Creator / Pixar
"Story is king."
Pixar company motto

Pixar began when George Lucas used some of his money to form a new division at Lucasfilm known as "Graphics Group". The company originally did this and that for a while, most notably the Genesis planet simulation from Star Trek II: The Wrath of Khan and the stained-glass knight from Young Sherlock Holmes. Working there was one John Lasseter, a former Disney animator who got fired for trying to push the company to experiment with computer animation. He created a CGI short entitled The Adventures of Andre and Wally B in his downtime, with the assistance of computer genius Ed Catmull.

Seeking money for his divorce costs (and also because of the failure known as Howard the Duck), Lucas eventually sold it to Steve Jobs for ten million dollars. The company was named Pixar after their first product, a video rendering computer for medical use. Though it didn't sell very well, Steve Jobs continued to pour money into it, and Pixar repurposed itself as a firm creating computer-animated commercials for companies such as Listerine Mouthwash and Lifesavers candies.

At the same time, John Lasseter continued to use CGI to make short films and showed them around at conventions, specifically the computer-graphics convention SIGGRAPH. While other people were showing landscapes and technical demos, Lasseter's short Luxo Jr. was a masterpiece in storytelling that established several new CGI tricks and demonstrated the narrative ability of the art. Pixar's subsequent shorts secured their status as the leader in computer animation.

In short order, Pixar moved away from medical imaging, instead continuing to refine their RenderMan digital rendering software while making commercials even as they set out to accomplish a very lofty goal — to make the first ever feature-length all-CGI film. The rest is history: Pixar signs a distribution deal with Disney, Pixar makes a lot of hits, Pixar and Disney boss Michael Eisner have issues, Disney gets a new boss (whose wife was also Steve Jobs' wife's roommate in college), Pixar and Disney kiss and make up, Disney buys Pixar for more than $7 billion (for scale, when they bought the entire Marvel empire it cost $4 billion), making Jobs' ten-million-dollar purchase a real steal considering the purchase made him a major shareholder in Disney, and all is well.

And finally, things come full circle with Disney's acquisition of Lucasfilm, bringing it under the same umbrella as its own former division. Though, with John Lasseter in charge, you could look at it as Pixar itself now owning its former owner (kinda like how SBC Communications ultimately bought former owner AT&T).

In mid-July 2014, technology news website Pando Tech revealed that PIXAR, as well as Disney Animation Studios, LucasFilm, Ltd. and even rival studios DreamWorks Animation and Blue Sky Studios were involved in a pact in which they fixed the salaries of their employees.

When Pixar makes a movie, more often than not, it will be well done at worst. 13 out of the 16 films released so far (Cars 2, Monsters University, and The Good Dinosaur being the exceptions) have been nominated for at least one Oscar; in 2010, Up became the second animated film (and first CGI film) to be nominated for Best Picture, and the next year, Toy Story 3 became the third animated (and second CGI film) to get that nomination. Only one of the studio's films (Cars 2) has really failed critically; on Rotten Tomatoes, the first two Toy Story films have perfect scores (the third has a 99% rating, tying it with Finding Nemo for second place). Many of their films sit on the Internet Movie Database's "top 250 films" list, and Pixar is usually topping that site's "50 best animated films" list (their highest-rated films have scores in the mid-8s). Nearly all of their films take their subjects and turn them on their heads (friendly monsters who only scare for their day jobs, race cars who learn to take it slow and that there's more to life than winning, robots who teach humans how to feel emotions again, etc.) and in doing so pack them full of humor (including jokes that go way over the heads of kids) and drama.

Of course, if you think they're not business-minded, keep in mind that, until The Good Dinosaur, their films had never failed financially. Out of their films, only four (Toy Story, A Bug's Life, Cars 2 and The Good Dinosaur) have failed to break the $200 million dollar mark in the US, and none of them failed to break the $200 million mark in foreign box office take; the studio's highest-grossing film, Toy Story 3 made over a billion dollars worldwide (becoming the highest-grossing animated film of all time until Frozen and Minions exceeded it, as well as the first animated film to earn a billion). The average domestic box office take of a Pixar film is around $250 million, and their films have made almost ten billion dollars total in combined domestic and foreign box office take. Also worth noting: every single Pixar film had opened at the #1 spot in the weekend box office until Inside Out's release in 2015 note . Sans Brave (while still a respectable #13) and The Good Dinosaur (at a less remarkable #21), all of Pixar's films are among the top ten highest-grossing films of the year they've been released.

Lest you think that they're just a bunch of artists, though, you should know that their first Academy Award wasn't for a movie — it was for PhotoRealistic RenderMan, the software that they make and license to other filmmakers that fuels an innumerable amount of CG in films. It was the first Academy Award given out for a piece of software.

They also seem to be a very personal and humble company:

Pixar itself is located in Emeryville, California on a huge campus of the type more commonly associated with tech companies in nearby Silicon Valley— complete with a high-quality cafeteria (with dedicated chef), an exercise facility, a soccer field, and hallways lined with concept art, employee projects, and life-size statues of Pixar characters (including a 2-story-tall Luxo lamp). The best part: it is possible (though difficult) to get tours.

Pixar's filmography

Film series:
  • Toy Story:
    • Toy Story (1995) (First Disney/Pixar project; this movie featured a special Walt Disney Pictures logo that was Pixar-designed note . The Pixar logo is notable for appearing at the end of the movie as opposed to the beginning. Re-released in 3-D in theaters in October 2009)
    • Toy Story 2 (1999) (Same re-release as Toy Story)
    • Buzz Lightyear of Star Command (2000-2001) — Spinoff TV series not made by Pixar, though they did animate the CGI intro sequences for the Pilot Movie and the series proper.
    • Toy Story 3 (2010)
    • Toy Story of Terror! (2013) — TV special.
    • Toy Story That Time Forgot (2014) — TV special.
    • Toy Story 4 (2018) — A third sequel to the franchise to be directed by John Lasseter. Revealed at the 2015 D23 Expo to be a love story focused on Woody being reunited with Bo Peep who was absent (and implied to be thrown out) from Toy Story 3.
  • Monsters, Inc.:
  • Finding Nemo:
    • Finding Nemo (2003) (Rereleased in 3D on Sep. 14, 2012 with a Blu-Ray release Dec. 4 of the same year)
    • Finding Dory (2016)
  • The Incredibles:
  • Cars:
    • Cars (2006) (Last Pixar movie to have the marching band music over the studio's Walt Disney Pictures logo, which has 2 extra beats on it.)
    • Cars 2 (2011)
    • Cars 3 (2017)

Other films:
  • A Bug's Life (1998) (This is the first Pixar movie to have the Pixar Animation Studios logo at the start, which features Luxo Jr. hopping in from the right, turning, looking at the I, and hopping on it and squishing it, replacing the I and looking right into the camera as the screen fades out; the end logo at Pixar movies is the exact same sequence, except it has Luxo's light blub remain on as the screen fades out, only for it to turn off a second later, concluding the film; the Pixar logo was at the end on Toy Story due to different distribution agreements at the time.)
  • Ratatouille (2007) (This is the last Pixar Animated Classic to feature the original CGI castle Disney logo, which does not have the march music on it, due to being the final release in the original agreement; all Pixar movies after this use the 2006 Walt Disney Pictures logo)
  • WALL•E (2008) (First Pixar Animated Classic to forgo the older Toy Story Walt Disney Pictures logo; to symbolize Pixar's integration into Disney, it instead uses the fully-animated 2006 Walt Disney Pictures logo with the "When You Wish Upon a Star" excerpt; the end logo features Luxo Jr's light bulb go out before the screen fades out, and WALL•E shows up, screws a new one in, and knocks over the R on the way out, forcing HIM to replace the R; the logo then ends normally before The Stinger that this movie has.)
  • Up (2009) (The first Pixar film released in 3D)
  • Brave (2012) (First Pixar Animated Classic to use the alternate 2006 Walt Disney Pictures logo that just says "Disney")
  • Inside Out (2015)
  • The Good Dinosaur (2015)
  • Coco (2017; a story set during the Mexican holiday of Dia De Los Muertos, by Lee Unkrich.)


  • The Pixar Story (2007) — about Pixar's early history. Produced by Leslie Iwerks Productions and distributed by Walt Disney Studios Motion Pictures.
  • To get a little information about the people behind the 'toons, see Pixar Regulars.

Tropes associated with Pixar include:

  • All-CGI Cartoon: Trope Maker, with Toy Story.
  • Animation Bump:
    • Pixar often make noticeable technology developments in between films, such as animation of fur in Monsters, Inc. and water in Finding Nemo.
    • Just take a look at the difference between Toy Story and Toy Story 2, with only four years and one movie between them; the improvement is astronomical. For comparison, Toy Story 3 doesn't look that much better than 2 - no need to fix what wasn't broken. 3 does look significantly less artificial due to eleven years and seven films between them, but also out of necessity: their software had become so sophisticated with those films that they couldn't recognize the old software, meaning the characters had to be remade from scratch.
  • Arc Number: A113, See More Below.
  • Arch-Competitor: With Dreamworks Animation, though greatly exaggerated by Dreamworks' Hatedom.
    • Friendly Enemy: As noted above, both of them (and third competitor Blue Sky, among others) were involved in a pact to fix the wages of their employees in 2014.
  • Art Evolution: Invoked. "Art challenges technology, technology inspires art" is one of their mottos for a reason.
    • Someone compared their first attempt at animating a baby in 1988's Tin Toy to the scene of Riley as a baby in 2015's Inside Out. "World of difference" doesn't even begin to describe it.
  • Author Appeal: Butt-pinching comes up in The Incredibles (Mr. and Mrs. Parr), Cars and the "El Materador" short (the old lady car slapping "Nice Butte" stickers on cars' behinds, Mater and the two Miatas, via yanking their rear bumpers with his crane), and Brave (The King and Queen Elinor).
  • Avoid the Dreaded G Rating: Averted; at present, of their many films, only four of them are rated PG in the US.
    • It should also be noted that the rating has not affected their films' successes or reputations, as they still do well at the box office and usually garner multiple accolades.
  • Black and White Morality: Most Pixar films thus far.
  • Breakthrough Hit: Toy Story
  • Broken Streak:
    • After 11 consecutive films with a Certified Fresh rating on Rotten Tomatoes, Cars 2 is released to 39% on RT. Cue Internet Backdraft.
    • Also, ever since the Academy Awards established the "Best Animated Feature" category in 2001, Pixar films have been inevitably nominated... until Cars 2.
    • Inside Out, facing competition with Jurassic World, was the first Pixar film to not debut at #1 at the box office… though it still broke box office records for Pixar, being their third-highest grosser and the highest non-sequel or remake opening of all time (it reached the #1 spot on its third week). However, follow-up The Good Dinosaur didn't reach the top spot at all and became the first Pixar film to be declared a theatrical Box Office Bomb.
  • Cash Cow Franchise: Merchandise for the Cars series has been noted to sell extremely well.
  • Crapsaccharine World: Like Disney, most Pixar movies, despite some of the bright colors, actually tend to be pretty dark. But despite that, there are still plenty of people who still grew up with Pixar movies much like Disney.
  • Continuity Nod: They frequently reference past productions, from shorts (Luxo Jr.'s ball is a frequent sight) to movies (the Pizza Planet truck being the most blatant example)
  • Doing It for the Art: Steve Jobs spent a fortune on this small company that no one knew about for a decade before they exploded into fame.
  • Dub Name Change: The release of Pixar movies in Chinese-speaking countries often leads to them being renamed "X Team" in Mandarin, a practice that even spreads to some non-Pixar CGI animated movies. Hence, Toy Story = "Toys Team", A Bug's Life = "Insects Team" etc. This sometimes leads to a Title Drop in the Mandarin dubs, like at the end of Cars.
  • Dueling Movies: Averting this trope is the reason Pixar stopped production on Newt (Blue Sky's Rio had roughly the same plot).
  • Earn Your Happy Ending: In several cases, notably the Toy Story films.
  • Genre-Busting: Their films tend towards this.
  • Ink-Suit Actor: Generally averted. Pixar prefer to cast the actor according to the character, not the other way around, but that's not to say they're occasionally guilty of this: several of the characters in the Cars films are based on a certain vehicle associated with their actor (i.e. Sig Hansen as a sentient version of the Northwestern).
  • Killed Off for Real: Hopper, Syndrome, Charles Muntz, and Mor'Du are the only four villains to actually die at the end of their respective films.
  • Most Writers Are Male: John Lasseter on why Pixar hasn't had a female main character before Brave: "We're a bunch of guys."
  • Otaku: Watch some of their movies and just look at how many references they make to Japan. Lasseter is a long time admirer of Hayao Miyazaki, they've become professional friends, and Miyazaki's stamp of approval was instrumental in helping Toy Story catch on in Japan. Disney, under the direction of a Pixar-related employee, is the only studio Miyazaki blesses with English dubs of his work.
    • Lassetter even flew Japanese girl group Perfume to the premiere of Cars 2 and surprised them with full knowledge of their back catalogue during lunch together. They recorded a J-Pop single for the film in which the characters visit Tokyo.
  • Papa Wolf: About half of Pixar's male leads are fathers (Bob Parr, Marlin) or substitute fathers (Sulley, Carl, arguably Woody and Buzz) whose main conflict in their respective movies is involves and/or affects their children, as well as dealing with the physical and emotional baggage of that responsibility. Considering that many of Pixar's Regulars were starting to have families of their own during Pixar's earlier filmmaking years, it makes more than enough sense.
  • Production Foreshadowing: Happens enough times for a Pixar movie to be the page image.
  • Running Gag: The Pizza Planet truck, giving a role to John Ratzenberger in every film, putting a cameo of a character from the next film to be released, and the one listed in Shout-Out
  • Serendipity Writes the Plot: By the early 1990s, everything CG was kinda plastic... so Pixar did a film starring plastic characters. Then computer technology allowed to depict living animals better (bugs, furry/scaly creatures, fish, and then humans).
  • Scenery Porn: The Incredibles's commentary mentions having entire meetings devoted to the placement of the food at the dinner table during one scene.
  • Shout-Out: A113 shows up in every Pixar film.
  • Shown Their Work: While Pixar does mix some things around for the sake of Artistic License, it plays this very straight.
  • The Smurfette Principle: Despite their allocates, one major complaint about Pixar is the lack of films that have a notable number of prominent female characters. There have been attempts to remedy this as of late, to varying degrees of success.
  • Spotlight-Stealing Squad: Pixar's sidekicks tend to be more memorable than their leads. You can see from their sequels that they embrace it: Cars 2 centered on Mater, Monsters University on Mike, and Finding Dory will be about Dory. Averted, however, with the Toy Story films: despite Buzz Lightyear arguably being more famous and recognizable, Woody remains the focus of the sequels.
  • Stunt Casting: Subverted! Pixar certainly has commendable star power for each film, but make it a point to match the actor to the character, not vice versa.
    • With one half-exception. While Frozone is generally his own self, they couldn't resist giving Samuel L. Jackson the opportunity to ham it up just for fun.
  • Teeth-Clenched Teamwork: Many a Pixar hero doesn't get along well with his co-protagonist or sidekick for most the film.
  • The Verse: With each of the films making all kinds of countless Shout Outs to previous movies and shorts and even a few characters making overlaps and cameos here and there, this trope is almost impossible to ignore.
  • Well-Intentioned Extremist: Even though the morality is clear, the villains usually have a good motivation (or a Freudian Excuse) to make them less straight-up evil. Pete Docter said that a regular "doing evil for evil" villain is not a "real" one.
    • The only real exceptions to the rule are Sid and Hopper. Sid was just a kid who was very destructive with his toys. We don't really know why, nor do we need to. And even then, he's doing this to toys - he has no idea he's doing all this to sentient beings. Hopper is also really hard on the ants not for some real excuse, but because he doesn't want to do any of the work himself (seeing as how they based the story on the Aesop fable of the Ants and the Grasshopper). However, this doesn't make them any less of good villains.