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Guy tells his friends they are going for a drive to shoot a video, what they don't know is they are going to drive though a garage door!
Many of Pixar’s greatest moments rely not on snappy dialogue, but on a harmonious relationship between visuals and music. Something as simple as the sound of an instrument, a smell in the air, or the taste of food can resurrect a memory you had forgotten was even there. One of the selling points of computer animation is its ability to massively replicate characters and objects. While this scene may have caused nightmares for the youngest of moviegoers, it brought tears to many people’s eyes. The first time Pixar broke your heart was with this simple Oscar-nominated song written by Randy Newman and sung by Sarah McLachlan. The Kodak Panoram certainly gives you a unique perspective and Simon used it a great deal on his trip to Equador recently.  I can’t wait to see the results! In just three minutes, Dash’s chase through a tropical jungle does more things right than many action features.
Mike Wazowski has reconstructed the door to Boo’s room, and Sulley slowly opens it to see if his 2-year-old pal is waiting inside.

Chronicling the multi-year friendship between Jessie the cowgirl doll and her owner, Emily, the tune ends with a poignant shot of Jessie abandoned in a donations box. Andy assumes his mother wrote the note, so the college-bound teenager stops by Bonnie’s house to hand over his toys. The composer mixes electronic and acoustic sounds, which is appropriate because WALL-E and EVE’s waltz through space represents an instance where something artificial (robots) partakes in a human custom (dancing).
It’s an insightful moment that made every adult in my theater laugh with recognition. Pixar trusted that children wouldn’t fidget during this melancholy and deliberately paced flashback.
One by one, Andy introduces each toy to Bonnie, giving every character his or her moment in the spotlight. And keep track of how many shots here couldn’t have been achieved in a live-action film.
And that wild ride through the EAC makes my Six Flags roller coasters seem dinky by comparison. Director Pete Docter wisely resisted the urge to show the two characters embracing one another.

And due to the scene’s success, we received some even more affecting moments later on, such as our next entry. Computer animation allows the camera to go wherever you want, and I’ve never seen a sequence take advantage of that freedom quite like this one. They realize that if this is going to be their final moments alive, at least they’ll meet their fate together.
Any other movie would have had the characters scream for their lives until they were rescued, but Pixar used this as an opportunity to contemplate how one goes about accepting death. Here Andy sits, on the precipice between childhood and adulthood, having to decide whether he’ll be able to let go of his own childhood so that another kid can have a slightly happier one.

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