So many pieces had to come together to bring me to Pixar in 1990 that I can’t help but feel very, very blessed!
They make me feel young again, and again, I feel very blessed.” – Galyn Susman, Technical Director & Lighting Supervisor, Toy Story
Currently, I am a Producer, working on an unannounced feature film at Pixar. And guess what? It feels new and exciting, and my team is passionate about the project in a way that is so reminiscent of my experience on Toy Story.
I’m so thankful that I was in the right place at the right time, that I had chosen computer graphics before it was a popular thing to study, and then met the right people with the crazy ideas of making this dream a reality.
I would never have imagined at the time that we were not only making a movie, but also making history. I suppose the overriding feeling I have towards it all is a feeling of being lucky or fortunate, depending on your view of self-determination.
Now the people that we hire have no cognizance of a world where animated films weren’t predominantly made on computers. And to think that we set this entire process in motion (of course someone would have done it, but we happened to get there first) is pretty mind blowing.
A decade ago, when we hired new talent, they would often cite Toy Story as changing the way they thought about animation and animated films and would say that it set them on a career path from an early age.
“My role on the original Toy Story was as a technical director, or what we now call a ‘technical artist.’ Back then we were generalists, so I did both character and set modeling and shading and then lighting, eventually becoming a lighting supervisor along with Sharon Callahan.
A lot of racists just don’t get it & never will. Their problem is they can’t resist the urge to spout off their hate. I bet money folks will find a lot of law enforcement officers on Parler saying some remarkably irredeemable things—just you wait and see—wait for it #ParlerHacked