writing, Original Screenplay
Golden Globe Nominations:
*Best Animated Film
Best Original Song
Producer’s Guild Nominations:
*Animated Motion Picture

UP (2009)

Directed by Pete Docter & Bob Peterson
Screenplay Written by Bob Peterson & Pete Docter
Story by Pete Docter, Bob Peterson & Thomas McCarthy

In Up, Pixar’s tenth theatrical release, we’re introduced to Carl Fredricksen (voiced by Ed Asner), who sets out to fulfill a lifelong dream of exploring the wilds of South America by tying thousands of balloons to his house. Unfortunately, right after lifting off, Carl realizes that he’s not alone; Russell, a boy scout trying to earn his final merit badge for “assisting the elderly,” clings for dear life on his front porch. Once they arrive at Paradise Falls, they embark on an unforgettable adventure.

Falling in line with most other Pixar films, Up evokes a true sense of learning from one’s past and a deep-seated desire to follow one’s dreams. This was the first Pixar film to bring me to tears as I watched Carl live out his life with his wife, Ellie. When they aren’t able to have children, Carl and Ellie save their money for a trip to Paradise Falls, only to end up spending it on more pressing needs. Unfortunately, before they get the chance to go, Ellie passes away.

One of my favorite insights from the creators of this film is their true understanding of man’s best friend. Dug, a dog that Carl befriends after landing at Paradise Falls, wears a collar that allows him to speak. Any dog owner knows that they captured the true spirit of canines when they developed Dug’s character and what a dog might say if it suddenly had the ability to speak. A truly touching film, Up became even more personal and relatable for me as a married man. If I had been single during my first viewing of this masterpiece, I’m not sure I would have had the same reaction.

Trivia Worth Noting: Dug’s ‘point’ pose, where his entire tail, back, and head is in a perfectly straight line, is an homage to the identical pose that Mickey’s dog, Pluto, often makes. Dug also shares a similar colour scheme to Pluto.

One Of The Funnier Quotes:
Carl Fredricksen: This is crazy. I finally meet my childhood hero and he’s trying to kill us. What a joke.
Dug: Hey, I know a joke! A squirrel walks up to a tree and says, “I forgot to store acorns for the winter and now I am dead.” Ha! It is funny because the squirrel gets dead.

Academy Award Nominations:
*Best Animated Feature Film of the Year
*Best Music, Original Score
Best Achievement in Sound Editing
Best Motion Picture of the Year
Best Writing, Original Screenplay
Golden Globe Nominations:
*Best Animated Film
*Best Original Score
Producer’s Guild Nominations:
*Animated Motion Picture
Motion Picture Producer of the Year

TOY STORY 3 (2010)

Directed by Lee Unkrich
Screenplay Written by Michael Arndt
Story by John Lasseter, Andrew Stanton & Lee Unkrich

Finally, after fifteen years (and five days of writing this post), we arrive at Toy Story 3, where we re-enter the lives of Woody, Buzz, and the rest of the gang as they face an uncertain future while Andy prepares to leave for college. What happens to your toys when they’ve served their purpose and your owner grows up? Do they spend the rest of their days trapped in a bag in the attic? Are they sold at a yard sale? Or are they donated to a daycare, where they’re played with forever by new children who join in the fun?

The latter scenario becomes a reality when they are deposited in the “Caterpillar Room,” where young children play roughly with each toy, breaking them or destroying them altogether. Woody, who was supposed to go with Andy to college, uncovers what really happens there and works his way back into the daycare to rescue his friends.

As I expressed earlier in this post the reason I found this film so moving wasn’t due to the nostalgia factor; growing up and letting go of childish things, much like 1 Corinthians 13:11, “When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put childish ways behind me.” It was beyond letting go.  It was the fact that Pixar, unlike most Hollywood pictures, was capable of creating three-dimensional characters that you truly cared about.  Toy Story 3 is a monumental achievement, where Pixar has created the perfect movie trilogy, joining the ranks of, if not possibly surpassing the likes of the original Star Wars or The Lord of the Rings trilogy.

Trivia Worth Noting: A sequel was initially planned amid the creative rift between Disney and PIXAR in 2004-2005. Disney established an animation division called ‘Circle 7’ to produce sequels for PIXAR films without the involvement of the original creators. According to an article in Entertainment Weekly, the original concept for Toy Story 3 centered on Buzz Lightyear experiencing a defect. He would be sent to Taiwan for repairs, with the other toys discovering that the company was merely replacing broken Buzz toys with new ones. In response, they would travel to Taiwan to rescue him. However, this script was abandoned when PIXAR and Disney reconciled, agreeing not to develop projects that had been planned during their conflict.

One Of The Funnier Quotes:
Sergeant: [Three of Andy’s army men are preparing to jump out the window with parachutes] We’ve done our duty. Andy’s grown up.
Army Man 1: Let’s face it. When the trash bags come out, we army guys are the first to go.
Buzz Lightyear: Trash bags?
Woody: Who said anything about trash bags?
Sergeant: It has been an honor serving with you. Good luck, folks.
Army Man 2: You’re gonna need it!
[They jump out]

Academy Award Nominations:
*Best Animated Feature Film of the Year
*Best Music, Original Song
Best Motion Picture of the Year
Best Writing, Adapted Screenplay
Best Achievement in Sound Editing
Golden Globe Nominations:
*Best Animated Film
Producer’s Guild Nominations:
*Animated Motion Picture
Motion Picture Producer of the Year