‘Toy Story 5’ Co-Director Kenna Harris on Going From Jessie Superfan to Pixar Filmmaker — and the Two-Week Rewrite That Reshaped the Sequel

‘Toy Story 5’ Co-Director Kenna Harris on Going From Jessie Superfan to Pixar Filmmaker — and the Two-Week Rewrite That Reshaped the Sequel hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 16, 2026 5:17am PT ‘Toy Story 5’ Co-Director Kenna Harris on Going From Jessie Superfan to Pixar Filmmaker — and the Two-Week Rewrite That Reshaped the Sequel By Davide Abbatescianni Plus Icon Davide Abbatescianni Latest ‘The Mandalorian and Grogu’ VFX Veteran Hal Hickel on Rotta’s Redesign, Phil Tippett and Jon Favreau’s ‘Less James Bond, More Jackass’ Approach 3 hours ago ‘Spider-Man: Brand New Day’ VFX Boss Jerome Chen on Hulk’s Redesign, Finishing 445 Shots in a Week 1 day ago Laika’s ‘Wildwood’ VFX Supervisor Steve Emerson Details the Making of Travis Knight’s Stop-Motion Epic 3 days ago See All Add us as a Google Preferred Source Comments Long before co-directing Pixar’s “ Toy Story 5 ,” Kenna Harris spent childhood afternoons drawing Jessie, painstakingly reproducing details from “Toy Story 2” and even imagining Woody offering the cowgirl a flower. Decades later, the character helped Harris navigate a daunting first feature — including a two-week production pause to overhaul a story that was not yet working.

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“She was my cowgirl through and through,” Harris said at View Conference in Turin on Friday, displaying childhood fan art and explaining how Jessie’s boldness became a guiding principle while making the film with director Andrew Stanton . Related Stories ‘La Bola Negra’ Star Guitarricadelafuente to Receive Discovery Award at SCAD Savannah Film Festival (EXCLUSIVE) Inside Omega’s James Bond Exhibition, From 007’s Toothbrush to His Passport and Mini Car Bombs Stanton invited Harris to co-direct in late 2022, after work on “Luca,” “Ciao Alberto” and “Inside Out 2.” Harris accepted, then asked to co-write the screenplay despite never having tackled a feature script.

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“Who was I to put myself in a position this precarious, where I could very well fail in front of the man who wrote my entire childhood?” Harris recalled. The collaboration ultimately earned Harris a screenwriting credit alongside Stanton.

Popular on Variety That willingness to take risks extended to campaigning for Jessie and Buzz to kiss amid a perilous action sequence. “I just think there should be a ton of action, and it should be perilous, and then they should kiss super duper hard,” Harris remembered telling Stanton, who agreed.

Another image — Jessie riding a real horse — helped inspire the ranch setting and a new character, Blaze. Harris, production designer Bob Pauley and the story team visited BreyerFest, a Kentucky convention devoted to model horses, for research.

The filmmakers also had to find the right approach to Lilypad, the tablet threatening Bonnie’s attachment to traditional toys. Harris rejected the notion of an irredeemably evil device: the story needed to acknowledge how difficult it is for children and adults alike to escape technology’s grip.

But the early versions still failed to deliver an emotionally compelling journey. “We stopped production for two weeks, and focused on the film’s core issue at the time,” Harris said.

“Our act one was not working.” The first week was devoted to diagnosing the problem; during the second, Harris and Stanton raced to rewrite. Initially, Jessie’s overriding goal was simply to win back playtime with Bonnie, especially after becoming separated from her during a dance class.

But early screenings showed that audiences were unmoved by a conflict that echoed the first film’s competition for a child’s attention. “The stakes of losing playtime felt too soft,” Harris explained.

The breakthrough was to make Bonnie’s

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