He later told NPR, “You have to take their feelings, their emotions, seriously. He took the same empathetic approach to the characters of Toy Story, giving the playthings that populate a childhood bedroom character and humanity.
Newman had always had a rare skill for writing from the perspective of others – from those with delusions of showbiz grandeur (“Simon Smith And His Amazing Dancing Bear”) to drunks professing their love (“Marie”) and even a higher power (“God’s Song (That’s Why I Love Mankind)”). As Pixar suspected, Newman’s songs provided Toy Story with an emotional heft that resonated with audiences young and old. ” The songwriter was more serious when he opened up to NPR about his initial feelings on accepting the job, “It started a terror in my stomach, you know, that it was so different from what I’d done.” Because I’m so full of warmth as a person, you know?.
So those scenes at the end, I think they wanted me, particularly for those, when Woody makes a decision and people don’t know what’s going on and hugging each other and all that. Newman was typically wry when remembering Pixar’s pitch in a 2019 interview: “They told me the story… they sort of think at Pixar that I’m a specialist in emotion, which actually is what music does, is the best thing it can do. “Randy sells sincerity through insincerity,” Stanton told The Ringer, “Which I felt was exactly who we were… When he gets to the truth and the beauty of something, it’s earned… There’s nothing manipulative about it.” One of the few songwriters capable of balancing sentimental nostalgia and acerbic wit in the same song, Newman had also written countless film scores and his knack for warm, rootsy Americana would offset any coldness audiences might feel from the computer animation. Randy Newman was the perfect fit for the film. They can express an emotional furthering that talk can’t do quite so well.” If you can’t say why it doesn’t help the story, it should be out of the picture.
The movie’s director John Lasseter emphasized the importance of music from a storytelling perspective in a 2001 interview with The Guardian, “I have a fundamental belief that everything in a movie – the way it looks, the sound, the music – is all in the service of a story.
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