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On the first of many lunches with Tom Hanks, I would have to start with the Toy Story series. Ten years ago it would have started with the Meg Ryan trilogy, but since I’ve become a mother, I finally got sucked into the world of Woody and Buzz.

First, how wonderful to have characters named after a stage of arousal and a stage of intoxication to inspire children. Obviously, those are nods to the parents to give them a chuckle. My husband and I look ahead to when our sons are older and will finally get the joke.  “Yes, when you were younger, Daddy and I had to not laugh when you said you were going to sleep with your Woody and a Buzz.” These are future moments of laughter for our family that we can’t wait to experience.

Like most children who have seen these movies, our sons related to Andy’s sense of play and embraced all of the toys. They have a Toy Story bin. They have some of the actual toys (Woody, Buzz, Slinky Dog, and Mr. & Mrs. Potato Head), but as they are 12 pound actors, they improvised the characters they didn’t have. When they were four and two, they added the “Little Green Men” using these alien-like toys from a happy meal. They didn’t have a “Mr. Spell” so they used another toy that was the same shape and played music when the buttons were pressed. For “RC,” they used a remote control police car till they got a real “RC.” “Rex” was originally played by a T-Rex they already had and was eventually joined by an authentic “Rex.” Hours have passed playing Toy Story. They even asked us to get a recliner so they could send Woody into space like Andy did. We told them to improvise.

And like in the movies, toys have come and gone already in their young lives, but the Toy Story bin never leaves our sons’ rooms. One of them always has it tucked somewhere. “Diego” and “Dora” have been packed away, The Backyardigans are now a closely guarded secret, and The Rubbadubbers went away long ago. Toy Story stays.

I cry every time I watch any of the Toy Story movies. Actually, I cry at any Pixar film (damn them…bloody Pixar making me cry at cartoons…not just quietly misting up, but full out bawling).  The boys are especially fond of TS3 at the moment and became a bit worried today as I cried again watching it. They felt a little better when I clarified they were happy tears, but I think my oldest may have started to understand why TS3 gets me going from the opening scenes.

First, I have those videos of my sons. They’ve heard me say “Pretend I’m not here” and then film them as they play.  They know their rooms are bursting at the seams because it’s harder on me than on them to pack away their toys.  Second, I work at a university. I’m one of the people that welcomes “Andy” every September. I watch as the parents say their goodbyes to their babies’ childhoods. And I know only too soon my sons will be “Andy,” all grown up and thanking their toys for being unconditional friends.

Thus, at my lunch with Tom Hanks, I would thank him for helping to reinvigorate the animated film industry.  I would thank him for creating a character that has taught my sons so many good traits. I would thank him for helping my sons stay young a little bit longer and for creating a touchstone they can return to later when they need to reconnect with their childhoods. I would say thank you for a toy, an action figure and a child’s plaything.

If I could have lunch with Kenneth Branagh, the first topic of conversation would be too difficult to pick. However, I do know that early on, perhaps after ordering drinks, we would need to cover the critics who disliked Love’s Labour’s Lost because they did not believe those four men would break out into song and dance. In my home we do break out into song and dance on quite a regular basis, however that is not the critical problem with these particular reviews. The critical problem is how these critics ever got hired when suspension of disbelief is one of the cornerstones of theatrical devices?

While it is more common for folks to sing and dance during their day than many people realize, I grant you that not everyone does. Still anything that happens in a play, a film, a television show, or a video game requires some suspension of disbelief. One has to give into the world they’ve entered through their entertainment choice and surrender to the world of the director. If Kenneth wants us to believe these four chaps would sing and dance, it is our obligation, our pleasure really, to believe it. I’ll give you that I had reservations about Matthew Lillard (so fabulous as Shaggy) as to whether or not he’d pull it off, but he did. If Kenneth and the choreographer could get Lillard to move as gracefully as he did, the suspension of disbelief becomes even easier to accomplish.

The Kelly/Astaire style dancing of Adrian Lester brings back the glory days of the musical, particularly as he dances around the room in that one scene. The combination of his dancing, the choreography and the directing make that scene such an image of fluidity and beauty. The variety of dancing and music chosen touched upon so many of the glorious musicals that it brought together three of my favorite things: musicals, Shakespeare and Branagh.

Am I biased toward Kenneth’s work? Of course, I find the majority of it wonderful and watch it repeatedly. Those critics need to go to back college and take a refresher course on Theater Appreciation to remember the standard devices employed since the days of Sophocles to entertain the masses. While the film will be remembered as one earning, at best, mixed reviews (and those reviews being the weapon that took the life out of a three picture deal at Miramax), those who love the same three things I do happily suspend our disbelief when entering the world of Love’s Labour’s Lost.

Having covered that topic, Kenneth and I would order appetizers and continue the conversation.