Toy Story 4 is available for home viewing this week, with the Blu-ray coming out on October 8th. After a successful theatrical run, the home version will include plenty of audio commentary and behind-the-scenes featurettes for fans to immerse themselves in Pixar’s magical world once more.
Of course, an animated masterpiece such as this would be nothing without its artists. Screen Rant sat down with visual artist Ana Ramirez and animator Claudio Oliveira to discuss the journey from page to screen, as well as what deleted scenes they were most hoping to see.
Congratulation, both of you, on Toy Story 4. The animation was beautiful; the character design was incredible, so both of you did a great job. I’d love to know, since you work on it from very early on but maybe don’t see the whole process, how different is it for you when you finally see it in theaters?
It’s mind-blowing.
Ana Ramirez: Oh, it’s very different. Yeah, I feel like I usually start working on films very early on, sometimes even before it’s even the story that comes out. And sometimes I stay longer on the films, but on this particular film, I actually wrapped a whole year early.
It was so different when I saw it; some things are the same, but a lot can change too. And there’s a lot more work that gets done. I usually don’t stay on the project long enough to still be working on it, to see the animation before it comes out. So, it’s always a surprise when I go to the wrap parties for the premiere. I’m always like, “No way! That’s so cool.” But I love that, because then it’s still somewhat secret for me too. Even though we know the story and stuff, it still always really surprises me.
Claudio Oliveira: For animation, we kind of know a little more how it’s going to be coming out on the screen, because what we’re animating is going to be end up in there. But it’s all the departments ahead of us that can change the look of it a lot; even editing a little, finessing on timing, change things greatly. Even without talking about scoring and all [that].
Sometimes I like to work on my piece and not be looking down the line of how it’s going to come out. Because it’s always a great surprise to see visually how that came to life; how they ended up feeling the pieces in editing. You will look at the sequence on animation and feel like, “Okay, that’s a sequence that’s working.” Once it comes out, it feels so much tighter and it works so much better.
So, especially the visuals on this movie, I tried to keep myself without looking at it until we saw our premiere and I was really gladly surprised.
Ana Ramirez: Yeah! Yeah, me too. I never saw any final shots while I was working on it. Because I was just seeing things get approved, but I never saw a whole composited and everything shot.
Claudio Oliveira: The lighting department – there’s something magical there.
Ana Ramirez: It’s so good.
I know you [Claudio] worked a lot on Forky and bringing him to life. And you [Ana] had a hand in Bo Peep’s costume. What is it like being able to put some of yourself into those characters; into characters that already have such an ongoing story, and then for you to actually create a new one?
Ana Ramirez: Yeah, it’s like the sprinkles on top.
It was a new experience.
Ana Ramirez: It’s interesting, because we sometimes tend to go back to the old films and kind of study the character, because I don’t want to give her a completely different look that doesn’t fit her pre-existing personality. So, we do have a little bit of room to play around with how much she’s changed, especially in this movie. She’s empowered; she’s living the free life. So obviously, she’s changed, but she’s still Bo Peep. You have to consider all those things.
And sometimes I wish I could put more of myself or my own taste into it. But you kind of have to think about the story and keep that in mind, like, “This is for the film, and it has to work for the film.” So, we have to restrict ourselves sometimes a little bit, too.
But it’s super fun when you do get to sneak something that you are super passionate about into it, and then it works out for the character in the film. It’s always so exciting seeing the final product and being like, “Wow, I worked on that.” It’s so cool.
Claudio Oliveira: Exactly. Sometimes the character or the project fits you a little better, and [in that] way, you can bring something to it. For me, on Coco, I was able to put a little more of my life experience or just the way that that people would move into it.
Ana Ramirez: Same.
Claudio Oliveira: On Forky, since I was never a utensil before…
Finally, what are you guys most excited for with the home release? Is there any segment or deleted scene you’re hoping to see on there?
Claudio Oliveira: I tried to do something. They didn’t buy the idea, but I tried to put my name [on the bottom] and see if it would survive into the movie.
It didn’t make it; they put someone called Bonnie. I was a little frustrated with that, but that’s okay.
More: Interview with Toy Story 4’s Josh Cooley & Mark Nielsen
Ana Ramirez: Yeah, I don’t know what the deleted scenes are, honestly.
Claudio Oliveira: I know one that was nice; that I liked. But I can’t say… It’s about knockoff toys.
Ana Ramirez: I was actually so surprised when I saw the ending of the film, where you see – maybe I shouldn’t talk it.
Even in the film, there were some scenes that I had never seen before because, like I said, like I wrap earlier usually. So, I’m excited because I feel like most of the stuff in the home release, I haven’t seen.
Claudio Oliveira: And there is a new ending, too. A different ending.
Ana Ramirez: That’s pretty cool. I don’t know, so it’s new for me. I’m excited, too.
Toy Story 4 is now available on digital and hits Blu-ray October 8.
