document_title: Toy Story 3

question_text: who plays buzz lightyear in toy story 3

question_tokens: who plays buzz lightyear in toy story 3

text: Toy Story 3

text: Plot[edit]

text: 17-year-old Andy[11] is about to leave for college, and his toys have not been played with for years. He intends to take Woody with him, and puts Buzz Lightyear, Jessie and the other toys in a trash bag to be stored in the attic. Andy's mother mistakenly takes the bag to the curb for garbage pickup. The toys escape and, believing Andy intended to throw them away, decide to climb into a donation box with Molly's discarded toy, Barbie, bound for Sunnyside Daycare. Woody follows them, but is unable to convince them of the mistake.

text: Andy's toys are welcomed by the other toys at Sunnyside, and are given a tour of the seemingly idyllic play-setting by Lots-O'-Huggin' Bear ("Lotso"), Big Baby, and Ken. The toys choose to stay, except Woody, who attempts to return to Andy, but is instead found by Bonnie, one of the Sunnyside students. She takes Woody home and plays with him along with her other toys, which are well-treated. Meanwhile, at Sunnyside, a group of toddlers plays roughly with Andy's toys. Buzz seeks out Lotso to request to have them moved to the older children's room, but Lotso refuses. At the same time, Mrs. Potato Head, through an eye she inadvertently left in Andy's room, sees Andy searching for the toys. However, before they can leave, Andy's toys are imprisoned by Lotso's gang, guarded by Buzz, whom Lotso switched to Demo Mode (which caused him to believe he is a real space ranger, therefore turning against the other toys). At Bonnie's house, Woody finds out that Andy's house isn't that far away and decides to leave. When he mentions Sunnyside, Bonnie's toys asked how he'd escaped, asking them what they mean by "escape". They turn his attention to a toy clown named Chuckles, who explains to Woody that he, Lotso, and Big Baby once had a beloved owner named Daisy. When the toys were accidentally left behind by Daisy's family during a trip, they made their way back to her house, where Lotso found that he had been replaced. Lotso lied to Big Baby saying Daisy had replaced all of them. When they found Sunnyside, Lotso took it over, with Chuckles only getting out because Bonnie took him home, after he was broken, and fixed him.

text: Woody returns to Sunnyside and learns from a Chatter Telephone toy that there is only one way out of the daycare: the trash. Woody and Andy's other toys execute their plan but accidentally reset Buzz to Spanish mode instead of his old persona. Buzz promptly allies himself with Woody and falls in love with Jessie. The toys reach a dumpster, but are cornered by Lotso and his gang. As a garbage truck approaches, Woody reveals what he learned about Lotso and tosses Daisy's ownership tag, which Chuckles had kept, to Big Baby. Lotso destroys the tag and says that toys are meant to be discarded, but an enraged Big Baby throws Lotso into the dumpster. As the toys try to leave, Lotso pulls Woody into the dumpster just as the truck collects the trash. The rest of Andy's toys fall into the back of the truck while trying to rescue him, and a falling television lands on Buzz, restoring his memory and normal personality. The truck deposits the toys at a landfill, where they find themselves on a conveyor belt leading to an incinerator. Woody and Buzz help Lotso reach an emergency stop button, only for Lotso to abandon them and escape. The toys resign themselves to their fate, but are soon rescued by the Aliens operating an industrial claw. Lotso is found by a garbage truck driver who straps him to his truck's radiator grill and drives away. Woody and his friends board another garbage truck back to Andy's house.

text: In Andy's room, Woody climbs into the box with Andy's college supplies, while the other toys ready themselves for the attic. Woody leaves a note for Andy, who, thinking the note is from his mother, takes the toys to Bonnie's house and introduces her to them. Bonnie recognizes Woody, who, to Andy's surprise, is at the bottom of the box. Though hesitant at first, Andy passes Woody on to Bonnie, and then plays with her before leaving. Woody and the other toys watch Andy's departure as they begin their new lives with Bonnie. Meanwhile, Barbie, Ken and Big Baby have made vast improvements to Sunnyside, and maintain contact with Woody and his friends through letters.

text: Voice cast[edit]

text: This is the list of the voice cast for the film:[12]

text:
Tom Hanks as Sheriff Woody
Tim Allen as Buzz Lightyear
Joan Cusack as Jessie
Ned Beatty as Lots-O'-Huggin' Bear
John Morris as Andy Davis
Don Rickles as Mr. Potato Head
Blake Clark as Slinky Dog
Wallace Shawn as Rex
John Ratzenberger as Hamm
Estelle Harris as Mrs. Potato Head
Michael Keaton as Ken
Jodi Benson as Barbie
Emily Hahn as Bonnie Anderson
Jeff Pidgeon as Aliens
Timothy Dalton as Mr. Pricklepants
Kristen Schaal as Trixie
Jeff Garlin as Buttercup
Bonnie Hunt as Dolly
Whoopi Goldberg as Stretch

Kristen Schaal and Jeff Garlin, who attended the Toy Story 3 panel at the 2010 WonderCon, joined the cast as Trixie and Buttercup, respectively.[13]

Jack Angel as Chunk
Jan Rabson as Sparks
John Cygan as Twitch
Laurie Metcalf as Ms. Davis
Lori Alan as Bonnie's Mom
Bea Miller as Molly Davis
R. Lee Ermey as Sarge
Teddy Newton as Chatter Telephone
Richard Kind as Bookworm
Bud Luckey as Chuckles
Javier Fernández Peña as Spanish Buzz[14]
Charlie Bright as Peaty/Young Andy
Amber Kroner as Peatrice
Brianna Maiwand as Peanelope
Erik von Detten as Sid
Jack Willis as The Frog
Lee Unkrich as Jack-in-the-Box
Bob Peterson as Janitor
Woody Smith as Big Baby[15][16]

text: Several other characters (such as Bo Peep, RC, Etch, and Wheezy) are only seen in flashbacks or briefly mentioned. The character of Slinky Dog appeared to be in limbo after the death of his original voice actor Jim Varney on February 10, 2000, three months after Toy Story 2 was released. Varney was replaced by Blake Clark. After Clark was cast to play Slinky Dog, the producers realized that Clark and Varney had coincidentally been close friends since they appeared in the 1989 film Fast Food, making the transition a lot easier.[17]

text: Production[edit]

text: According to the terms of Pixar's initial seven-film deal with Disney, all characters created by Pixar for their films were owned by Disney.[18] Furthermore, Disney retained the rights to make sequels to any Pixar film,[18] though Pixar retained the right of first refusal to work on these sequels.[19] In 2004, when the contentious negotiations between the two companies made a split appear likely, Michael Eisner, Disney chairman at the time, put plans in motion to produce Toy Story 3 at a new Disney studio, Circle 7 Animation.[20] Tim Allen, the voice of Buzz Lightyear, indicated a willingness to return, even if Pixar was not on board.[20]:2

text: Screenwriter Jim Herzfeld wrote a script for Circle 7's version of the film. It focused on the other toys shipping a malfunctioning Buzz to Taiwan, where he was built, believing that he will be fixed there. While searching on the Internet, they find out that many more Buzz Lightyear toys are malfunctioning around the world and the company has issued a massive recall. Fearing Buzz's destruction, a group of Andy's toys (Woody, Rex, Slinky, Mr. Potato Head, Hamm, Jessie, and Bullseye) venture out to rescue Buzz. At the same time, Buzz meets other toys from around the world that were once loved, but have now been recalled.[20]

text: In January 2006, Disney bought Pixar in a deal that put Pixar chiefs Edwin Catmull and John Lasseter in charge of all Disney Animation.[21] Shortly thereafter, Circle 7 Animation was shut down and its version of Toy Story 3 was cancelled.[20]:1 The following month, Disney CEO Robert Iger confirmed that Disney was in the process of transferring the production to Pixar.[22] John Lasseter, Andrew Stanton, Pete Docter, and Lee Unkrich visited the house where they first pitched Toy Story and came up with the story for the film over a weekend. Stanton then wrote a treatment.[23]

text: This story had no traces of the Circle 7 version of the film, since the filmmakers did not read its script: "Not out of spite, but we wanted to start fresh, and not be influenced by what they'd done," said Unkrich. "We didn't look at any of the work they'd done. We really didn't want to know anything about it."[24] In February 2007, Lasseter announced Toy Story 2's co-director, Unkrich, as the sole director of the film instead of himself (Lasseter had directed the first two films and was busy directing Cars 2), and Michael Arndt as screenwriter.[25] 2010 was also announced as the tentative release date.[24]

text: Unkrich, who had been working with Arndt and story development artists on the film since the middle of 2006,[24] said that he felt pressure to avoid creating "the first dud" for Pixar, since (as of 2010) all of Pixar's films had been critical and commercial successes.[26] In February 2008, the film's plotline was reported: "Woody the cowboy and his toy box friends are dumped in a daycare centre after their owner, Andy, leaves for college."[27]

text: During the initial development stages of the film, Pixar revisited their work from the original Toy Story and found that, although they could open the old computer files for the animated 3D models, error messages prevented them from editing the files. This necessitated recreating the models from scratch.[28] To create the chaotic and complex junkyard scene near the film's end, more than a year and a half was invested on research and development to create the simulation systems required for the sequence.[29]

text: Instead of sending Tom Hanks, Tim Allen and John Ratzenberger scripts for their consideration in reprising their roles, a complete story reel of the film was shown to the actors in a theater. The reel was made up of moving storyboards with pre-recorded voices, sound effects, and music. At the conclusion of the preview, the actors signed on to the film.[30]

text: Dolby Laboratories announced that Toy Story 3 would be the first film to feature theatrical 7.1 surround sound.[31] Thus, even the Blu-ray version would feature original 7.1 audio, unlike other films which were remixed into 7.1 for Blu-ray.

text: Release[edit]

text: Toy Story 3 had its worldwide premiere on June 12, 2010, opening at Taormina Film Fest in Italy.[34] In the United States, it premiered on June 13, 2010, at El Capitan Theatre in Hollywood, California.[32] El Capitan also hosted on June 17, 2010, a Toy Story marathon, showing for the first time all three Toy Story films together.[33] The film went into its wide release on June 18, 2010, along with a release to IMAX 3D theaters.[35]

text: The film was theatrically accompanied with the Pixar short film Day & Night, which focuses on what happens when an animated personification of Day meets his opposite, Night, and the resulting growth for both.[36][37]

text: Marketing[edit]

text: The film's first teaser trailer was released with Up in Disney Digital 3-D on May 29, 2009.[38] On October 2, 2009, Toy Story and Toy Story 2 were re-released as a double feature in Disney Digital 3-D.[39] The first full-length trailer was attached as an exclusive sneak peek and a first footage to the Toy Story double feature on October 12, 2009.[40] A second teaser was released on February 10, 2010, followed by a second full-length trailer on February 11, and appeared in 3D showings of Alice in Wonderland and How to Train Your Dragon.[41] On March 23, 2010, Toy Story and Toy Story 2 were released separately on Blu-ray/DVD combo packs; Toy Story included a small feature of "The Story of Toy Story 3" and Toy Story 2 included one on the "Characters of Toy Story 3."[42][43]

text: Mattel, Thinkway Toys, and Lego are among companies that produced toys to promote the film. Fisher Price, a Mattel Company, released Toy Story 3 with 21 3D images for viewing with the View-Master viewer.[44][45] Disney Interactive Studios also produced a video game based on the film Toy Story 3: The Video Game, which was released for Microsoft Windows, Xbox 360, Wii, PlayStation 3, Nintendo DS, and PSP on June 15, 2010.[46] A PlayStation 2 version was released on October 30, 2010 as part of a PS2 bundle and separately on November 2, 2010 (the same day Toy Story 3 was released on DVD and Blu-ray).[47] It was also the last Disney/Pixar game to be released on the PlayStation 2.[47]

text: Toy Story 3 was featured in Apple's iPhone OS 4 Event on April 8, 2010, with Steve Jobs demonstrating a Toy Story 3-themed iAd written in HTML5.[48] Pixar designed a commercial for the toy Lots-O'-Huggin' Bear and formatted it to appear as if it came from an old VCR recording. The recording was altered with distorted sound, noise along the bottom of the screen, and flickering video, all designed to make it look like a converted recording from around 1983.[49] A Japanese version of the commercial was also released online, with the name "Lots-O'-Huggin Bear" replaced with "Little Hug-Hug Bear" (Japanese:ハグハグベアちゃん/Hagu Hagu Beya-Chan).[50]

text: On Dancing with the Stars' May 11, 2010 episode, the Gipsy Kings performed a Spanish-language version of the song "You've Got a Friend in Me," which featured a paso doble dance choreographed by Cheryl Burke and Tony Dovolani.[51][52] Both the song and dance are featured in the film. Toy Story 3 was promoted with airings of the first and second film on several channels in the weeks preceding the film's release, including Disney Channel,[53] Disney XD,[54] and ABC Family.[55] Sneak peeks of Toy Story 3 were also revealed,[55] primarily on Disney Channel.[56][57]

text: Oscar campaign[edit]

text: Toy Story 3's "Not since..." Oscar campaign drew a lot of attention, emphasizing the film's uniqueness and critical acclaim. The campaign consisted of posters featuring characters from the film, comparing Toy Story 3 to previous winners such as The Lord of the Rings, Shakespeare in Love, Titanic, and more.[58] Walt Disney Studios Chairman Rich Ross explained they were going for the Best Picture win, not just Best Animated film.[59] The Hollywood Reporter gave the campaign a bronze award in Key Art Awards Winners 2011.[60]

text: Home media[edit]

text: Toy Story 3 was released by Walt Disney Studios Home Entertainment in North America on November 2, 2010, in a standard DVD edition, a two-disc Blu-ray Disc, and in a four-disc Blu-ray/DVD/Digital Copy combo pack. Features included behind-the-scenes, including a sneak peek teaser for the then-upcoming Cars 2 (the sequel to the 2006 film Cars).[61] A 10-disc Toy Story trilogy Blu-ray box set arrived on store shelves that same day.[62] A 3D version of the Blu-ray was released in North America on November 1, 2011.[63]

text: On its first week of release (November 2–7, 2010), it sold 3,859,736 units (equal to $73,096,452), ranking No.1 for the week and immediately becoming the best-selling animated film of 2010 in units sold (surpassing How to Train Your Dragon). As of July 18, 2012, it had sold 10,911,701 units ($185,924,247).[64] It became the best-selling DVD of 2010 in units sold, but it lacked in sales revenue and therefore ranked second behind Avatar on that list.[65] It also sold about 4 million Blu-ray units, ranking as the fourth best-selling film of 2010.[66]

text: In the United Kingdom, it broke the record for the largest first day ever for an animated feature in sales revenue, on both DVD and Blu-ray. Additionally, on the first day of its iTunes release, it immediately became the most downloaded Disney film ever.[67]

text: Reception[edit]

text: Box office[edit]

text: Toy Story 3 earned $415 million in North America and $652 million in other countries for a worldwide total of $1.067 billion, earning more revenue than the previous two films of the series combined.[1] It became the highest-grossing animated film, surpassing the six-year-old record held by 2004's Shrek 2 ($919 million),[68] until Walt Disney Animation Studios' computer-animated musical Frozen surpassed it in 2014, followed by Minions in 2015.[69] It is the twentieth highest-grossing film,[70] the highest-grossing film of 2010,[71] the third highest-grossing animated film (behind Frozen and Minions),[9] the highest-grossing film in the Toy Story series,[72] the highest-grossing Pixar film,[73] and the eighth highest-grossing film distributed by Disney.[74] In estimated attendance, though, it still ranks fourth on the list of modern animated films, behind Shrek 2, Finding Nemo, and The Lion King.[9] On its first weekend, Toy Story 3 topped the worldwide box office with $145.3 million ($153.7 million with weekday previews), the ninth largest opening weekend worldwide for an animated feature.[75] On August 27, 2010 — its seventy-first day of release, it surpassed the $1 billion mark, becoming the third Disney film, the second Disney-distributed film in 2010 (after Alice in Wonderland), the first animated film,[9] and the seventh film in cinematic history to do so.

text: North America[edit]

text: In North America, Toy Story 3 is the nineteenth highest-grossing film, unadjusted for inflation. Adjusted for ticket price inflation, though, it ranks ninety-sixth on the all-time chart.[76] It is also the highest-grossing film of 2010,[77] the second highest-grossing Pixar film (behind Finding Dory),[73] the second highest-grossing G-rated film (behind The Lion King),[78] the fourth highest-grossing animated film,[79] and the seventh highest-grossing film distributed by Disney.[80] Box Office Mojo estimates that the film sold over 52 million tickets in the U.S.[81] The film earned $41.1 million on its opening day (June 18, 2010) from 4,028 theaters, including $4 million at midnight shows from about 1,500 theaters, setting an opening day record for an animated film[82] (surpassed by Minions and later Finding Dory).[83][84]

text: During its opening weekend, the film topped the box office with $110.3 million, setting an opening weekend record among Pixar films[85] (surpassed by Finding Dory),[86] films released in June[87] (surpassed by Man of Steel and later Jurassic World),[88][89] and G-rated films.[90] The film also achieved the second largest opening weekend among animated films[91] and the fourth largest opening weekend among 2010 films.[92] Its average of $27,385 per venue is the second highest for a G-rated film and the third highest for an animated feature.[93] Its opening week gross (Friday through Thursday) of $167.6 million is the second largest among animated films, the second largest among 2010 films, and the twenty-third largest of all time.[94] It also achieved the largest 10-day gross among 2010 films.[95] It topped the box office for two consecutive weekends.[96]

text: Outside North America[edit]

text: Outside of North America, Toy Story 3 is the twenty-ninth highest-grossing film,[97] the sixth highest-grossing animated film, the third highest-grossing film of 2010,[98] the highest-grossing Pixar film, and the eleventh highest-grossing Disney film.[97] It topped the box office outside North America three times, in its first ($35 million),[99] second,[100] and sixth weekend (which was its largest).[101]

text: Its highest-grossing market after North America is Japan ($126.7 million),[102] where it is the second highest-grossing U.S. animated feature (behind Finding Nemo),[9] followed by the UK and Ireland, and Malta (£73.8 million – $116.6 million), where it is the sixth highest-grossing film,[103] and Mexico ($59.4 million), where it is the second highest-grossing film.[104] It set opening weekend records for animated films in Ecuador, Colombia, Mexico, China, Argentina,[105] Hong Kong,[106] Spain, and the UK.[107] It is the highest-grossing animated film of all time in the UK, Ireland and Malta,[108][109] Mexico,[104] Hong Kong,[110][111] and Egypt. It is the highest-grossing film of 2010 in Argentina,[112] Bolivia,[113] Chile,[114] Colombia,[115] Hong Kong,[116] Mexico,[117] Spain,[118] the UK, Ireland, and Malta.[119]

text: Critical response[edit]

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of 99% based on 291 reviews, with an average rating of 8.9/10. The site's critical consensus reads, "Deftly blending comedy, adventure, and honest emotion, Toy Story 3 is a rare second sequel that really works."[120] Toy Story 3 was the best-reviewed film of 2010 on Rotten Tomatoes.[121] Another review aggregator, Metacritic, which assigns a normalized rating to reviews, gave the film a score of 92 out of 100, based on 39 critics, indicating "universal acclaim".[122] TIME named Toy Story 3 the "best film of 2010,"[123] as did Quentin Tarantino.[124] In 2011, TIME named it one of "The 25 All-TIME Best Animated Films."[125] Audiences surveyed by Cinemascore gave the film a grade "A" rating.[126]

text: A. O. Scott of The New York Times stated "This film—this whole three-part, 15-year epic—about the adventures of a bunch of silly plastic junk turns out also to be a long, melancholy meditation on loss, impermanence and that noble, stubborn, foolish thing called love."[127] Owen Gleiberman from Entertainment Weekly gave the film an "A" saying "Even with the bar raised high, Toy Story 3 enchanted and moved me so deeply I was flabbergasted that a digitally animated comedy about plastic playthings could have this effect."[128] Gleiberman also wrote in the next issue that he, along with many other grown men, cried at the end of the film.[129] Michael Rechtshaffen of The Hollywood Reporter also gave the film a positive review, saying "Woody, Buzz and playmates make a thoroughly engaging, emotionally satisfying return."[130]

text: Mark Kermode of the BBC gave the film, and the series, a glowing review, calling it "the best movie trilogy of all time."[131] In USA Today, Claudia Puig gave the film a complete 4 star rating, writing "This installment, the best of the three, is everything a movie should be: hilarious, touching, exciting, and clever."[132] Lou Lumenick of the New York Post wrote "Toy Story 3 (which is pointlessly being shown in 3-D at most locations) may not be a masterpiece, but it still had me in tears at the end."[133] Michael Phillips of the Chicago Tribune gave the film 3 out of 4 stars, writing that "Compared with the riches of all kinds in recent Pixar masterworks such as Ratatouille, WALL-E, and Up, Toy Story 3 looks and plays like an exceptionally slick and confident product, as opposed to a magical blend of commerce and popular art."[134] Roger Moore of the Orlando Sentinel, who gave the film 3½ out of 4 stars, wrote "Dazzling, scary, and sentimental, Toy Story 3 is a dark and emotional conclusion to the film series that made Pixar famous."[135]

text: Accolades[edit]

text: On January 25, 2011, the Academy of Motion Picture Arts and Sciences announced that Toy Story 3 was not only nominated for Best Animated Feature, but also for Best Picture. This makes Toy Story 3 not only the first animated sequel in history to be nominated for Best Picture, but also just the third animated film to ever be so nominated (following Beauty and the Beast and Up), with Toy Story 3 becoming the second Pixar film to be nominated for both awards.[136] Toy Story 3 also became the first ever Pixar film—and the first animated feature film since Shrek—to be nominated for the Academy Award for Best Adapted Screenplay,[137] though six of Pixar's previous films were nominated for the Best Original Screenplay: Toy Story,[138] Finding Nemo,[138] The Incredibles,[138] Ratatouille,[138] WALL-E,[138] and Up.[139] In 2011, it was nominated for a Kids' Choice Award for Favorite Animated Movie, but lost to Despicable Me.

text:
Awards

Award
Category
Recipients
Result

Teen Choice Awards 2010[140]
Choice Movie: Animated Film

Won

Nickelodeon Australian Kids' Choice Awards 2010[141]
Fave Movie

Nominated

Hollywood Movie Awards 2010[142]
Hollywood Animation Award
Lee Unkrich
Won

Digital Spy Movie Awards[143]
Best Movie

2010 Scream Awards[144]
Best Fantasy Movie

Nominated

Best Screen-Play
Michael Arndt

Best Fantasy Actor
Tom Hanks

3-D Top Three

37th People's Choice Awards[145]
Favorite Movie

Favorite Family Movie

Won

Satellite Awards 2010[146]
Motion Picture (Animated or Mixed)

Best Original Screenplay
Michael Arndt
Nominated

2011 Grammy Awards[147]
Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Randy Newman
Won

Heartland Film Festival 2010[148]
Truly Moving Picture Award
Lee Unkrich
Won

2011 Annie Awards[149]
Best Animated Feature

Nominated

Best Directing in a Feature Production
Lee Unkrich

Best Writing in a Feature Production
Michael Arndt

82nd National Board of Review Awards[150]
Best Animated Film

Won

Top Ten Films

9th Washington Area Film Critics Association[151]
Best Adapted Screenplay
Michael Arndt
Nominated

Best Film

Best Animated Feature

Won

16th Annual BFCA Critics Choice Awards[152]
Best Picture

Nominated

Best Adapted Screenplay
Michael Arndt

Best Animated Feature
Lee Unkrich
Won

Broadcast Film Critics Association Award for Best Sound
Randy Newman
Nominated

Best Original Song "We Belong Together"

2010 Golden Tomato Awards[153]
Best Rating Feature in 2010 (Wide Release)

Won

Best Reviewed Animated Film (Animation)[154]

68th Golden Globe Awards[155]
Best Animated Feature Film

64th BAFTA Awards[156]
Best Adapted Screenplay
Michael Arndt
Nominated

Best Animated Feature

Won

Best Visual Effects
Guido Quaroni
Nominated

83rd Academy Awards[157]
Best Picture

Best Adapted Screenplay
Michael Arndt, John Lasseter, Andrew Stanton and Lee Unkrich

Best Animated Feature

Won

Best Sound Editing
Tom Myers and Michael Silvers
Nominated

Best Original Song ("We Belong Together")
Randy Newman
Won

2011 Kids' Choice Awards[158]
Favorite Animated Film

Nominated

Favorite Voice from an Animated Movie
Tom Hanks

Tim Allen

37th Saturn Awards[159]
Best Animated Film

Won

Best Writing
Michael Arndt
Nominated

2011 MTV Movie Awards[160]
Best Villain
Ned Beatty

text: Music [edit]

text:
Toy Story 3

Soundtrack album by Randy Newman

Released
June 15, 2010[161]

Recorded
2009–10

Genre
Score

Length
56:18

Label
Walt Disney

Pixar chronology

Up
(2009)Up2009
Toy Story 3
(2010)
Cars 2
(2011)Cars 22011

Randy Newman chronology

The Princess and the Frog
(2009) The Princess and the Frog2009
Toy Story 3
(2010) Toy Story 32010
Monsters University
(2013) Monsters University2013

Singles from Toy Story 3

"We Belong Together"
Released: 2010

text:
Professional ratings

Review scores

Source
Rating

Empire

Filmtracks

Movie Music UK

Movie Wave

text: The film score for Toy Story 3 was composed and conducted by Randy Newman,[12] his sixth for Pixar after Toy Story, A Bug's Life, Toy Story 2, Monsters, Inc., and Cars.[162] Initially, Disney released the soundtrack only as digital download.[161] This was the second instance where Disney did not release the award-winning soundtrack of a Pixar film on CD, the first being Up.[163] In January 2012, Intrada released the Toy Story 3 soundtrack on Compact Disc.[164]

text: All tracks written by Randy Newman.

text:
No.
Title
Length

1.
"We Belong Together" (performed by Newman)
4:03

2.
"You've Got a Friend in Me (para Buzz Español) (Hay Un Amigo en Mi)" (performed by The Gipsy Kings)
2:15

3.
"Cowboy!"
4:10

4.
"Garbage?"
2:40

5.
"Sunnyside"
2:20

6.
"Woody Bails"
4:40

7.
"Come to Papa"
2:05

8.
"Go See Lotso"
3:36

9.
"Bad Buzz"
2:22

10.
"You Got Lucky"
5:58

11.
"Spanish Buzz"
3:31

12.
"What About Daisy?"
2:07

13.
"To the Dump"
3:50

14.
"The Claw"
3:56

15.
"Going Home"
3:22

16.
"So Long"
4:55

17.
"Zu-Zu (Ken's Theme)"
:35

Total length:
56:18

text: In addition to the tracks included in the soundtrack album, the film also uses several other tracks such as "Dream Weaver" by Gary Wright,[165] "Le Freak" by Chic,[166] and Randy Newman's original version of "You've Got a Friend in Me."[166] Furthermore, tracks "Cowboy!" and "Come to Papa" included material from Newman's rejected score to Air Force One.[167] The song "Losing You" from Newman's own album Harps and Angels was also used in the first trailer for the film.[168] The Judas Priest song "Electric Eye" was also used in the film in the temp score for the opening scene of Toy Story 3.[169] The aliens are playing the tune in their sports car. The song was ultimately replaced by another piece of music.[which?]

text:
Chart (2010)
Peak
position

Mexican Albums (Top 100 Mexico)[170]
8

text: Music awards

text:
Award
Category/Recipients
Result

16th Annual BFCA Critics Choice Awards[152]
Best Original Song "We Belong Together" (Randy Newman)
Nominated

2011 Grammy Awards[171]
Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Won

83rd Academy Awards[172]
Best Original Song – "We Belong Together"

text: Sequel[edit]

text: A sequel, titled Toy Story 4, will be released on June 21, 2019.[10] The film was originally to be directed by John Lasseter and co-directed by Josh Cooley.[173][174] In July 2017, however, it was announced that Cooley would be the movie's sole director.[175] The film will focus on Bonnie's toys helping Woody to reunite with Bo Peep,[176] who was given away before the events of this film. Tom Hanks, Tim Allen, Kristen Schaal and Laurie Metcalf will reprise their roles of Woody, Buzz, Trixie and Mrs. Davis. The rest of this film's cast may also return. Don Rickles also signed on to return to voice Mr. Potato Head; however, Rickles died during production. It is uncertain how his death will affect Potato Head's role in the fourth film.


document_title: Merce Cunningham

question_text: one method of choreography that merce cunningham is known for is

question_tokens: one method of choreography that merce cunningham is known for is

root

text: Merce Cunningham

text: Biography[edit]

text: Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham,[4] into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces.[5] He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement.[6] During this time, Martha Graham saw Cunningham dance and invited him to join her company.[7] In 1939, Cunningham moved to New York and danced as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his life partner and frequent collaborator until Cage's death in 1992.[8]

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text: In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company.

text: Over the course of his career, Cunningham choreographed more than 200 dances and over 800 “Events,” or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center's first performance, instigating what would be a 25-year collaborative relationship with the Walker. In his performances, he often used the I Ching in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s.

text: In 1968 Cunningham and Francis Starr published a book, Changes: Notes on Choreography, containing various sketches of their choreography.

text: He continued to lead his company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday.[9]

text: Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90.[10]

text: Merce Cunningham Dance Company[edit]

text: Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham’s technique and illuminating the near limitless possibility for human movement.

text: The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor. In 1964 the Cunningham Dance Foundation was established to support his work.[11]

text: MCDC made its first international tour in 1964, visiting Europe and Asia.[11]

text: From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage.

text: On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham’s 80th birthday.[12]

text: In its later years, the company had a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham’s site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham’s final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham’s newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011.[13]

text: Artistic philosophy[edit]

text: Collaboration[edit]

text: Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians.

text: Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative and form. Famously, they asserted that a dance and its music should not be intentionally coordinated with one another.[14]

text: After his death, John Cage was succeeded in the role of music director by David Tudor. After 1995, MCDC's music director was Takehisa Kosugi. MCDC commissioned more work from contemporary composers than any other dance company. Its repertory included works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars as well as popular bands like Radiohead, Sigur Rós and Sonic Youth.[15]

text: The Company also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous “Combines” reflect the approach he used to create décor for a number of MCDC’s early works, served as the Company’s resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Daniel Arsham, Tacita Dean, Liz Phillips, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol.

text: Chance operations[edit]

text:
John Cage and I became interested in the use of chance in the 50's. I think one of the very primary things that happened then was the publication of the "I Ching," the Chinese book of changes, from which you can cast your fortune: the hexagrams.

Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance.

I was working on a title called, “Untitled Solo,” and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff.

text: Cunningham valued the process of a work over the product. Because of his strong interest in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work Suite by Chance he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time.[16] Although the use of chance operations was considered an abrogation of artistic responsibility,[17] Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries.

text: Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's primary influences. In the use of chance procedures Cunningham abandoned the more traditional structured form of dance, he did not believe that a dance needs a beginning, middle or end.[16]

text: Examples in works[edit]

text: In Sixteen Dances for Soloist and Company of Three (1951) Cunningham used Indeterminacy for the first time in this piece and the changing element for each show was the sequence of the sections.

text: In Field Dances (1963) Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they can do with what they please. This included exiting and entering at will, executing it in any order and however many times they wanted.

text: In Story (1963) Cunningham experimented with the variable of costumes and sets. Before each performance dancers were to choose an outfit from a pile of second hand clothes picked out by the designer, Robert Rauschenberg. Rauschenberg was also responsible for creating a new set every show with items he could find in the theatre.

text: In Suite by Chance (1953) it was his first work made entirely through chance procedures. Charts were created listing elements such as space, time, and positions. A coin was then tossed to determine each of these elements.

text: Canfield (1969) This piece was created by using playing cards. Each movement was assigned a playing card and chosen randomly. [19]

text: Use of technology[edit]

text: Cunningham’s lifelong passion for exploration and innovation has made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and after 1991 choreographed using the computer program DanceForms. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video Westbeth (1974). This was in collaboration with filmmaker Charles Atlas[16]

text: In 2009, Cunningham’s interest in new media led to the creation of the behind-the-scenes webcast Mondays with Merce.[20]

text: Perspective[edit]

text: The use of stage space also changed in Cunningham’s choreography. The ‘front and centre’ spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham’s own studio, for instance, audiences are seated in an L-shaped configuration). The viewer’s focus is never directed to a particular spot; he must often decide among many centres of activity.[21]

text: Merce Cunningham's sees randomness and arbitrariness as positive qualities because they exist in real life.[16] Most of Cunningham's choreographic process works to break the boundaries of "putting on a show", the removal of center stage is an example of this, without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary... or not.

text: Legacy Plan[edit]

text: The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represents Cunningham’s vision for continuing his work in the upcoming years, transitioning his Company once he was no longer able to lead it, and preserving his oeuvre.

text: The Legacy Plan includes a comprehensive documentation and preservation program, which will ensure that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, takes control of his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies.[22] In addition, to ensure the authenticity of the presentation of his oeuvre once Cunningham was no longer able to lead his Company, the plan outlined a final international tour for the Company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the Company complete a worldwide legacy tour and then close. December 31, 2011 was the final performance of the Merce Cunningham Dance Company.

text: The final meeting of the Board of Directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West Village.[23]

text: Cunningham's approach was always in combining technology and dance performances, which lead to a 3D movie inspiration that set to be directed by Dance in Film leader Alla Kovgan [24]

text: Exhibitions[edit]

text: There have been numerous exhibitions dedicated to Cunningham’s work. In addition, he is a visual artist represented by Margarete Roeder Gallery.

text: The major exhibition Invention: Merce Cunningham & Collaborators at the New York Public Library for the Performing Arts closed on October 13, 2007.

text: Merce Cunningham: Dancing on the Cutting Edge, an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007.

text: A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida.

text: A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d’Arte Contemporanea, Castello di Rivoli, Turin, 2000.

text: Works[edit]

text: Cunningham choreographed almost two hundred works for his company.[25]

text:
Suite for Five (1956–1958)
Music: John Cage, Music for Piano
Costumes: Robert Rauschenberg
Lighting: Beverly Emmons

text:
Crises (1960)
Music: Conlon Nancarrow (from Rhythm Studies for Player Piano)
Costumes, Lighting: Robert Rauschenberg

text:
Rainforest (1968)
Music: David Tudor
Décor: Andy Warhol (Silver Clouds)
Costumes: Jasper Johns (uncredited)
Lighting: Richard Nelson

text:
Second Hand (1970)
Music: John Cage, (Cheap Imitation)
Décor & Costumes: Jasper Johns
Lighting: Richard Nelson (1970) Christine Shallenberg (2008)

text:
Sounddance (1975)
Music: David Tudor, Toneburst & Untitled (1975/1994)
Décor, Lighting, Costumes: Mark Lancaster

text:
Fabrications (1987)
Music: Emanuel Dimas de Melo Pimenta, Short Waves & SBbr
Décor, Costumes: Dove Bradshaw
Lighting: Josh Johnson

text:
CRWDSPCR (1993)
Music: John King, blues 99
Décor, Lighting, Costumes: Mark Lancaster

text:
Ocean (1994)
Music: David Tudor,Soundings: Ocean Diary and Andrew Culver, Ocean 1–95
Décor, Lighting, Costumes: Marsha Skinner

text:
BIPED (1999)
Music: Gavin Bryars, Biped
Décor: Paul Kaiser, Shelley Eshkar
Costumes: Suzanne Gallo
Lighting: Aaron Copp

text:
Split Sides (2003)
Music: Radiohead, Sigur Rós
Décor: Robert Heishman, Catherine Yass
Costumes: James Hall
Lighting: James F. Ingalls

text:
Views on Stage (2004)
Music: John Cage, ASLSP and Music for Two
Décor: Ernesto Neto, Other Animal
Costumes: James Hall
Lighting: Josh Johnson

text:
eyeSpace (2006)
Music: Mikel Rouse, International Cloud Atlas
Décor: Henry Samelson, Blues Arrive Not Anticipating What Transpires Even Between Themselves
Costumes: Henry Samelson
Lighting: Josh Johnson

text:
eyeSpace (2007)
Music: David Behrman, Long Throw and/or Annea Lockwood, Jitterbug
Décor: Daniel Arsham, ODE/EON
Costumes: Daniel Arsham
Lighting: Josh Johnson

text:
XOVER (2007)
Music: John Cage, Aria (1958) and Fontana Mix (1958)
Décor & Costumes: Robert Rauschenberg, Plank
Lighting: Josh Johnson

text:
Nearly Ninety (2009)
Music: John Paul Jones, Takehisa Kosugi, Sonic Youth
Décor: Benedetta Tagliabue
Costumes: Romeo Gigli for io ipse idem
Lighting: Brian MacDevitt
Video Design: Franc Aleu

text: Honors and awards[edit]

text:
2009
Jacob’s Pillow Dance Award
Skowhegan Medal for Performance

text:
2008
Honorary Doctorate of Fine Arts from Bard College, Annandale-on-Hudson, NY

text:
2007
Nelson A. Rockefeller Award, Purchase College School of the Arts, State University of New York
Montgomery Fellow (Arts and Literature), Dartmouth College, Hanover NH

text:
2006
Honorary Doctorate of Fine Arts, Cornish College of the Arts, Seattle WA

text:
2005
Honorary Doctorate of Humane Letters, University of Minnesota, Minneapolis MN
Praemium Imperiale, Tokyo

text:
2004
Officier of the Légion d'Honneur, France

text:
2003
Edward MacDowell Medal in interdisciplinary art, the MacDowell Colony, Peterborough NH

text:
2002
Kitty Carlisle Hart Award for Outstanding Achievement in the Arts (Arts & Business Council), New York NY
MATA (Music at the Anthology) Award, New York NY
Medal of the City of Dijon, France

text:
2001
Coat of Arms of the City of Mulhouse, France
La Grande Médaille de la Ville de Paris (echelon vermeil) from the Mayor of Paris
Career Transition for Dancers Award, New York NY
Herald Archangel Award, Glasgow, Scotland
Village Award, Greenwich Village Society for Historic Preservation, New York
Honorary degree from Edith Cowan University, Perth, Western Australia

text:
2000
Nijinsky Special Prize, Monaco
The Dorothy and Lillian Gish Prize, New York NY
Named a “Living Legend” by the Library of Congress, Washington DC

text:
1999
Premio Internazionale “Gino Tani,” Rome
Handel Medallion from the Mayor of New York City NY
Isadora Duncan Dance Award for Lifetime Achievement, San Francisco CA
Fellow of the Academy of Performing Arts, Hong Kong
The key to the City of Montpellier, France

text:
1998
Bagley Wright Fund Established Artists Award, Seattle WA

text:
1997
Barnard College Medal of Distinction, New York NY
Grand Prix of the Société des Auteurs et Compositeurs Dramatiques, France

text:
1996
Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts, Seattle WA

text:
1995
Honorary degree from Wesleyan University, Middletown CT
Carina Ari Award (Grand Prix Video Danse with Elliot Caplan), Stockholm, Sweden
Golden Lion of the Venice Biennale, Italy

text:
1993
Inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame in Saratoga Springs, NY
Dance and Performance Award for Best Performance by a Visiting Artist, London, England
Medal of Honor from the Universidad Complutense of Madrid, Spain
(With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH
New York Dance and Performance Award (“Bessie”), New York NY
Tiffany Award from the International Society of Performing Arts Administrators, New York NY

text:
1990
National Medal of Arts, Washington DC
Porselli Prize, Italy
Digital Dance Premier Award, London, England
Award of Merit from the Association of Performing Arts Presenters, New York NY

text:
1989
Chevalier of the Légion d'Honneur, France

text:
1988
Dance/USA National Honor, New York NY

text:
1987
Algur H. Meadows Award for Excellence in the Arts, Southern Methodist University, Dallas TX

text:
1985
Laurence Olivier Award for Best New Dance Production (Pictures), London, England
Kennedy Center Honors, Washington DC
MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation, Chicago IL

text:
1984
Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY

text:
1983
The Mayor of New York’s Award of Honor for Arts and Culture, New York NY

text:
1982
The Samuel H. Scripps/American Dance Festival Award, Durham NC
Commandeur de l’Ordre des Arts et des Lettres, France

text:
1977
Capezio Award, New York NY

text:
1975
New York State Award, Albany NY

text:
1972
BITEF Award, Belgrade, Yugoslavia
Honorary degree from the University of Illinois, Champaign/Urbana IL

text:
1966
Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris

text:
1964
Medal of the Society for the Advancement of Dancing in Sweden, Stockholm

text:
1960
Dance Magazine Award, New York NY

text:
1959 & 1954
Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY

text: Footnotes[edit]

text:
Jump up ^ "Merce Cunningham obituary". Telegraph (UK). July 27, 2009. Retrieved 2010-01-26. Merce Cunningham who died on July 26 aged 90, was a 20th-century choreographer; his career in dance, which lasted more than 60 years, began when, as a Seattle-based dance student in 1939, he was invited by Martha Graham to join her company in New York
Jump up ^ "Merce Cunningham Dance Company". Archived from the original on 2009-07-13. Retrieved 2010-01-26{{inconsistent citations}}
Jump up ^ "Legacy Plan". Cunningham Dance Foundation. Archived from the original on 2009-07-13. Retrieved 2010-01-26{{inconsistent citations}}
Jump up ^ "Cunningham, Merce (1919-2009), Choreographer". Retrieved 2014-09-26.
Jump up ^ Merce Cunningham. Cunningham Dance Foundation, 1980. VAST: Academic Video Online. Alexander Street Press. Accessed 27 June 2015.
Jump up ^ Interview with Merce Cunningham. MacNeil-Lehrer Productions, 1999. Dance in Video: Volume II. Alexander Street Press. Accessed 27 June 2015.
Jump up ^ "Merce Cunningham". mercecunningham.org. 2013. Retrieved 2013-03-13.
Jump up ^ Kaufman, Susan (30 August 2012). "John Cage, with Merce Cunningham, revolutionized music, too". Washington Post. Retrieved 28 June 2015.
Jump up ^ Vaughan, David (July 27, 2009). "Merce Cunningham". The Guardian. London. Retrieved May 12, 2010.
Jump up ^ "Entertainment | Arts & Culture | Dance great Cunningham dies at 90". BBC News. 2009-07-28. Retrieved 2012-11-18.
^ Jump up to: a b "History". Merce Cunningham Trust. Retrieved 28 June 2015.
Jump up ^ Macauley, Alistair (23 March 2008). "aryshnikov's Artistry, Behind the Camera". The New York Times. Retrieved 28 June 2015.
Jump up ^ Village Voice, Deborah Jowitt, Wednesday, September 7, 2011.
Jump up ^ "Merce Cunningham". Merce Cunningham Trust. Retrieved 28 June 2015.
Jump up ^ Vadukul, Alex (April 20, 2009). "Sonic Youth, John Paul Jones Give Merce Cunningham's Dance Show a Fierce Soundtrack". Rolling Stone. Retrieved 31 January 2012.
^ Jump up to: a b c d Au, Susan. Ballet and Modern Dance.
Jump up ^ Johnston, Jill (1996). Jasper Johns: Privileged Information. New York: Thames and Hudson. ISBN 0500017360.  Quoted in Glueck, Grace (9 Feb 1997). "Hiding Behind the Flag". The New York Times Book Review. Retrieved 29 June 2015.
Jump up ^ Au, Susan. Ballet and Modern Dance. Thames & Hudson. p. 156. ISBN 978-0-500-20352-1.
Jump up ^ Au, Susan. Ballet and Modern Dance (2nd ed.). Thames & Hudson. p. 156. ISBN 978-0-500-20352-1.
Jump up ^ http://www.mercecunningham.org/film-media/mondays-with-merce/ Mondays with Merce
Jump up ^ Au, Susan (2012). Ballet and Modern Dance. London, England: Thames & Hudson world of art. p. 156. ISBN 978-0-500-20411-5.
Jump up ^ Daniel J. Wakin (June 9, 2009), Merce Cunningham Sets Plan for His Dance Legacy New York Times.
Jump up ^ "Sutton's Law: A Final Goodbye". Suttons-law.blogspot.com. 2012-03-18. Retrieved 2012-11-18.
Jump up ^ Director All Kovgan 3D Documentary CUNNINGHAM 3D film Archived 2017-05-18 at the Wayback Machine..
Jump up ^ "Merce Cunningham Dance Company – Biography". 2009. Archived from the original on 2006-10-01. Retrieved 2009-07-28.

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text: Sources[edit]

text:
Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York." (Biography, 368 pp, in German). Schott Music, Mainz, Germany. ISBN 978-3-7957-0800-9 (Biography on pianist Grete Sultan, John Cages's and Merce Cunningham's close friend. Many aspects regarding Cage and Cunningham!)
Bremser, M. (Ed) (1999), Fifty Contemporary Choreographers. Routledge. ISBN 0-415-10364-9
Cunningham, Merce (1968), Changes/Notes on Choreography. Something Else Press.
Cunningham, M. and Lesschaeve, J. (1992), The Dancer and the Dance. Marion Boyars Publishers. ISBN 0-7145-2931-1
Vaughan, David (1999), Merce Cunningham: Fifty Years. Aperture. ISBN 0-89381-863-1
Vaughan, D. and Cunningham, M. (2002), Other Animals. Aperture. ISBN 978-0-89381-946-0
Kostelanetz, R. (1998), Merce Cunningham: Dancing in Space and Time. Da Capo Press. ISBN 0-306-80877-3
Brown, Carolyn (2007), Chance and Circumstance Twenty Years with Cage and Cunningham. Alfred A. Knopf. ISBN 978-0-394-40191-1 Biography 53750

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