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Katzenberg had been impressed with Jobs’s focus on keeping costs under control. “Even in the early budgeting process, Steve was very eager to do it as efficiently as possible,” he said. But the $17 million production budget was proving inadequate, especially given the major revision that was necessary after Katzenberg had pushed them to make Woody too edgy. So Jobs demanded more in order to complete the film right. “Listen, we made a deal,” Katzenberg told him. “We gave you business control, and you agreed to do it for the amount we offered.” Jobs was furious. He would call Katzenberg by phone or fly down to visit him and be, in Katzenberg’s words, “as wildly relentless as only Steve can be.” Jobs insisted that Disney was liable for the cost overruns because Katzenberg had so badly mangled the original concept that it required extra work to restore things. “Wait a minute!” Katzenberg shot back. “We were helping you. You got the benefit of our creative help, and now you want us to pay you for that.” It was a case of two control freaks arguing about who was.
Ed Catmull, more diplomatic than Jobs, was able to reach a compromise new budget. “I had a much more positive view of Jeffrey than some of the folks working on the film did,” he said. But the incident did prompt Jobs to start plotting about how to have more leverage with Disney in the future. He did not like being a mere contractor; he liked being in control. That meant Pixar would have to bring its own funding to projects in the future, and it would need a new deal with Disney [url=http://www.onlypet.com.tw/diary/view/woaikeaiduo/65445][color=#0F0F0F]Does anyone[/color][/url][url=http://dfesdd.nidbox.com/diary/read/9252089][color=#0F0F0F] know Steve[/color][/url][url=http://newtalk.tw/member/preview/41286][color=#0F0F0F] well enough[/color][/url][url=http://blogs.3boys2girls.com/lovelyyy/2016/08/26/ericans/][color=#0F0F0F] to call [/color][/url][url=http://hrtrdgd.bcz.com/2016/08/26/e/][color=#0F0F0F]him [/color][/url][url=http://www.cmarket.tw/hrtex/jrftgf?n=convew&i=8574][color=#0F0F0F]on this[/color][/url].
As the film progressed, Jobs became ever more excited about it. He had been talking to various companies, ranging from Hallmark to Microsoft, about selling Pixar, but watching Woody and Buzz come to life made him realize that he might be on the verge of transforming the movie industry. As scenes from the movie were finished, he watched them repeatedly and had friends come by his home to share his new passion. “I can’t tell you the number of versions of Toy Story I saw before it came out,” said Larry Ellison. “It eventually became a form of torture. I’d go over there and see the latest 10% improvement. Steve is obsessed with getting it right—both the story and the technology—and isn’t satisfied with anything less than perfection.”
Jobs’s sense that his investments in Pixar might actually pay off was reinforced when Disney invited him to attend a gala press preview of scenes from Pocahontas in January 1995 in a tent in Manhattan’s Central Park. At the event, Disney CEO Michael Eisner announced that Pocahontas would have its premiere in front of 100,000 people on eighty-foot-high screens on the Great Lawn of Central Park. Jobs was a master showman who knew how to stage great premieres, but even he was astounded by this plan. Buzz Lightyear’s great exhortation—“To infinity and beyond!”—suddenly seemed worth heeding.