Pixar couldn't compete with Adobe, which was making software that was less sophisticated but far less complicated and expensive.
Even as Pixar's hardware and software product lines foundered, Jobs kept protecting the animation group.
It had become for him a little island of magical artistry that gave him deep emotional pleasure,
and he was willing to nurture it and bet on it.
In the spring of 1988 cash was running so short that he convened a meeting to decree deep spending cuts across the board.
When it was over, Lasseter and his animation group were almost too afraid to ask Jobs about authorizing some extra money for another short.
Finally, they broached the topic and Jobs sat silent, looking skeptical.
It would require close to $300,000 more out of his pocket.
After a few minutes, he asked if there were any storyboards.
Catmull took him down to the animation offices, and once Lasseter started his show
displaying his boards, doing the voices, showing his passion for his product— Jobs started to warm up.
The story was about Lasseter's love, classic toys.
It was told from the perspective of a toy one- man band named Tinny, who meets a baby that charms and terrorizes him.
Escaping under the couch, Tinny finds other frightened toys,
but when the baby hits his head and cries, Tinny goes back out to cheer him up.