LIGHTNING McQUEEN/ OWEN WILSON: The character of Lightning
McQueen is an original design that features the voice of Owen Wilson. Pauley
notes, “We used a standard stock car as our starting point. John and I began
thinking about our favorite cars and what made them so cool. We pared down
all the ideas and did a bunch of drawings that we felt were good. From there, a
clay sculpt was made just like they would do in Detroit, and our star modeler
Andrew Schmidt took it from there. McQueen was a blast to do. It was also a
major challenge to make a car that reads as a character and has a strong face on
screen, yet doesn’t look derivative.”
Wilson observes, “John would walk me through the storyboards and
sometimes show me some rough animation to get me up to speed. You get a
good idea of what’s going on from the script, but a lot of times it involves going
inside your head and using your imagination. It kind of felt like when you were
a kid, and you would do funny animated voices. You’re dreaming the stuff up
and creating a character. Working with the Pixar people was fun. I loved going
up to their Studio because it was such a great place to hang out. It’s a creative
fun atmosphere with people skateboarding around, and playing ping pong and
foosball.
“My character is kind of obsessed with winning,” adds Wilson. “He isn’t a
cheat or anything like that, but he doesn’t really care about much else beyond
winning and the glory that comes with that. I think that’s how he measures
himself. Over the course of the movie he gets stuck in this small town and
begins to appreciate some of the values and things this small town has to offer.
He also falls in love with this really hot car named Sally. He tries his usual game
on her and it doesn’t work, so he has to come up with a new approach.”
Bobby Podesta, a directing animator on the film, notes, “Owen has a
really great and unique voice, in the sound, in his delivery, and with the comic
timing. From the moment he came on board, I suddenly felt that this character
had a lot of interest to me. He starts off very cocky, but in this way that you still
love him. And that’s hard to do. Owen pulls it off and gave us a great range.”
Directing animator James Ford Murphy adds, “To get some insights into
McQueen, we studied famous cocky characters who are also charming. We
looked at guys like Joe Namath, Muhammed Ali, and even Kid Rock. All these
guys are super cocky but you still like them. Owen was really able to get that
across where he says something cocky, but he says it in such a charming way
that you almost don’t hear what he’s saying. John also told us to think of this
character as being like Tiger Woods or Michael Jordan in their rookie years. A character 
who is exceptionally talented and has seemingly come out of
nowhere.”
DOC HUDSON/ PAUL NEWMAN: For the role of Doc Hudson, Lasseter
and company had the good fortune of enlisting the talents of screen legend and
race car enthusiast Paul Newman.
Lasseter observes, “I’m so proud of this character and thrilled that Paul
Newman agreed to provide the voice. Not only is he one of our greatest actors
of all time, but his association with racing made him the perfect choice for this
role. We were thrilled when he agreed to voice Doc. Paul was great to work
with and was really excited to be providing the voice for a car character.”
“When I first got the call asking if I’d be interested in doing an animated
feature for Pixar about race cars in which I played a 1951 Hudson Hornet, I told
them I found the combination irresistible,” says Newman. “I hadn’t seen a script
or anything, I just knew it was Pixar, it was Lasseter, and it was about racing.
Those are the three ingredients that I was familiar with.
“The vocal aspect of Doc’s character came very quickly,” adds the actor.
“He was southern, he was old, he was tired, and he was smart. Doing a voice for
an animated film is so different from making a live-action film. You bring
nothing physical to the role. You don’t bring your appearance or your physical
mannerisms; you don’t bring anything except your voice. That’s the only
instrument that you have. Working with John was a pleasure and I think we
complemented each other. I took a lot of the stuff he said, and tried to give it to
him exactly as he wanted, and then I tried to augment and exaggerate it.
“I’m really delighted with the way the film turned out, and I think it will
exceed anything that Pixar or Disney has done,” concludes Newman. “The race
sequences are very exciting, and the personalities of the characters really show
through and are so well represented by the types of cars they are. The scenes in
the stadium, the skies, and everything in the background are so incredibly
detailed.”
According to Scott Clark, “Paul is such a great actor. Every line you get
from him has character. You can hear the wisdom and experience and richness
in his voice.”
SALLY CARRERA/ BONNIE HUNT: The character of Sally was based on
the design for the 2002 Porsche 911 Carrera. Bonnie Hunt gives a high
performance delivery in her third assignment for Pixar.
Lasseter says, “I always thought that Bonnie would be a fantastic female
lead in one of our films, and that she has what it takes to be the perfect voice
actor for an animated film. She’s a great actor, and she has a wonderful voice
quality that jumps off the screen. She also brings to her role the ability to ad lib.
She makes the part her own, and makes it sound natural. I always encourage
the actors to find that something that is unique to them, and Bonnie would come
up with things that you couldn’t script. She has the ability to make you weep.
Her performance has so much emotion and heart, in addition to all the humor.” 
Hunt observes, “Sally was a big hot shot attorney living life in the fast
lane in California. You know, Blackberry, instant messaging everybody, very
very busy. And she took a drive on Route 66. Her car broke down and she
stayed in this small town and found what was really meaningful in her life. I
knew that she was somebody who used to be tough, and tried to keep up the
pace of her life. She slowed down when she got to Radiator Springs and it made
her a little softer, so I thought her voice would be a little softer
“I think it would be really great if parents took their kids in a Winnebago
down Route 66 to experience meeting so many different and wonderful
characters in real life,” adds Hunt.
MATER/ LARRY THE CABLE GUY: One of the film’s standout characters
is a backwards-driving tow truck named Mater. The character quickly grew to
become a favorite with the filmmakers, and the inspired choice of Larry the
Cable Guy as the vocal counterpart helped to really set things in motion.
“Mater was definitely a popular character with the animators, and I think
in a way he became the centerpiece of the movie,” says Sweetland. “Animators
loved to work on the character because he was so physical and provided a lot of
juicy bits for them to sink their teeth into. The model provided a little more
freedom because it had a separate cab and bed to the truck. And then you have
the tow cable that you can incorporate as a tail, or even twirl like a helicopter.
Mater does all sorts of stuff with it. Larry the Cable Guy gave us a lot to work
with. He’s so funny and yet his performance has so much heart. To me, it’s one
of those incredibly perfect voices like Sterling Holloway with Winnie the Pooh.”
According to Larry the Cable Guy, “I love all of Pixar’s movies and stuff. I
was sittin’ in the house one day and I got a phone call. And they said, ‘Hey,
wanna be in one a those Pixar/Disney movies?’ And I’m like, ‘Yeah. I’d love to.’
When I got the fax saying it was a done deal, I said, ‘No way. Ya gotta be kiddin’
me.’ I thought it was going to be some little teeny tiny part. But, man, it ended
up bein’ one of the big characters in the film. It was pretty cool. I hadn’t been
that excited since I found a vision of the Virgin Mary in some potato salad at a
picnic.
“John and I are real good buddies,” he adds. “We’re both into anything
that has to do with a track and cars. He makes ya real comfortable. He told me,
‘Mater is your character. I want you to make it yours and do the lines however
you wanna do it.’ When I’d say a line and he’d start laughin’ I knew I was doin’
pretty good.
“Mater is a little bit like me actually,” says Larry. “He’s grown up in a
small town his whole life, and I’m from a town of 1200. And what he thinks is
fun and exciting, somebody in the city would go, that’s stupid. Why would you
do somethin’ like that?’ But in his world, it’s the most exciting thing he’s ever
done. He’s the world’s best backward driver. If you ever wanted a friend, you’d
want Mater. He’s McQueen’s buddy to the end, and he’d do anything for that
guy. There’s not a mean bone in his body.”
Lasseter adds, “Mater is the definition of true friendship, and Joe and I
loved this beat-up rusty tow truck that was always there for his friends. 
Larry the Cable guy is one of the absolute funniest guys you’ll ever meet, and he’s a
terrific actor too. We had so much fun working with him. When you first look
at Mater with his buck teeth, rusty body and missing hood, you think this is a
moving wreck. By the end of the film, you just fall in love with him. It’s the
classic thing about not judging a book by its cover, and he comes to represent so
much of the growth of the main character, Lightning McQueen.”
MACK/ JOHN RATZENBERGER: John Ratzenberger eagerly accepted
his latest assignment for Pixar. Having provided voices for all six of their
previous films, he has been dubbed “Pixar’s good luck charm.”
“I’m the lucky one,” says Ratzenberger. “Pixar has created the standard
that everyone has to live up to. They’re creating history with each one of their
films and I feel lucky to be a part of it. ‘CARS’ really took my breath away. At
first, you’re struck by the detail. As you watch the film, you forget you’re
watching an animated feature about cars. It really tugs at your heart strings.
“My character is rugged, strong, broad-shouldered, yet sensitive,” adds
Ratzenberger. “He’s not going to get you there fast, and it’s not going to be
flashy. But you’re going to arrive where you intend to go – eventually. He’s
very reliable and loyal. He’s got a work ethic and he wants to make sure the job
gets done the right way. I love working for Pixar because of the enthusiasm
they bring. You want to play with them and be in their sandbox. John inspires
you with his passion and direction.”
TRUTH TO MATERIALS: “TOWING” THE LINE BETWEEN REALISM AND
ENTERTAINMENT
John Lasseter had some very specific words for the designers, modelers,
and animators who were responsible for creating the film’s car stars: “Truth to
materials.” Starting with pencil and paper designs from production designer Bob
Pauley, and continuing through the modeling, articulation, and shading of the
characters, and finally into animation, the production team worked hard to have
the car characters remain true to their origins.
Characters department manager Jay Ward explains, “John didn’t want the
cars to seem clay-like or mushy. He insisted on truth to materials. This was a
huge thing for him. He told us that steel needs to feel like steel. Glass should
feel like glass. These cars need to feel heavy. They weigh three or four thousand
pounds. When they move around, they need to have that feel. They shouldn’t
appear light or overly bouncy to the point where the audience might see them as
rubber toys.”
According to directing animator James Ford Murphy, “Originally, the car
models were built so they could basically do anything. John kept reminding us
that these characters are made of metal and they weigh several thousand
pounds. They can’t stretch. He showed us examples of very loose animation to
illustrate what not to do.”
With the limitations of movement imposed by the metal frames, the
animators had to be inventive and resourceful to create the wide range of
movement and expression required for the story.
Directing animator Bobby Podesta observes, “The really cool thing about
cars is that they could be a lot of different things. They can move like a car when
they’re driving around. But we could make them appear almost animal-like at
times, and have them gesture or do something that humans can do, while
staying true to car materials. For example, there’s a scene where Mater creeps
across a tractor field, and he’s suddenly like a lion in Africa sneaking up on his
prey. You find yourself relating to the car in a different way.”
THE LOOK OF “CARS”: PIXAR’S PRODUCTION DESIGNERS GO TO THE
RACES AND GETS THEIR KICKS ON ROUTE 66
From the thrilling opening nighttime race, to the dusty, faded facades of
Radiator Springs’ Main Street, and revving up to a climax with the action-packed
daytime race in California, Pixar’s production designers and artistic team went
into overdrive to capture the diverse moods and settings of “CARS” in a stylish
way.
A great believer in research and first-hand experience, Lasseter took his
key creative team on a road trip along Route 66 in 2001 to help them prepare for
their assignment. Nine people, nine days, four white Cadillacs. For good
measure, Route 66 expert Michael Wallis led the expedition and provided a
running narrative via walky-talkies along the way.
Production designer Bob Pauley, a Detroit native and lifetime car
enthusiast, who oversaw the design of the car characters and the two racetrack
environments, recalls, “Michael told us at the very start of the trip, ‘you don’t
know what’s going to happen out there. All sorts of new things and experiences
are going to happen, and you just have to roll with it and enjoy it, and be open
to it.’ And it was true. Typically, we’d go into a town, and we’d hear all these
wonderful stories from the locals. We’d soak it all in while getting a haircut at
the barbershop, or enjoying a sno-cone, or taking the challenge to eat a 72-ounce
steak at the Big Texan. We even took soil samples. It was unbelievable – purple,
red, orange, ochre. So many wonderful colors!
“One of the most meaningful moments for all of us occurred at a stop
somewhere in Arizona,” continues Pauley. “We were on the side of a road close
to the big highway. It was a beautiful road that wound perfectly around the
environment. It turns and goes right through this gorgeous butte. As we were
sitting there, a truck pulled up with an older Native American and his grandchild.
He asked us ‘How do you like our land?’ We told him how beautiful it was, and
he told us that he was out here when they blasted the cutaway for the big
highway through his ancestor’s sacred land. It was a powerful moment being
there on a road that works so well with the environment, and seeing the
interstate that slices through it without any care or respect at all. It was amazing to 
hear these great stories first-hand from a person whose family had been there
for generations.”
Associate producer Tom Porter recalls, “When John and his team came
back from their Route 66 trip, there was a lot of talk about wanting to capture
the patina of the Southwest. They wanted everything in the film to be shaded so
that it had the authenticity of that old 40s, 50s, 60s stuff that was faded and
weathered after fifty years. John wanted the full complexity of a Southwestern
town looking authentic, and then a similar set of challenges in the racing world.”
Bill Cone, the production designer who was responsible for creating the
look of the film’s environments and building a five-mile stretch of road that leads
in and out of the town of Radiator Springs, recalls, “I think of the style for this
film as cartoon realism. You have talking cars, so you’ve already taken a step
away from reality in that regard. The forms are a little whimsical. You’ll see
these car shapes on the cliffs, and the clouds are stylized. I reached the
conclusion that humans in a human universe would see their own forms in
nature, which they often do. They name things like Indian Head Rock. So, in a
car universe, they would have car-based metaphors for forms. Suddenly, you
could see these cliffs that looked very much like the hoods of cars, or an
ornament. Great American artists like Maynard Dixon also had a big influence
on us with their landscapes of the Southwest and the clouds that they painted.”
Sophie Vincelette, sets supervisor for the film, was responsible for
creating the film’s mountain range that pays homage to the famous Cadillacs
planted in the ground along Route 66. Other mountains are shaped like
wheelwells, and bumpers.
In every aspect, “CARS” represents a new level of attention to detail for
Pixar. With its crumbly bits of concrete, accumulated dust, and layers of faded
advertisements painted on brick walls, Radiator Springs feels like a real place
audiences could visit.
According to Vincelette, “Our challenge was to give the buildings in town
the appearance of having a sense of history. We worked closely with the
shading and modeling teams to give them a weathered look, and to make sure
that things were not always straight. There are weeds growing out of cracks in
the cement on the sidewalk.”
Adding to the authenticity of the desert location, modelers in the Sets
department were able to dot the landscape with thousands of pieces of
vegetation, including cactus, sagebrush (in brown, green, yellow and tan
varieties), and grass. Rocks of varying formations also added interest to the
scenery.
To ensure authenticity in their car designs, the production design team
conducted research at auto shows, spent time in Detroit with auto designers and
manufacturers, went to car races, and made extensive studies of car materials.
“Research is a big thing for John,” says Pauley. “It’s also the most fun
part of the job because we got to go to car shows and races, and other neat stuff.
One of the things we did was to visit Manuel’s Body Shop right near the Studio.
He gave us a lot of detail and helped us understand how they apply layers and
coats of paint on a car.”
Characters shading supervisor Thomas Jordan explains, “Chrome and car
paint were our two main challenges on this film. We started out by learning as
much as we could. At the local body shop, we watched them paint a car, and we
saw the way they mixed the paint and applied the various coats.
“We tried to dissect what goes into the real paint and recreated it in the
computer,” he continues. “We figured out that we needed a base paint, which is
where the color comes from, and the clearcoat, which provides the reflection.
We were then able to add in things like metallic flake to give it a glittery sparkle,
a pearlescent quality the might change color depending on the angle, and even a
layer of pin-striping for characters like Ramone.”
Shading art director Tia Krater adds, “While we were at Manuel’s one day
we found this old beat-up chrome bumper and we asked if we could have it. He
started to clean it up, and we said ‘No! No! Don’t clean it!’ It was exactly what
we were looking for. We loved how dirty it was and the patina. It had a little bit
of everything we were looking for – pitting, scratches, milky blurriness, rust, and
blistering. All in one bumper! One of our technical guys, who ended up shading
Mater, took it out in the sun, and spent a lot of time staring at it and taking lots
of pictures to analyze the textures and surfaces.”
THE ULTIMATE ROAD TRIP SOUNDTRACK: RANDY NEWMAN’S SCORE
AND PERFORMANCES BY TOP ARTISTS TAKE “CARS” IN NEW
MUSICAL DIRECTIONS
A film that celebrates our universal love affair with cars, and the joys of
taking the road less traveled, called for the world’s best road trip soundtrack,
and Lasseter enlisted his longtime collaborator Randy Newman (a 2002 Oscar®-
winner for his song, “If I Didn’t Have You” from “Monsters, Inc.”) and a host of
top recording artists to add to the fun and excitement. Taking Pixar in whole
new musical direction, the songs integrate with Newman’s score (and great new
song performed by James Taylor), and showcase a variety of styles and
performances. The combination of Newman’s musical genius with the
contributions of these other great artists makes for a rousing musical experience
and represents a first for Pixar.
Lasseter got a friend and a longtime collaborator in Randy Newman when
he began working with the acclaimed composer/songwriter back on the original
“Toy Story.” The two have been making beautiful music ever since with their
subsequent collaborations on “A Bug’s Life” and “Toy Story 2.” Newman
received Oscar® nominations for his scores for “Toy Story” and “A Bug’s Life,”
plus nominations for the songs, “You’ve Got a Friend in Me” (“Toy Story”) and
“When She Loved Me” (from “Toy Story 2,” sung in the film by Sarah
McLachlan).
“Every Randy Newman score is unlike the one before it,” observes
Lasseter. “He can write the most heartfelt emotional songs, and he can write
some of most humorous songs you’ve ever heard. He’s incredibly funny and
smart. Randy’s score for ‘CARS’ reflects the two distinct worlds – the modern world where 
it’s all about being fast; and Radiator Springs, where the one
commodity they have is time. Everything is slower there, and Randy uses a
combination of bluegrass, jazz, and pure Americana to capture that. The racing
world has a heavy dose of rock ‘n’ roll. His score for this film is one of the
absolute best he’s ever done.”
Darla Anderson adds, “Working with Randy feels like working with
family. He is family. He and John have such a mutual trust. John talks to
Randy, tells him what he’s looking for, and he leaves Randy alone. He always
comes back with music that blows us away. Randy’s music for the parts of the
movie that take place in Radiator Springs has almost a kind of Copeland-like
quality to it. He worked with a 110-piece orchestra to get this amazing score.
And then he did a lot of side sessions that had a bluegrass quality with mandolin,
guitar and a harmonica.”
Among the four new songs written for the film is a Randy Newman
composition called “Our Town.” Sung by Grammy® winning recording legend
James Taylor, the lyrics powerfully tell the tale of a once thriving town that no
one seems to need anymore and of a place where “Main Street isn’t Main Street
anymore.”
Grammy® Award-winning superstar Sheryl Crow captures the excitement
of the film’s opening race with “Real Gone,” a new song that she wrote with
producer John Shanks. Lyrically and emotionally, it reflects the thrill of the
competition and the crowd’s anticipation.
Country music favorite Brad Paisley contributes two new songs to the
film -- “Find Yourself” and “Behind the Clouds.” The latter was co-written with
his long-time producer and collaborator, Frank Rogers (who also produced both
tracks).
In addition to the songs written expressly for the film, there are also new
recordings of two favorites. Popular country recording group Rascal Flatts
provides a new version of the Tom Cochran song, “Life is a Highway.” Multiple
Grammy® Award-winning singer/guitarist John Mayer offers some new kicks
with his lively and distinctive rendition of the classic 1946 Bobby Troup standard,
“Route 66.” The film’s impressive soundtrack also includes recordings by Hank
Williams, Chuck Berry (“Route 66”), and The Chords (“Sh-Boom”).
TRUSTING THE PROCESS: THE STORYTELLING LEGACY OF JOE RANFT
“CARS” is dedicated to the storytelling legacy of the late Joe Ranft, and
the end credits for the film feature a fitting tribute to his enormous talent and
contributions.
A storyman extraordinaire who lent his genius for story and character to
some of the most memorable animated features of the past twenty-five years,
Ranft was one of the greatest collaborators of all time in the ultimate form of
collaborative filmmaking. From his days at Disney, where he helped to shape
the stories for “Who Framed Roger Rabbit,” “Beauty and the Beast,” “The
Nightmare Before Christmas,” “The Lion King,” and “James and the Giant Peach,” 
to his decade of achievements at Pixar, where he was head of story on
“Toy Story” (for which he shared an Oscar® nomination for Best Original
Screenplay), “A Bug’s Life,” and “Toy Story 2,” he established a reputation for
being tops in his field. As story supervisor (and co-director) on “CARS,” he
brought heart, soul, and humor to the film, and left a personal imprint on the
character of Mater. Tragically, Ranft passed away in August, 2005 after
completing his work on the film.
“Joe was the best story guy I’ve ever known,” observes Lasseter. “He
worked with me on every project I ever made. The thing I loved about his
humor was that it wasn’t just funny lines. It was character-based. He could
make me laugh at a moment’s notice by becoming a character. Whether he was
doing an impersonation of Marlon Brando, a cheeky English boy, or a hilarious
country character with outrageous buck teeth, he was able to make me laugh
until I’d have tears in my eyes. During his Disney days, he took an improv
comedy class at the Groundlings, where he learned one of the first rules of
comedy is ‘never say no.’ This had a big impact on the way we worked together
and on the way the story room operated. When you start something, you never
stop the creative flow of where it’s going. You just keep saying ‘yes.’ No matter
what the idea, let it flow and see where it takes you. And it was amazing. For
me, creating a story is like making your way through one of those giant mazes
in ‘The Shining.’ Joe and I basically would get to the entrance of the maze and
put our hands on the wall and start walking. You go down every wrong path,
but eventually you get out. We would never say ‘no,’ and we would explore
every path. And we would find nuggets, and characters, and discover
interesting things all along the way.
“Joe was the heart of our films,” adds Lasseter. “He had the biggest heart
of any person I’ve ever known. He had faith in everybody and everything. He
was the biggest cheerleader around here. Every story guy would go to him, and
he would always give them time. He was everyone’s mentor.”
“More than any other character that we’ve created at Pixar, I’m probably
proudest of Mater,” continues Lasseter. “And part of that is because the
character is pure Joe. On every film that we worked on, Joe would always zero
in on something that really struck his fancy and it would always make it into the
final film. With ‘Toy Story,’ it was the green army men who moved like they
were the Green Berets. In ‘A Bug’s Life,’ it was the scene where the circus bugs
found out that the ant colony thought they were warriors by way of a children’s
elementary school play. For ‘CARS,’ it was Mater driving backwards. He had
this concept that Mater’s character was there to teach Lightning McQueen that
you shouldn’t judge a book by its cover. When McQueen first meets this rusty
tow truck, he can’t stand him. But then he discovers that Mater is pure
friendship, and driving backwards is what tow trucks do best. Mater is like your
faithful dog who is there to greet you when you come home no matter what
kind of a day you’ve had. Joe was that kind of friend and he will always be an
important part of my life.”
Ranft also had a huge impact on his “CARS” story team. Steve Purcell,
one of the film’s story artists recalls, “One of the things that Joe was really excited 
about as he was winding down on ‘CARS’ was creating a story
community where the story artists were more tuned in to each other and better
connected. He would show screenings of Pixar’s old story reels to remind us of
the process that we went through to get to the finished story. His motto was
‘You have to trust the process.’ If you stalled on a story point, you’ve got to
work your way through it.”
Dan Scanlon, another story artist on “CARS,” adds, “Joe’s told us not just
to refer back to a completed film like ‘Toy Story.’ Instead, look back at the first
reel of the film that was boarded. It was terrible. He encouraged us to analyze
how problems were fixed, and how the process can work to make something
good from something terrible. It can be very intimidating for a new story
person at Pixar when you look at all the great things that have been done. Joe
would show us how bad the early versions of some of the hit films were and
explain what they did to fix it. He was a very humble guy who encouraged all of
us to stay humble and inspired us all with his gift for storytelling.”
PIXAR’S SHINING ACHIEVEMENTS:
TECHNICAL INNOVATIONS AND ADVANCES ON “CARS”
Over the past 20 years, Pixar Animation Studios has pushed the limits of
computer-animation to exciting new heights, and continued to harness the
medium to showcase their stories and characters in exciting new ways. From
their earliest Oscar®-winning and nominated short films to the industry’s first
full-length CG feature, “Toy Story,” Pixar has never been content to rest on their
laurels. Each film has challenged them in new ways whether it was the blades of
grass and crowd scenes in “A Bug’s Life,” the caricatured-but-realistic humans in
“Toy Story 2,” the hairy characters and simulated clothing of “Monsters, Inc.,”
the vibrant underwater world of “Finding Nemo,” or the action-packed
environments and human characters in “The Incredibles.” Their latest
undertaking, “CARS,” posed some of the greatest challenges to date.
Under the supervision of associate producer Tom Porter, supervising
technical director Eben Ostby, and Pixar’s resident group of technical wizards,
“CARS” got off to a fast start and scored some impressive achievements along
the way.
Perhaps the biggest challenge for the “CARS” technical team was creating
the metallic and painted surfaces of the car characters, and the reflections that
those surfaces generate. An algorithmic rendering technique known as “ray
tracing” was used for the first time at Pixar to give the filmmakers the look and
effect that they wanted.
Ostby explains, “Given that the stars of our film are made of metal, John
had a real desire to see realistic reflections, and more beautiful lighting than
we’ve seen in any of our previous films. In the past, we’ve mostly used
environment maps and other matte-based technology to cheat reflections, but
for ‘CARS’ we added a ray-tracing capability to our existing Renderman
program to raise the bar for Pixar.”
Ray tracing has been around for many years, but it was up to Pixar’s
rendering team to introduce it into nearly every shot in “CARS.” Rendering lead
Jessica McMackin was responsible for rendering the film’s final images, while
rendering optimization lead Tony Apodaca had to figure out how to minimize
the rendering time.
McMackin notes, “In addition to creating accurate reflections, we used ray
tracing to achieve other effects. We were able to use this approach to create
accurate shadows, like when there are multiple light sources and you want to get
a feathering of shadows at the edges. Or occlusion, which is the absence of
ambient light between two surfaces, like a crease in a shirt. A fourth use is
irradiance. An example of this would be if you had a piece of red paper and held
it up to a white wall, the light would be colored by the paper and cast a red glow
on the wall.”
“Our computers are now a thousand times faster than they were on ‘Toy
Story,’” adds Apodaca, “but even though they’re faster, our appetites have
gotten bigger and we challenge ourselves more. Because of ray tracing and all
the reflections, the average time to render a single frame of film on ‘CARS’ was
seventeen hours. Some frames took as much as a week. On this film, we’ve
made larger and more beautiful images with more subtle lighting and ray
tracing.”
Among the film’s other major accomplishments is a ground-locking
system that kept the car firmly planted on the road, unless the story called for
some exception to this rule. Characters supervisor Tim Milliron, who managed
the group in charge of modeling, rigging and shading the characters, wrote the
code for this program.
“The ground-locking system is one of the things I’m most proud of on
this film,” says Milliron. “In the past, characters have never known about their
environment in any way. A simulation pass was required if you wanted to make
something like that happen. On ‘CARS,’ this system is built into the models
themselves, and as you move the car around, the vehicle sticks to the ground. It
was one of those things that we do at Pixar where we knew going in that it had
to be done, but we had no idea how to do it.”
Another major accomplishment for the Characters team was to come up
with a universal rig that would work for practically every character. This means
the same animation controls (or avars) could be applied to each of the nearly 100
unique car characters without creating new articulation components. The same
basic chassis was also fitted to the geometry of each individual car, but the
suspension was customized for each vehicle.
“We topped out at around 1200 avars that the animators would touch,”
explains Milliron. “Some characters, like Mater with his tow rig, obviously had
more. More than ever, the avars were designed to work together. For example,
there are four big avars for the mouth. There’s an avar that moves the mouth to
the left, and to the right, something that moves the corner of the mouth up and
down, a jaw up-down avar, and an avar that moves the corner of the mouth in
and out.”
Milliron’s group was also responsible for the crowds of cars that inhabit
the stands at the film’s opening and ending race sequences. With 120,000 cars in
the stands, and an additional 2000 in the infield, this easily qualifies as the biggest
crowd scenes ever done at Pixar (far surpassing the milling ants in “A Bug’s
Life”). Complicating the situation, all of the vehicles in this crowd have some
animation on them.
To help capture the thrills and excitement of the film’s racing scenes,
Jeremy Lasky, the director of photography responsible for camera and layout,
and his team visited many car races, and had extensive talks with the camera
experts who photographed such events. Veteran Fox Sports director Artie
Kemper, a pioneer in televising car races, proved to be a great source of
information.
According to Lasky, “Artie gave us really great notes about where he
would typically place his cameras on the track. He also talked about shots that
he wished he could get. We were able to do a lot of things that were impossible
for him to do. We could put a camera under the car, place one on the middle of
the track, set up a crane shot that comes down and have the cars race right over
the top of the cameras. Artie told us that he wished he had those toys. The
camera placement in ‘CARS’ allowed us to put the audiences right in the middle
of the excitement. We put them into a world they were familiar with, and then
we hit them with shots that they’ve never seen. The film has these spectacular
moments where the cars are ripping two millimeters past the camera lens, which
is impossible in live-action, and we set it up for them to believe it’s possible.”
Even in the more calm and serene setting of Radiator Springs, some
impressive achievements were accomplished.
One of the film’s most stellar and complex moments occurs at the end of
Act II, where the neon lights are turned on again, as the town is revitalized and a
parade of cars cruise down Main Street. With its bright, bold, brilliant lights
coming from numerous sources and accompanying reflections, this sequence
proved to be enormously complicated but one of the film’s most rewarding and
luminous moments.
To enhance the richness and beauty of the desert landscapes surrounding
Radiator Springs, the filmmakers created a department responsible for matte
paintings and sky flats. Technical director Lisa Forsell and her team worked
their magic in this area.
“Digital matte paintings are a way to get a lot of visual complexity
without necessarily having to build complex geometry, and write complex
shaders,” says Forsell. “We spent a lot time working on the clouds and their
different formations. They tend to be on several layers and they move relative
to each other. The clouds do in fact have some character and personality. The
notion was that just as people see themselves in the clouds, cars see various carshaped
clouds. It’s subtle, but there are definitely some that are shaped like a
sedan. And if you look closely, you’ll see some that look like tire treads.
“The fact that so much attention is put on the skies speaks to the visual
level of the film,” she adds. “Is there a story point? Not really. There is no pixel on 
the screen that does not have an extraordinary level of scrutiny and care
applied to it. There is nothing that is just throw-away.”
Steve May, the effects supervisor for “CARS” brought that same level of
scrutiny to nearly ½ of the film’s 2000 shots. Among the numerous effects
created for the film were dust clouds trailing behind cars, tire tracks, skid marks,
water, smoke, and drool (from Mater’s front end).
THE FILMMAKERS:
JOHN LASSETER (Director) made movie history in 1995 as director of
the first feature-length computer-animated film, “Toy Story,” for which he
received a special achievement Academy Award®. He has gone on to further
acclaim as director of “A Bug’s Life” (1998) and Golden Globe-winning “Toy
Story 2” (1999), and executive producer of “Monsters, Inc.” “Finding Nemo,”
and “The Incredibles.” Among his most recent milestones, Lasseter was
honored by the exhibition community at this year’s ShoWest convention with
their first-ever “Pioneer of Animation” Award, and received the prestigious
“Georges Melies Award for Artistic Excellence.” in February from the Visual
Effects Society.
An award-winning director and animator, Lasseter continues to serve as
executive vice president of creative for Pixar. He has written and directed a
number of short films and television commercials at Pixar, including “Luxo Jr.” (a
1996 Oscar® nominee), “Red’s Dream” (1987), “Tin Toy,” which won the 1989
Academy Award® for Best Animated Short Film, and “Knick Knack” (1989).
Among his other big-screen credits, Lasseter also designed and animated the
Stained Glass Knight in the 1985 Steven Spielberg production “Young Sherlock
Holmes.”
Lasseter was born in Hollywood and grew up in Whittier, California. His
mother was an art teacher, and as early as his freshman year in high school he
fell in love with cartoons and the art of animation. While still in high school, he
wrote to Walt Disney Studios about his passion and he began studying art and
learning how to draw human and animal figures. At that time, Disney was
setting up an animation program at CalArts, an innovative center studying art,
design and photography, and Lasseter became the second student to be accepted
into their start-up program. He spent four years at CalArts and both of the
animated films he made during that time, “Lady and the Lamp” and “Nitemare,”
won Student Academy Awards®.
During his summer breaks, Lasseter apprenticed at Disney, which led to a
full-time position at the studio’s feature animation department upon his
graduation in 1979. During his five-year stint at Disney, he contributed to such
films as “The Fox and the Hound” and “Mickey’s Christmas Carol.” Inspired by
Disney’s ambitious and innovative film “Tron” (1982), which used computer
animation to create its special effects, Lasseter teamed with fellow animator Glen
Keane to create their own experiment. A thirty-second test, based on a wellknown
children’s book, showed how traditional hand-drawn animation could be successfully combined with computerized camera movements and
environments.
In 1983, at the invitation of Pixar co-founder Ed Catmull, Lasseter visited
the computer graphics unit of Lucasfilm and was instantly intrigued. Seeing the
enormous potential that computer graphics technology had for transforming the
craft of animation, he left Disney in 1984 and came to Lucasfilm for what was to
be only a one-month stay. One month turned into six and Lasseter soon became
an integral and catalytic force of what ultimately became Pixar. Lasseter came up
with the idea of bringing believable characterizations to a pair of desk lamps, and
so the award-winning short “Luxo Jr.” was born.
Lasseter and his wife Nancy live in Northern California with their five
sons.
DARLA K. ANDERSON (Producer) once again brings her knowledge
and experience in computer animation to her latest producing assignment for
Pixar. She had previously produced the 1998 Disney/Pixar release “A Bug’s Life”
and the 2001 blockbuster, “Monsters, Inc.” Anderson began her association with
Pixar in 1992, when she came on board as executive producer for the commercial
and short film divisions. Her professional background includes a diverse and
successful career in live-action and animation production.
Born and raised in Glendale, California, Anderson studied environmental
design at San Diego State University. After graduation, she moved to Phoenix to
concentrate on painting and other artistic pursuits. In the mid 1980s, she
returned to the San Diego area and launched her industry career, working in a
variety of positions for local film and television productions. Her credits include
episodic television as well as commercials and industrial films. In 1987, she joined
Angel Studios, a small but progressive production company located in Carlsbad,
as executive producer of their commercial division. It was here that she was
introduced to the world of 3-D computer graphics and instantly gravitated
towards it. Following a three-year stint with Angel, she moved to San Francisco
with the express intention of getting a job with Pixar. Her persistence paid off
and, within a year, she was hired as an executive producer.
RANDY NEWMAN (Composer, Song & Score) marks his fourth
collaboration with Pixar on this film, and reteams with director John Lasseter to
create a score worthy of this entertaining and ambitious road trip.
Newman was born on November 28, 1943 into a famously musical family
– his uncles Alfred, Lionel and Emil were all well-respected film composers and
conductors. Even Randy’s father Irving Newman – a prominent physician –
wrote a song for Bing Crosby. Perhaps then it’s no surprise that at seventeen
Randy Newman was already a professional songwriter in his own right,
knocking out tunes for a Los Angeles publishing house. In 1968 he made his
debut with the orchestral recording, Randy Newman, and before long
Newman’s extraordinary and eclectic compositions were being recorded by an
unusually wide range of artists, from Pat Boone to Ray Charles, Peggy Lee to
Wilson Pickett.
Critics rightly raved about Newman’s 1970 sophomore effort 12 Songs,
and increasingly the public started to take notice with albums like 1970’s Live
(like Songbook, an opportunity to hear Newman playing alone), and even more
so with 1972’s classic Sail Away and 1974’s brilliant and controversial Good Old
Boys. With the 1977 Top Ten Little Criminals, Newman experienced a huge leftfield
smash in the unlikely form of “Short People.” 1979’s Born Again was a
decidedly barbed piece of work which pictured Newman on the cover in Kissstyled
make-up with a dollar sign on his face. How fitting for a dark piece of
work that features “It’s Money That I Love,” a memorable comment on
runaway capitalism that’s now reprised on The Randy Newman Songbook, Vol.
1. Critics were struck by his musical depth and the literary quality and edge of
his character-oriented lyrics.
In the Eighties, Newman was dividing his time between film composing
and recording his own albums. In 1981, Newman released his exquisite score for
Milos Forman’s adaptation of E.L. Doctorow’s “Ragtime” – earning him his first
two of sixteen Oscar® nominations for Best Score and Best Song. 1983 saw the
release of Trouble In Paradise, while the next year saw the release of Newman’s
Grammy-winning, Oscar®-nominated score for “The Natural.” Following some
more film work, Newman finally got around to recording another studio album.
1988’s Land of Dreams was another breakthrough work marked by some of
Newman’s most personal and powerful work yet.
In the Nineties, Newman enjoyed massive success with his film work, as
well as winning a 1990 Emmy® for his music in the pilot of Cop Rock.
Amusingly and surprisingly to many longtime fans, the cutting social critic and
sometime brilliant curmudgeon somehow found himself becoming a beloved
children’s entertainer thanks to his outstanding music for films like 1995’s “Toy
Story,” 1996’s “James and the Giant Peach,” 1997’s “Cats Don’t Dance,” 1998’s “A
Bug’s Life” and 1999’s “Toy Story 2.” Newman won three more Grammys for
his work on “A Bug’s Life,” “Toy Story 2” and “Monsters, Inc.” Still, Newman
also managed to play to the adult audience as well with his darkly hilarious take
on Faust – the 1995 recording of which included performances by Don Henley,
Elton John, Bonnie Raitt, Linda Ronstadt and James Taylor. Towards the end of
the decade, Newman put out an impressive four-CD compilation, 1998’s Guilty:
30 Years of Randy Newman and a strong new album for DreamWorks, 1999’s
Bad Love, Newman’s first collaboration with Mitchell Froom. In 2002, Newman
finally won his first Oscar® for “If I Didn’t Have You” from “Monsters Inc.”
If it’s not Newman’s style to look forward with optimism, it’s also not his
personal preference to look back, whether in anger or in any other emotion. Yet
somehow he still does so brilliantly on The Randy Newman Songbook, Vol. 1
(2003), his illuminating first effort for the Nonesuch label. The eighteen-song set
finds Newman singing and playing piano on powerful new solo versions of his
early classics and his more recent gems, as well as a few examples of the Oscar®-
winning composer’s film music. The album is an intimate and powerful
reminder of the enduring work that has established Newman as a songwriter’s
songwriter – one of the most musically and lyrically ambitious singersongwriters
ever to be at play in the fields of popular music.
THE VOICE TALENTS:
OWEN WILSON (Lightning McQueen) gives a fine-tuned comedic
performance as the voice of a hotshot rookie race car that learns to get his kicks
on Route 66.
Wilson has made his mark in Hollywood as both an actor and writer for
feature films. Last year, the actor had audiences in hysterics with his antics in the
mega-hit comedy, “Wedding Crashers,” which became the sixth biggest film of
the year. Among his most popular roles, he has twice played the character of
Roy O’Bannon, the most laconic gunman in the old West in the hit Touchstone
Pictures/Spyglass Entertainment features “Shanghai Noon” and “Shanghai
Knights.”
Wilson has had long-running creative collaborations with both his brother
Luke and writer/director Wes Anderson. He co-wrote and starred in
Anderson’s first film, “Bottle Rocket,” as well as co-writing and co-executive
producing his second feature “Rushmore.” “The Royal Tenenbaums,” which he
also co-wrote and starred in, earned him and Anderson nominations for an
Academy Award® for Best Original Screenplay.
Wilson’s additional acting credits include “The Cable Guy,”
“Armageddon,” “Permanent Midnight,” “Breakfast of Champions,” “Meet the
Parents,” “Zoolander,” “Behind Enemy Lines,” “I Spy,” “Starsky and Hutch,”
“Around the World in 80 Days,” and “Meet the Fockers.” His upcoming films
include the comedy “You, Me and Dupree.”
PAUL NEWMAN (Doc Hudson) lends his legendary voice to this solid
citizen of Radiator Springs who never races to conclusions and ends up inspiring
McQueen.
Newman, who has two Oscars®, has been one of the American cinema’s
most important and most prolific actors for over half a century. He is a
philanthropist, a humanitarian, a race car driver and the founder of a multimillion
dollar food empire, Newman’s Own. In addition to giving the profits to
charity, he also ran Frank Sinatra out of the spaghetti sauce business. On the
downside, the spaghetti sauce is out-grossing his films.
The films, which number more than fifty on his resume, have incidentally
made him a screen legend. In 1987, he won an Academy Award® for Best Actor
for his performance as pool shark “Fast” Eddie Felson in Martin Scorsese’s “The
Color of Money.” It marked a reprisal of the role he had played 25 years earlier
in “The Hustler,” which had brought him his second of eight Best Actor Oscar®
nominations. He received his first Oscar® nomination in 1959 for his work
opposite Elizabeth Taylor in “Cat on a Hot Tin Roof,” and has also been
nominated for his performances in “Hud,” “Cool Hand Luke,” “Absence of
Malice,” “The Verdict,” “Nobody’s Fool,” and “The Road to Perdition.”
Newman has also been recognized for his work behind the camera,
earning an Academy Award® nomination for Best Picture and Golden Globe® award for Best Director for “Rachel, Rachel,” which he produced and directed
and which starred his wife, Joanne Woodward. In addition Newman was
awarded an Honorary Oscar® in 1986 in recognition of his outstanding
contributions to film, and the Cecil B. DeMille Award from the Hollywood
Foreign Press Association in 1984. In 1992, he and Joanne Woodward received
the Kennedy Center Honors.
Newman began his career on the stage, making his Broadway debut in
the 1953 production of William Inge’s “Picnic.” The following year he made his
first appearance on the big screen in “The Silver Chalice,” but it was his portrayal
of boxer Rocky Graziano in 1956’s “Somebody Up There Likes Me” that
catapulted him to stardom. Over the next decade, the actor starred in two dozen
films, including “The Long, Hot Summer,” for which he was named Best Actor at
the Cannes film festival, “The Left Handed Gun,” “Exodus,” and “Sweet Bird of
Youth.”
In 1969 Newman teamed with Robert Redford in George Roy Hill’s smash
hit Western “Butch Cassidy and the Sundance Kid,” which became an instant
classic. Four years later, Newman, Redford, and Hill reunited in the Academy
Award®-winning Best Picture “The Sting.”
Newman’s iconic status has never waned over the years. His long list of
film credits also includes “The Life and Times of Judge Roy Bean,” “The
Towering Inferno,” “The Drowning Pool,” “Slap Shot,” “Fort Apache the
Bronx,” “Fat Man and Little Boy,” “Blaze,” “The Hudsucker Proxy,” and
“Message in a Bottle.”
Additionally, Newman directed, produced and starred in “Harry and
Son,” produced and directed “The Effect of Gamma Rays on Man-in-the-Moon
Marigolds,” and directed “The Glass Menagerie” and the telefilm “The Shadow
Box,” the latter earning him an Emmy® nomination. Newman received an
Emmy® award, Golden Globe® and Screen Actors Guild award for his
performance in the miniseries “Empire Falls,” for which he also served as
executive producer. He recently received a Tony nomination for his
performance in the Broadway production of “Our Town.”
Apart from his film work, Newman has a well-known passion for
automobile racing. He is also a dedicated philanthropist, whose Newman’s Own
line of food products – all the proceeds of which go to charity – has generated
more than $200 million in donations. He is also devoted to the Scott Newman
Center, named for his son, and the Hole-in-the-Wall Gang Camp, which
provides a fun-filled environment for seriously ill children. In 1994, the Academy
of Motion Picture Arts and Sciences presented Newman with the coveted Jean
Hersholt Humanitarian Award.
Professional credits aside, Newman is married to the best actress on the
planet, was number 19 on Nixon’s enemies list, and is generally considered by
professionals to be the worst fisherman on the East Coast.
BONNIE HUNT (Sally Carrera) adds humor and heart to the voice of a
sensible sports car who has taken the road less traveled and cozied up to a
rewarding life in Radiator Springs as the proprietor of the Cozy Cone Motel.
Hunt is a multi-talented artist who has conquered the worlds of film,
television, and theatre as a performer, writer, and director.
Growing up in one of Chicago’s blue-collar neighborhoods, Hunt worked
as a nurse’s aid in high school, and later became a nurse at Northwestern
Memorial Hospital. She simultaneously pursued an acting career, performing at
the renowned Second City. After making the move to feature films, Hunt
became familiar to audiences for her hilarious and unforgettable cameos. She
made her feature film debut in Barry Levinson’s “Rain Man” as the toothpickdropping
waitress and was the comically dedicated White House tour guide in
“Dave” (“We’re walking, we’re walking…”).
In 1996, Hunt portrayed Renée Zellweger’s quick-witted sister in
Cameron Crowe’s smash “Jerry Maguire.” Other film credits from the first half
of the 1990s include “Jumanji” with Robin Williams; Norman Jewison’s “Only
You,” where she played Marisa Tomei’s best friend; and the role of Charles
Grodin’s beleaguered wife in Universal’s family hits “Beethoven” and
“Beethoven’s 2nd.”
In addition to her many onscreen successes, Hunt directed and acted in
the feature “Return to Me” in 1999, which she co-wrote with longtime creative
collaborator Don Lake. Starring David Duchovny, Minnie Driver, and David
Alan Grier, the sweet romantic comedy was shot almost entirely in the
filmmaker’s home of Chicago.
In the last half of the 1990s Hunt co-starred in “The Green Mile” with Tom
Hanks, and played alongside Harrison Ford and Kristin Scott Thomas in
“Random Hearts.” She also lent her voice to two Disney/Pixar features, playing
Rosie the Spider in “A Bug’s Life” and Flint, the haggard Scare Simulation
engineer in “Monsters, Inc.”
On television, Hunt was known early in her career as a regular on two
series, “Grand” and “Davis Rules.” In 1993 she became widely recognized as the
first woman to write, produce, and star in her own series, “The Building.” The
ensemble comedy, which she also executive produced, featured Hunt and her
Second City colleagues playing young adults living in a Chicago apartment
building. She then wrote, produced and starred in the critically-acclaimed
“Bonnie” for CBS. Her frequent and hilarious appearances on talk shows earned
her Entertainment Weekly’s appellation as “the hands-down best [talk show]
guest in America.”
In 2002 Hunt appeared in the Miramax feature “Stolen Summer,” which
gained further publicity thanks to the HBO “Project Greenlight” series
chronicling the production of the film. She appeared as Kate Baker in “Cheaper
By the Dozen” in 2003, and reprised the role opposite Steve Martin in the sequel
“Cheaper By the Dozen 2” in 2005. In addition to roles in “Loggerheads” and
the upcoming “I Want Someone To Eat Cheese With,” Hunt spent the years 2002
through 2004 directing, writing and starring in the hit ABC series “Life with
Bonnie,” which garnered her two Golden Globe® nominations for Lead Actress
in a Comedy and an Emmy® nomination.
LARRY THE CABLE GUY (Mater) gits the job done with plenty of
laughter and pathos in providing the voice for this tractor-tipping tow truck who
never backs away from a friend.
With his cries of “Git-R-Done!” and “Lord, I apologize,” Larry is selling
out theatres and arenas across the United States. Larry released his CD “The
Right to Bare Arms” (Jack Records/Warner Bros. Records) in March 2005, and it
debuted simultaneously at number one on both the SoundScan Comedy chart
and the Country chart, marking the first time in SoundScan history that a
comedy album topped the Country chart. Certified Gold by the RIAA with
500,000 units sold, “The Right to Bare Arms” was also a Grammy nominee, and
earned Larry Billboard’s 2005 awards for Comedy Artist of the Year and
Comedy Album of the Year.
Larry’s performance in “CARS” comes on the heels of his first live-action
feature film role in “Larry the Cable Guy: Health Inspector,” where Larry plays a
restaurant health inspector who investigates a rash of food poisonings, goes
undercover, and outs the villains at the Citywide Chef Challenge. In addition,
Larry is now a bestselling author, whose book “Git-R-Done” was released last
October 25th and debuted at number 26 on the New York Times bestseller list.
Larry starred in “Blue Collar TV,” a sketch comedy series for the WB
Network which premiered in July 2004. 5.4 million people watched the show,
whose ensemble included Jeff Foxworthy and Bill Engvall from “Blue Collar
Comedy Tour: The Movie,” the film based on the highly successful concert tour.
“Blue Collar Comedy Tour: The Movie” premiered on Comedy Central in
November 2003 and at that time was the highest-rated movie in the channel’s
history. The DVD has sold more that four million units. The sequel, “Blue Collar
Comedy Tour Rides Again,” premiered on Comedy Central in February 2005,
and has since sold 3.6 million copies on DVD. In March 2006 the Blue Collar boys
reunited to shoot “Blue Collar Comedy Tour: One for the Road” in Washington
D.C. at the Warner Theater, which airs on Comedy Central June 4, 2006.
Larry’s first album release, “Lord, I Apologize,” reached gold status and
was number one on the Billboard Comedy chart for fifteen weeks running.
Larry’s DVD special “Git-R-Done” has sold more than a million copies and has
been certified multi-platinum. The special aired on Comedy Central and gave
the network their second-biggest Sunday night ratings in the channel’s history.
CHEECH MARIN (Ramone) gives a colorful performance as the voice of
this 1959 Impala low-rider who likes to paint the town with his impressive body
art. This marks the actor’s third voice-over contribution to an animated feature
from Disney, having previously voiced the frenetic Chihuahua Tito in the 1988
release “Oliver & Company” and the hot-headed hyena Banzai left dangling at
the bottom of the food chain in “The Lion King.”
Born in South Central Los Angeles and raised in the San Fernando Valley,
Cheech studied English at Cal State Northridge before leaving for Vancouver,
B.C. to avoid the draft. In British Columbia he met Tommy Chong, and the two
formed a comic partnership so successful that they eventually moved to Los
Angeles and began making the club circuit. Their success resulted in an incredibly successful string of albums, films, and concert tours. Their first album
Cheech & Chong went gold; their second, Big Bambu, was voted 1972’s number
one comedy album; and their third, Los Cochinos, won them a Grammy.
In 1978, Cheech and Chong made their film debut in “Up in Smoke,”
which became the top-grossing comedy of the year with receipts exceeding $100
million. The team went on to make the films “Cheech and Chong’s Next Movie”
and “Cheech and Chong’s Corsican Brothers” before they parted ways in 1985.
Cheech went on to write, direct, and star in “Born in East L.A.” in 1987, which
won three awards at the Havana Film Festival and established him as a talented
filmmaker and sharp-witted social commentator.
His other film credits include “Desperado,” “From Dusk Till Dawn,” “Tin
Cup,” “Paulie,” “Luminarias,” the Robert Rodriguez trilogy “Spy Kids,” “Spy
Kids 2: Island of Lost Dreams” and “Spy Kids 3-D: Game Over,” “Once Upon a
Time in Mexico,” “Christmas with the Kranks,” and “Underclassmen.”
For TV, Cheech has appeared in the 1994 telefilm “The Cisco Kid,” has
starred in “Nash Bridges,” and has had recurring roles on “Judging Amy” and
“The Golden Palace.”
In fall 2005, Cheech directed the Broadway production of “Latinologues,”
a collection of comedic and poignant monologues revealing the Latino
experience in America. In the art world, the touring exhibit “Chicano Visions:
American Painters on the Verge” is formed at its core by Cheech’s personal art
collection, one of the largest Chicano collections in the world. Cheech has
stepped out in the world of children’s albums as well, recording a bilingual kids’
CD “My Name Is Cheech, The School Bus Driver” with its attendant followup
CD “My Name Is Cheech, The School Bus Driver Coast to Coast.”
TONY SHALHOUB (Luigi) lays down some entertaining tracks as the
friendly and excitable proprietor of Radiator Springs’ Casa Della Tires, where
Ferraris always get preferential treatment.
A triple threat as an actor/director/producer, Shalhoub is best known as
the obsessive compulsive detective hero of “Monk,” now in its fourth season on
USA Network. In fact the Emmy®, Golden Globe®, and SAG Award-winner has
a long and varied career establishing him as one of the most versatile character
actors working today.
Shalhoub’s television credits include the telefilm remakes of “Gypsy” and
“That Championship Season,” directed by Paul Sorvino. He was a series regular
on the sitcoms “Stark Raving Mad” and the long-running hit series “Wings.”
His numerous feature film roles include “Galaxy Quest,” “The Siege,” “A
Civil Action,” “Searching for Bobby Fischer,” “The Imposters,” “Primary
Colors,” “Gattaca,” “Big Night,” “Honeymoon in Vegas,” “Quick Change,”
“Longtime Companion,” “Thir13en Ghosts” and “Life or Something Like It.”
For director Robert Rodriguez he has appeared in “Spy Kids,” “Spy Kids 2:
Island of Lost Dreams” and “Spy Kids 3-D: Game Over.” For the Coen Brothers
he has played beleaguered film producer Ben Geisler (“GYE-zler!”) in “Barton
Fink” and attorney Freddy Riedenschneider in “The Man Who Wasn’t There.”
He also portrayed small-time alien crook Jack Jeebs in “Men in Black” and “Men
in Black II” for director Barry Sonnenfeld.
Most recently on the big screen Shalhoub appeared in the Hollywood
satire “The Last Shot” with Matthew Broderick and Alec Baldwin, as well as
“Against the Ropes” and “The Great New Wonderful.” He made his debut as a
director in 2002 with the indie feature “Made-Up,” in which he co-starred with
his wife Brooke Adams and Gary Sinise.
An accomplished stage actor, Shalhoub’s New York theatre work includes
“Waiting for Godot,” “Conversations with My Father,” “The Heidi Chronicles,”
“The Odd Couple,” and the New York Shakespeare Festival productions of
“Henry IV Part I” and “Richard III.”
JENIFER LEWIS (Flo) goes with the “flo” as the voice of this sassy former
show car who dispenses oil, gossip, and advice to customers at her V-8 Café, and
has a warm spot in her carburetor for her Ramone.
Lewis currently stars as the no-nonsense receptionist Lana Hawkins who
keeps order amidst the chaos in the clinic, in Sony Pictures Television’s longrunning
hit drama series, “Strong Medicine,” now in its sixth season on Lifetime.
Her screen credits include the role of Tina Turner’s mother, Zelma
Bullock, in the biopic, “What’s Love Got to Do With It.” This critically acclaimed
role earned her an NAACP Image Award nomination for Best Supporting
Actress. Her captivating presence and sharp-tongued humor was also on display
in Penny Marshall’s romantic comedy, “The Preacher’s Wife,” for which she
received another Image Award nomination. Other film credits include
“Castaway” with Tom Hanks,” “Antwone Fisher” directed by Denzel
Washington, “Corrina, Corrina,” “The Mighty,” “Renaissance Man,” “Sister Act
1 & 2,” “Dead Presidents,” “Blast From the Past,” “The Brothers,” “Mystery
Men,” and “Poetic Justice.”
Her television credits include the role of the controversial lesbian Judge
Rosetta Reide in the CBS series, “Courthouse.” Additionally, she has starred in
“The Temptations,” “Friends,” “Touched by an Angel,” “The Cosby Show,” and
“Murphy Brown.” She has the added distinction of being Johnny Carson’s final
guest along with her friend Bette Midler on his last taping of “The Tonight
Show.”
In the theatre, Lewis’ one-woman show, “The Diva is Dismissed,” had a
three-year run in Los Angeles and premiered at the Joseph Papp Public Theatre
as part of the prestigious New York Shakespeare Festival. Her performance
earned her two NAACP Theatre Awards in the categories of Best Actress and
Best Playwright. Her Broadway credits include “Eubie,” “Comin’ Uptown,”
“Dreamgirls,” and the City Center Encores! Presentation of Neil Simon’s musical,
“Promises, Promises.”
PAUL DOOLEY (Sarge) gives a commanding performance as the voice of
this military-minded jeep who runs the town’s army surplus store, and engages
in a battle of wits with his laid-back VW bus neighbor. Dooley is a versatile character actor whose extensive resume would give him
two degrees of separation from virtually the entire entertainment industry. He
played a chief of police to Al Pacino in “Insomnia,” Julia Roberts’ father in
“Runaway Bride” and Burt Reynolds attorney in “Paternity.”
He is best remembered for his comic portrayal of the long suffering dad in the
critically acclaimed “Breaking Away.” Another cult film has him as the
understanding father to Molly Ringwald in “Sixteen Candles”.
The actor has spent the last few years as a regular in director Christopher
Guest’s comedic stable, playing a UFO abductee in “Waiting For Guffman,” the
patriarch of The New Main Street Singers in “A Mighty Wind,” and will be seen
in the upcoming “For Your Consideration.” Prior to that he was a regular with
director Robert Altman and had featured roles in “A Wedding,” “A Perfect
Couple,” “Health” and “Popeye,” in which he portrayed the hamburger loving
Wimpy. (A role, Dooley adds, he played with relish.)
His more than forty feature films also include “Kiss Me Goodbye,”
“Flashback,” “Happy Texas,” “Strange Brew,” “Shakes The Clown” and “My
Boyfriend’s Back.”
On the small screen Dooley has appeared on “Dharma And Greg,” “Mad
About You,” “The Golden Girls,” “Coach,” “Ellen,” “thirtysomething” and “The
Wonder Years.” Recurring roles on TV include “Desperate Housewives,” “Curb
Your Enthusiasm,” “E.R.,” “The Practice,” “Star Trek: Deep Space Nine,” Dream
On,” “Alf” and ”My So-Called Life.”
A dedicated cartoonist who had his own strip in his local West Virginia paper
as a young man, he joined the Navy and then discovered acting while at college.
A veteran of Second City and the New York stage, Dooley was in the original
American production of “The Three Penny Opera” and the original Broadway
show “The Odd Couple.” Also a writer, he was co-creator of the award-winning
TV series “The Electric Company.”
Paul lives in Los Angeles with one of his favorite writers, Winnie
Holzman (also his wife.) She is the creator of the highly acclaimed television
series “My So-Called Life” and co-author of the hit Broadway musical “Wicked.”
MICHAEL WALLIS (The Sheriff) is a true “road warrior” and is
considered by most to be the authority on Route 66. He knows every nook and
cranny of the old highway from Chicago to Los Angeles. His newly expanded
75th anniversary edition of the critically-acclaimed Route 66: The Mother Road
was published in Spring 2001 and, like its predecessor with the same title from
1990, it became an instant hit. In reference to the book, the New York Times said
“Like others before him, from John Steinbeck to Charles Kuralt, Michael went on
the road in search of America. The result is…a colorful rejoicing to a most
romantic byway.”
Wallis is a historian and biographer of the American West. His
bibliography includes the books The Real Wild West: The 101 Ranch and the
Creation of the American West, a non-fiction account of the history of the
legendary 101 Ranch; Oklahoma Crossroads; Beyond the Hills: The Journey of
Waite Phillips; En Divina Luz: The Penitente Moradas of New Mexico; Mankiller: A Chief and Her People; Way Down Yonder in the Indian Nation; Pretty Boy:
The Life and Times of Charles Arthur Floyd; and Oil Man: The Story of Frank
Phillips and the Birth of Phillips Petroleum.
Wallis is a three-time nominee for the Pulitzer Prize, and has also been
nominated for a National Book Award. His work has been published in
hundreds of national and international magazines and newspapers, including
Time, Life, People, Smithsonian, Texas Monthly and The New York Times. In
1999 he was inducted into the Missouri Writers Hall of Fame, and was inducted
into the Oklahoma Professional Writers Hall of Fame in 1996.
Since 1983 he and his wife, Suzanne Fitzgerald Wallis, have made their
home in Tulsa, Oklahoma. They also maintain a hideout in New Mexico.
GEORGE CARLIN (Fillmore) is a gas providing the laid-back voice for
this hip brewmeister who believes in peace, love, and organic fuel.
The comedian has garnered three Emmy nominations and six Cable Ace
awards for his thirteen HBO specials, and thus far eight of those specials have
been released in two separate DVD packages. Carlin picked up two additional
Emmy nominations in the early ’90s, playing Mr. Conductor in 45 episodes of the
critically acclaimed PBS children’s show “Shining Time Station.”
In 1997, Carlin ventured into a new field as Hyperion published his first
book, Braindroppings, a collection of original routines, one-liners, commentaries
and essays. In hardcover and paperback, the book spent a total of 40 weeks on
The New York Times bestseller list and has sold 850,000 copies. The “book-ontape”
version, read by Carlin himself, won the 2001 Grammy in the Spoken
Comedy category, the latest of his three Grammys.
A second book, Napalm & Silly Putty, written in the same style as the first,
was published in April 2001, reaching the number one spot on the New York
Times bestseller list in its second week. The combined hardcover and paperback
editions have sold over 500,000 copies.
A third book, When Will Jesus Bring the Pork Chops?, published by
Hyperion, came out in October 2004. It went to number two on the New York
Times bestseller list, and was banned by Wal-Mart. When Will Jesus Bring the
Pork Chops? has been nominated for two Quill Awards and the paperback
which came out in 2005 has done equally as well on the sales chart. The book
echoes the format of his first two books and includes many of his trademark
observations on the American language, one of his notable comedy strengths.
While all this goes on, Carlin still manages to perform 90 concerts each
year around the country, selling nearly a quarter of a million tickets.
This past November 5th saw the premiere of the comedian’s 13th HBO
special, “George Carlin: Life Is Worth Losing.” A DVD and CD of the show will
follow, bringing his total discography to 25 titles, including compilations and
books on tape.
In March 2004, Carlin appeared in Kevin Smith’s feature “Jersey Girl,”
where he essayed what was easily his most substantial film role yet as Ben
Affleck’s father. The film was Carlin’s eleventh feature credit. In addition, Carlin has lent his comic timing and vocal talents to such recent animated projects as
“Tarzan II” and “Happy N’ever After.”
KATHERINE HELMOND (Lizzie) is best known for her role as Jessica
Tate in ABC’s controversial sitcom “Soap,” for which she won a Golden Globe
Award in 1981. In 2004, the actress was nominated for her 6th Emmy, this time
for her performance in “Everybody Loves Raymond,” and she also starred in
the 2004 ABC Christmas show “Mr. St. Nick” along with Kelsey Grammer,
Charles Durning and Brian Bedford.
Helmond was a recurring character on the series “Everybody Loves
Raymond,” playing the mother of Ray’s wife, Deborah. Before that, she costarred
in the ABC hit “Coach” with Craig T. Nelson for three years, following
eight hit seasons in “Who’s the Boss?” with Tony Danza. She was nominated for
a Golden Globe for her role as the luscious Mona four times and won the award
in 1988. In 1986, Helmond was given the London TV Times Award for the
actress who had brought the most joy to the viewing audience.
In 1983, she added another dimension to her work with her acceptance
into the American Film Institute’s Directing Workshop for Women – a
prestigious program for women who have achieved prior success in other areas
of the entertainment industry. Upon completion of her project for the AFI, she
immediately turned to professional directing via “Benson,” the ABC series
starring Robert Guillaume. By 1984, she had directed four episodes of this
successful show. In addition, she later directed episodes of “Who’s The Boss?” In
1987, the Arts and Entertainment cable channel aired the one hour drama
“Bankrupt,” which Helmond had directed for the AFI. The program focused on
a couple’s emotional bankruptcy, and was written by David Christian,
Helmond’s husband.
Recently, the actress co-starred in a production of “Ms. Scrooge” for USA
cable, co-starring as Marley with Cicely Tyson as Ms. Scrooge. Helmond has
amassed an impressive list of TV credits, including early guest-starring
appearances on many of the top-rated series as well as Steve Allen’s Emmywinning
“Meeting of the Minds” (in which she played Emily Dickinson.) She has
also had major roles in a diverse cross-section of television films, including
“World War III,” “The Autobiography of Miss Jane Pittman,” “Wanted: The
Sundance Woman,” “The Legend of Lizzie Borden,” and the mini-series “Pearl”
and “Diary of a Mad Hitchhiker.”
Returning to her stage roots, Katherine had her name in lights on
Broadway in 1993 starring opposite Hal Gould in “Mixed Emotions.” Most
recently, she starred in a Chicago revival of “Mornings at Seven,” and in New
York in productions of “The Vagina Monologues” and “The Oldest Profession,”
by Pulitzer Prize-winning author, Paula Vogel.
Additionally, throughout her career, Helmond has found herself involved
with feature films. Three of Hollywood’s top directors selected her for significant
roles: Alfred Hitchcock (“Family Plot,”) Robert Wise (“Hindenburg”), and John
Hancock (“Baby Blue Marine.”) In 1980, she starred in “Time Bandits” for Terry
Gilliam. Next, she went on to receive praise for her role in his highly acclaimed film “Brazil,” winner of the 1985 Los Angeles Film Critic Award for Best film.
She re-teamed with Gilliam for the film “Fear and Loathing in Las Vegas.”
Her multiple dramatic honors include a 1973 Tony award nomination for
Eugene O’Neill’s “Great God Brown” on Broadway and a Clarence Derwent
Award, a New York Drama Critic’s Award and a 1971 Obie Nomination for her
portrayal of the tragi-comic figure Bananas in John Guare’s “House of Blue
Leaves.” Among her many accolades, she has been honored by Women in
Show Business, Women in Film (The Topaz award) and by DePaul University
(for Excellence in the Arts.)
Helmond and husband David Christian currently maintain an apartment
in New York and a home in the Hollywood Hills. The couple formed TaurCan
Productions in order to develop and produce films and other projects that
interest them.
JOHN RATZENBERGER (Mack) returns to the Pixar fold for the seventh
time and delivers the goods by voicing a reliable road-tested transport truck
responsible for getting Lighting McQueen to the big race on time.
Ratzenberger is an accomplished screenwriter, director, producer and
multi-Emmy® nominated actor. Along with well-earned credentials as an
entrepreneur and humanitarian, John Ratzenberger is known to international
audiences as know-it-all postman Cliff Claven on “Cheers” and as part of the
Oscar®-winning Pixar animation team.
A decade after the finale of the long-running NBC sitcom, the iconic
performer is again a regular on television as creator and star of “John
Ratzenberger’s Made in America,” in it’s fourth season on the Travel Channel.
Visiting factories across the nation, John spotlights the companies and people
who invent and build the best products in the U.S. From Campbell’s, Gatorade
and Monopoly to Harley Davidson, Craftsman Tools and John Deere farm
equipment, each episode honors those people who “take pride in their
workmanship and are the backbone of our economy,” he says.
A former carpenter, archery instructor, carnival performer and oyster
boat crewman, John Ratzenberger certainly knows how to use his own hands, as
well as his other diverse assets. The son of a truck driver father and factory
worker mother, he was raised in the seaside community of Black Rock, near
Bridgeport, Connecticut, getting his first taste of the stage in grade school. An
English literature major at Sacred Heart University, he trod the boards in drama
club and after graduation starred in one-man shows while directing others.
In 1971 he received a tax refund check for $263, at the time the exact oneway
airfare to London. John spent a decade as co-founder of the improvisational
duo Sal’s Meat Market, earning acclaim across Europe and a grant from the
British Arts Council. While in Europe, John appeared in over 22 motion pictures,
including “A Bridge Too Far,” “Superman,” “Gandhi” and “Star Wars: The
Empire Strikes Back,” starred in the Granada TV series “Small World,” and cut
his teeth as a producer and writer for the BBC, Granada TV and several
prestigious theater companies.
In 1982 John took a writing assignment for CBS in Los Angeles. As serendipity would have it, on the day he was scheduled to return to London, he
auditioned for a role on “Cheers.” Even more remarkable, the character of the
postman did not even exist, but after John auditioned for another role, he threw
a suggestion to the writers. “I explained that every neighborhood bar has a
resident know-it-all, and then demonstrated my version of him.” John’s
improvisational skills brought Cliff Claven to life, and the “Cheers” team
immediately rewrote the pilot to include him. During eleven seasons on
“Cheers” John continued to improvise many of his own lines, helping bring
freshness and enduring popularity to a show that would earn 28 Emmys®. With
“Cheers” now in syndication nationwide, Cliff Claven remains one of television’s
most beloved characters.
Animation has been a natural home to his versatile vocal talents, and John
is the only actor to participate in every Pixar film. Beginning with the charming
and witty Hamm the piggy bank in “Toy Story” (reprised in “Toy Story 2”), then
came P.T. Flea in “A Bug’s Life,” Yeti the snow monster in “Monsters, Inc.,” a
school of Moonfish in “Finding Nemo,” and proto-villain The Underminer in
“The lncredibles.” His other animation roles include those in the Academy
Award®-winning feature “Spirited Away” and the long-running TBS series
“Captain Planet and the Planeteers” and “The New Adventures of Captain
Planet.”
Appearing as himself on “The Drew Carey Show” and “Monty Python’s
Flying Circus: Live in Aspen,” among other programs, he has spent two decades
bringing his gifts as a character actor to such episodic series as “8 Simple Rules,”
“That ‘70s Show,” “Sabrina the Teenage Witch,” “Murphy Brown,” “The Love
Boat,” “Magnum, P.I.” and “Hill Street Blues.” John has also reprised Cliff
Claven in “Frasier,” “The Simpsons,” “Blossom,” “Wings,” “St. Elsewhere” and
eight NBC specials. Among his numerous TV movies are starring roles in “The
Pennsylvania Miners Story” for ABC, “A Fare To Remember,” “Remember
WENN,” PBS Masterpiece Theater’s “The Good Soldier” and the BBC’s “Song of
a Sourdough” and “The Detectives.”
Unsatisfied with only being in front of the camera, John heads his own
Los Angeles-based production company, Fiddlers Bay Productions, and has
directed more than 50 TV episodes including “Cheers” and “Evening Shade.” He
has also directed a Super Bowl promo and a myriad of commercials, writing and
starring in two, which earned the coveted Clio Award.
In 1989 John Ratzenberger founded Eco-Pack Industries, a company
dedicated to creating alternative packaging. Its bio-degradable, non-toxic
recycled paper product, Quadrapak, became an international success with such
clients as Hallmark, Elizabeth Arden and Nordstrom, replacing styrofoam
peanuts and plastic bubble wrap.
In other humanitarian areas, John serves as chairman of
www.ChildrenWithDiabetes.com. the world’s largest Internet venture connecting
diabetes information and research, and as National Walk Chairman for the
Juvenile Diabetes Foundation he has helped raise over $100 million (among
other charity fundraisers, John was the first and only person to row a boat for
more than 16 hours and 45 miles around Vashon Island near Washington State, raising funds and awareness for the Special Olympics). The proud parent of
two children, John has promoted literacy through Cities in Schools, is founder
of the Harbor School in Washington, sits on the board of Pepperdine University
and, in 1996, was recognized as “Father of the Year” by the Father’s Day
Council of America. Among his numerous other awards, John Ratzenberger
returned to his alma mater in 2002 to be honored with a doctorate of Humane
Letters, and is a two-time Emmy® nominee for his outstanding supporting actor
work on “Cheers.”
MICHAEL KEATON (Chick Hicks) gives a winning performance as the
ruthless competitor determined to collect the trophy and all the sponsorship
prizes that go with it.
Keaton gained national attention in the hit comedy “Night Shift,”
followed by starring roles in such films as “Mr. Mom,” “Johnny Dangerously”
and “Dream Team.”
In 1998, he earned the Best Actor award from the National Society of Film
Critics for “Clean and Sober” and Tim Burton’s “Beetlejuice.” Keaton re-teamed
with Burton to play the title role in the blockbusters “Batman” and “Batman
Returns.”
Keaton also starred as Robert Weiner in HBO’s critically-acclaimed “Live
from Baghdad.” He received a Golden Globe® nomination for his role in the
film, which was based on a true story of the CNN crew who reported from
Baghdad during the first Gulf war. He also starred as the President of the United
States in “First Daughter” for Twentieth Century Fox Studios.
Keaton’s recent feature credits include Michael Hoffman’s sports comedy
“Game 6,” the Universal thriller “White Noise,” and the Disney comedy “Herbie:
Fully Loaded.” He will next appear in “The Last Time.”
RICHARD PETTY (The King) is the most decorated driver in the history
of NASCAR racing, winning a record 200 career victories and seven NASCAR
Nextel Cup championships in his illustrious career. One would think that after
1,184 races spanning three decades that “The King” would bow out and retire
quietly. Petty, however, has other things on his mind. Today he is as busy as
ever, mainly overseeing the operation of the famed #43 car that he made
famous.
In 1996, Petty proved that he could be a champion both as a driver and car
owner when he won his first race as an owner in the Dura Lube 500 with driver
Bobby Hamilton at the Phoenix International Raceway. Petty won again in 1997
with Hamilton, and in 1999 with driver John Andretti.
Today Petty still looks over the operation of the #43 Dodge with Bobby
Labonte now in charge of “The King’s” car. The 2006 season will mark Labonte’s
first season behind the wheel with General Mills, teaming up with Petty to
sponsor the #43 Cheerios/Betty Crocker Dodge.
Racing is about winning, and “The King” has proven he knows how to do
just that, but it is giving back to the community and his fans that makes Petty
“The King” of auto racing. Wearing his signature cowboy hat and sunglasses one can always see Petty signing an autograph or giving a helping hand. In fact
Petty was instrumental in the development of the Victory Junction Gang Camp,
a camp for chronically ill children, after donating acres of his land that the camp
sits on today. There is no other person in NASCAR’s history to have made more
of an impact on the sport, on and off the track, than Richard Petty. He has been
elected to the National Motorsports Press Association Hall of Fame, International
Motorsports Hall of Fame, North Carolina Auto Racing Hall of Fame, and also
the North Carolina Athletic Hall of Fame. He also serves as Chairman of the
North Carolina Motorsports Association. In addition, he is the proud recipient of
the Medal of Freedom, the highest civilian award, which he received in 1992.
A person who has seen the sport grow from the beaches of Daytona to
the high-banked superspeedways of Talladega, Petty is no stranger to tough
challenges. With the growing strength of Petty Enterprises, under the watchful
eye of Petty, it won’t be long before “The King” will once again be standing
alongside the #43 Dodge in victory lane.
5/5/06
heg