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                       SECURITIES AND EXCHANGE COMMISSION
                             WASHINGTON, D.C. 20549

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                                   FORM 10-K
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              ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE
                        SECURITIES EXCHANGE ACT OF 1934

                   FOR THE FISCAL YEAR ENDED JANUARY 1, 2000

                         COMMISSION FILE NUMBER 0-26976

                                     PIXAR
             (EXACT NAME OF REGISTRANT AS SPECIFIED IN ITS CHARTER)

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                 CALIFORNIA                                     68-0086179
       (STATE OR OTHER JURISDICTION OF                       (I.R.S. EMPLOYER
       INCORPORATION OR ORGANIZATION)                       IDENTIFICATION NO.)
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            1001 WEST CUTTING BOULEVARD, RICHMOND, CALIFORNIA 94804
              (ADDRESS OF PRINCIPAL EXECUTIVE OFFICES) (ZIP CODE)

       REGISTRANT'S TELEPHONE NUMBER, INCLUDING AREA CODE: (510) 236-4000
                            ------------------------

        SECURITIES REGISTERED PURSUANT TO SECTION 12(b) OF THE ACT: NONE

          SECURITIES REGISTERED PURSUANT TO SECTION 12(g) OF THE ACT:

                      COMMON STOCK, NO PAR VALUE PER SHARE
                                (TITLE OF CLASS)

     Indicate by check mark whether the registrant (1) has filed all reports
required to be filed by Section 13 or 15(d) of the Securities Exchange Act of
1934 during the preceding 12 months (or for such shorter period that the
Registrant was required to file such reports), and (2) has been subject to such
filing requirements for the past 90 days.  Yes [X]  No [ ]

     Indicate by check mark if disclosure of delinquent filers pursuant to Item
405 of Regulation S-K is not contained herein, and will not be contained, to the
best of Registrant's knowledge, in definitive proxy or information statements
incorporated by reference in Part III of this Form 10-K or any amendment to this
Form 10-K.  [X]

     As of March 20, 2000, there were 47,033,847 shares of the Registrant's
Common Stock outstanding and the aggregate market value of such shares held by
non-affiliates of the Registrant (based upon the closing sale price of such
shares on the Nasdaq National Market on March 20, 2000) was approximately
$600,848,851. Shares of Common Stock held by each executive officer and director
have been excluded in that such persons may be deemed to be affiliates. This
determination of affiliate status is not necessarily a conclusive determination
for other purposes.

                      DOCUMENTS INCORPORATED BY REFERENCE

     Certain sections of Pixar's Annual Report to Shareholders for the year
ended January 1, 2000 (the "1999 Annual Report") are incorporated by reference
in Parts II and IV of this Form 10-K to the extent stated herein.

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     This Annual Report on Form 10-K and the documents incorporated herein by
reference contain forward-looking statements that have been made pursuant to the
provisions of the Private Securities Litigation Reform Act of 1995. Such
forward-looking statements are based on current expectations, estimates and
projections about Pixar's industry, management's beliefs, and assumptions made
by management. Words such as "anticipates," "expects," "intends," "plans,"
"believes," "seeks," "estimates," variations of such words and similar
expressions are intended to identify such forward-looking statements. These
statements are not guarantees of future performance and are subject to certain
risks, uncertainties and assumptions that are difficult to predict; therefore,
actual results and outcomes may differ materially from what is expressed or
forecasted in any such forward-looking statements. Such risks and uncertainties
include those set forth herein under "Risk Factors" on pages 15 through 30 as
well as those noted in the documents incorporated herein by reference.
Particular attention should be paid to the cautionary language in Risk Factors
"-- Dependence on Toy Story 2, A Bug's Life and Toy Story in 2000," "-- Risks
Associated with Adequacy of Cash Balances," " -- Risks Associated with Scheduled
Successive Release of Films" and "-- Risks Associated with Co-Production
Agreement." Unless required by law, Pixar undertakes no obligation to update
publicly any forward-looking statements, whether as a result of new information,
future events or otherwise.

                                     PART I

ITEM 1. BUSINESS

GENERAL

     Pixar is a leading digital animation studio with the creative, technical
and production capabilities to create a new generation of animated feature films
and related products. Pixar's objective is to create, develop and produce
computer-animated feature films with a new three-dimensional appearance,
heartwarming stories and memorable characters that appeal to audiences of all
ages. Through the creation of entertaining, enduring and successful films, Pixar
seeks to become a leading brand in animated feature films. Pixar's first three
films, Toy Story, A Bug's Life and Toy Story 2, were created and produced by
Pixar and were marketed and distributed by The Walt Disney Company (along with
its subsidiaries hereinafter referred to as "Disney"). Toy Story was released in
1995 and generated over $191 million in domestic box office revenue. Pixar's
second animated feature film, A Bug's Life, was released in 1998 and generated
over $162 million in domestic box office revenue. Pixar's third and latest
animated feature film, Toy Story 2, was released in November 1999 and, as of
March 20, 2000 had generated over $241 million in domestic box office revenue,
making it the second highest grossing animated feature film of all time. See
"-- Recent Developments."

     In 1997, Pixar extended its existing relationship with Disney (under which
Toy Story was created and produced) by entering into the Co-Production
Agreement. Under the Co-Production Agreement, Pixar agreed to produce, on an
exclusive basis, five original computer-animated feature films (the "Pictures")
for distribution by Disney. Pixar and Disney agreed to co-finance and co-brand
the films and share equally in the profits of each film and any related
merchandise and other ancillary products, after recovery of all marketing and
distribution costs and fees. The first original film produced under the
Co-Production Agreement was A Bug's Life and Pixar will produce four additional
original animated feature films under this agreement. As a sequel, Toy Story 2
does not count toward the five original films; however, it was produced under
the Co-Production Agreement and is afforded the same financial terms as the five
original films. See "-- Relationship with Disney -- Co-Production Agreement."

RECENT DEVELOPMENTS

     Release of Toy Story 2. In November 1999, Toy Story 2 was released, and as
of March 20, 2000 had generated over $241 million in domestic box office revenue
and over $200 million in foreign box office revenue, totaling over $441 million
worldwide. Toy Story 2 is now the second highest grossing animated feature film
ever released in the U.S. In January 2000, Disney and Pixar re-released the
original home video of Toy Story.

     Changes in Management. In March 1999, Lawrence B. Levy resigned from his
position as Executive Vice President and Chief Financial Officer. On April 1,
1999, Mr. Levy and Edwin E. Catmull, Pixar's

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Executive Vice President and Chief Technical Officer, became members of Pixar's
Board of Directors. In September 1999, Ann Mather was appointed Executive Vice
President and Chief Financial Officer.

     Buzz Lightyear of Star Command. In the fall of 2000, Pixar and Disney plan
to launch a co-branded cel-animated television series called "Buzz Lightyear of
Star Command" featuring Toy Story and Toy Story 2's Buzz Lightyear as the main
character. Sixty-five episodes will be produced, thirteen of which will air on
ABC and the balance will air in syndication. The series will be introduced with
three episodes packaged for home video release in advance of the television
launch.

BUSINESS MODEL AND PRODUCTS

     Pixar's strategy is to become a leading brand in the development and
production of animated feature films and related products, such as soundtracks,
toys and other merchandise. Pixar has implemented this strategy through the
Co-Production Agreement with Disney.

     Animated Feature Films. Pixar's first computer-animated feature film, Toy
Story, was released in November 1995. In November 1998, Pixar released A Bug's
Life, its second computer-animated feature film for Disney. A Bug's Life was the
first of five original films (the "Pictures") that will be developed and
distributed under the new Co-Production Agreement with Disney. In November 1999,
Pixar released Toy Story 2, its third computer-animated feature film produced by
Pixar for distribution by Disney. While not counting as one of the five original
Pictures, Toy Story 2 is subject to the same terms as the five Pictures
developed and produced under the Co-Production Agreement. Pixar intends to
continue to develop computer-animated feature films for the family entertainment
market. In May 1999, Pixar began production of its fourth computer-animated
feature film (with the working title "Monsters, Inc."). Monsters, Inc. will
count as the second of the five original films to be produced under the
Co-Production Agreement. Monsters, Inc. is not expected to be released until
late 2001 at the earliest. In 1999, Pixar began story development on its fifth
animated feature film, ("Film Five"). Film Five counts as the third original
Picture under the Co-Production Agreement and is not expected to be released
until 2002 at the earliest. In 1999, Pixar also began concept development on its
sixth animated feature film, also governed by the Co-Production Agreement. See
"Risk Factors -- Risks Associated with Scheduled Successive Release of Films."

     Home Videos. Toy Story was released by Disney as a home video in October
1996, and re-released in January 2000, and A Bug's Life was released on home
video in April 1999. Disney recently announced a new home video and digital
video disc (DVD) strategy by which more titles will be available on a year-round
basis. The home video release of Toy Story 2 is scheduled for fall 2000. Pixar
believes that its future animated feature films will also lend themselves to
home video distribution in both domestic and international markets. Distribution
of home video versions of the animated feature films developed and produced
under the Co-Production Agreement will also be pursuant to the Co-Production
Agreement.

     Merchandise and Soundtracks. Pixar believes that the characters and music
created in animated feature films lend themselves to opportunities for selling
merchandise and soundtracks. For example, merchandise such as children's toys
based on stories and characters in A Bug's Life and Toy Story 2 were designed
using three-dimensional data from Pixar's digital models. Disney has the rights
to distribute merchandise and soundtracks from Toy Story, A Bug's Life, Toy
Story 2 and the remaining feature films to be made pursuant to the Co-Production
Agreement. Pixar shares in the profits, if any, generated from such sales.

     Short Films. Pixar has developed a number of short films since its
inception and continues to invest in developing new short films. In 1997, Pixar
created and produced a new short film, Geri's Game. Although the short films
have had few commercial opportunities to date, Pixar believes it is an important
investment for the development of creative talent and Pixar's computer animation
technology. For example, Geri's Game enabled Pixar to further its technology in
computer-generated skin and cloth. In addition, such short films provide Pixar
with opportunities for valuable publicity and critical acclaim that further
establishes the Pixar brand and enhances Pixar's standing in the creative
community, which continues to allow us to attract the best talent. For example,
in 1998, Geri's Game won an Academy Award for Best Short Film (Animated). In
addition, Geri's Game was released theatrically nationwide as the preceding
short film to A Bug's Life, and preceding Toy Story 2 was Luxo Jr., Pixar's
first ever short film produced in 1986, which earned an Academy Award nomination
for Best Short Film (Animated).

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     RenderMan. Pixar has been selling its RenderMan software for nearly twelve
years. RenderMan has helped visual effects studios create visual effects such as
creatures appearing in Star Wars Episode 1: The Phantom Menace, certain
dinosaurs in Jurassic Park, the metal cyborg in Terminator 2 and the hoard of
horsemen charging over the hill in Mulan. RenderMan runs on Unix-based
workstations from Silicon Graphics, Sun Microsystems, Inc. ("Sun"), Digital
Equipment Corp. ("Digital Equipment") and on personal computers (PC's) under
Linux and Windows NT. Examples of RenderMan customers include movie studios such
as Disney, Twentieth Century Fox Film Corporation, Lucasfilm Ltd. through its
affiliate Industrial Light and Magic ("ILM"), Sony Pictures Entertainment
("Sony") and Warner Bros. Inc. Customers also include government agencies and
universities. The RenderMan ToolKit is sold at a list price of $5,000 per
license. Discounts are available for site or multi-use licenses. See
"-- Technology -- RenderMan" and "Management's Discussion and Analysis of
Financial Condition and Results of Operations" in the 1999 Annual Report to
Shareholders.

     Animation Services. Pixar produces short animation projects, primarily
derived from Pixar's films, such as the "Tree of Life" which is currently on
display at the Animal Kingdom in Disney World, and animation for the advertising
of McDonald's Happy Meals which were tied in to A Bug's Life and Toy Story 2.
Moreover, Pixar believes that there may continue to be other opportunities to
produce short animation projects for Disney in connection with work performed
under the Co-Production Agreement and it helps develop awareness of the
characters in Pixar's film and helps Disney promote the films. In the past,
Pixar produced animated or partially animated television commercials, including
commercials for products such as Coca-Cola, Listerine and Gummi-Savers (a
LifeSavers product). However, in 1996, Pixar largely discontinued its business
of producing commercials in favor of other opportunities

PIXAR COMPUTER ANIMATION PROCESS AND DIGITAL BACK LOT

  Pixar Computer Animation Process

     The development and production of animated feature films is extremely
complex and time consuming due to the very large number of frames and intricate
detail of each frame. At 24 frames per second, a 94-minute animated feature film
such as Toy Story 2 requires approximately 135,000 individual frames. Animation
for feature films has traditionally been created through hand-drawn cels,
requiring hundreds of people working for two to three years. Although computers
have been used to assist in some elements of cel animation during the past
several years, most frames are still hand-drawn.

     Pixar believes that its proprietary technology, which allows animators to
manipulate hundreds of motion control points within a single character, allows
for more intricacy and subtlety of character and personality than traditional
two-dimensional cel-based animation. This technology also facilitates the
manipulation, editing and re-use of animated images.

     Pixar makes its computer-animated films and other projects in four stages:
creative development, pre-production, production and post-production. Because
this process is iterative, there is continual reworking of the film. The basic
elements of this highly complex process are outlined below.

CREATIVE DEVELOPMENT

                 STORY CONCEPT  TREATMENT  OUTLINE  SCREEN PLAY

     Creative development is an iterative process in which the story and its
characters are created and developed. The first step in creative development
involves the development of a story concept, which often takes the form of a
story summary or outline known as a "treatment." After numerous iterations and
research into the story and characters, a first draft of a screenplay is
written.

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PRE-PRODUCTION

                STORY BOARD  STORY REEL EDITING  VOICE RECORDING

     The pre-production stage begins when the screenplay is turned into story
boards, which are panels filled with thousands of sketches that represent the
story to be animated. The story boards are then transferred to film or video so
that they can be electronically edited into a photo play of the film called
story reels, a process that enables editing of the film before the production
phase begins. Voices are then selected, recorded and added to the story reels.
Throughout the creative development and pre-production processes, plans are
developed for the style, colors and look of the film.

PRODUCTION

  Modeling  Layout  Animation  Shading and Lighting  Rendering  Film Recording

     Pixar's production stage consists of six phases: modeling, layout,
animation, shading and lighting, rendering and film recording. In the modeling
phase, digitized models of each set and character are created by defining their
shapes in three dimensions (height, width and depth) and by adding animation
control points that allow the model to be moved or animated. In some cases, a
model has hundreds of animation controls. In the layout stage, artists place the
digital models into a scene and position the digital cameras at the angles from
which the three-dimensional shot is to be seen. The assembled shot is then given
to the animator together with the prerecorded voice.

     In the animation stage, the digitized models are animated, or "brought to
life," in three dimensions to create a motion sequence. The next step in
completing a scene requires attaching to each object and model, a description of
its surface characteristics. These "shaders" describe the pattern, texture,
finish and color for every object in the scene. Next, lighting is added by
placing digital lights into the scene. In the rendering phase, the renderer
takes the modeling, layout, animation, shading and lighting data and, for each
frame in the sequence, computes a three-dimensional image of what the scene
looks like at that point in time from the point of view of the camera. The final
rendering of a single frame takes an average of one to four hours, but a small
percentage of more complex frames can take much longer, between 20 and 40 hours
each or more. The final rendered digital image is then sent to Pixar's film
recorders to be photographed onto film. While film is the primary means of
distributing motion pictures to theaters, digital electronic projectors have
recently achieved the brightness and high resolution necessary to project movies
on theater screens without the use of film. As Pixar's films are produced
digitally, they are uniquely suited to this method of presentation. In its
November 1999 release, Toy Story 2 was shown digitally in twelve theaters
worldwide, making it the first computer-animated feature film to be shown
digitally.

POST-PRODUCTION

         Sound Effects Design  Print Musical Score  Sound Mixing  Color
                         Correction  Delivery of Print

     The post-production stage consists of two parallel processes: the picture
process and the sound process. In the picture process, images are put on film,
the film is sent to a laboratory for color correction and final prints are made.
If the film is shown digitally, as was the case in a small number of theaters
with Toy Story 2, Pixar transfers the original rendered data for each frame onto
a digital image compression device which is then used to project the movie
electronically. In the sound process, the sound effects and musical score are
added and the final sound is mixed. Pixar's post-production is simpler than
post-production in a live-action film, which requires more significant editing.
In most live-action films, many hours of film are shot, and the film is then
significantly edited and re-edited in the post-production stage to create a
feature film. Pixar, like other animation studios, edits the film throughout the
entire creative development and production process. Thus post-production
involves only final editing.

  Digital Back Lot

     The digital models that Pixar develops to create its animated products may
be used again in future films, television commercials and other animation
products. The Pixar technical team has developed a proprietary
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database of thousands of digital models, sets, textures and surface appearances
from its short films and commercials. Much like the traditional movie studio's
back lot, this digital database allows Pixar animators to retrieve and re-use
these items in other productions and as models for merchandise. For example,
some of the models that were used to animate Toy Story were re-used in Pixar's
two Toy Story CD-ROM titles and were later re-used in Toy Story 2.

CREATIVE DEVELOPMENT GROUP

     Pixar's creative and technical personnel have collaborated since 1986 to
produce three-dimensional computer-animated films. The principal objective of
Pixar's creative group is to create heartwarming stories with memorable
characters that are targeted for family entertainment, utilizing the medium of
computer animation. The members of Pixar's creative and technical teams have
been nominated for and received a number of awards. In 1986, the short animated
film Luxo Jr. earned an Academy Award nomination for Best Short Film (Animated).
In 1988, another of Pixar's short films, Tin Toy, became the first
computer-animated film to win the Academy Award for Best Short Film (Animated).
In 1998, Pixar's most recent animated short film, Geri's Game, also won an
Academy Award for Best Short Film (Animated).

     The creative team at Pixar is under the direction of John Lasseter, an
Academy Award-winning director and animator, and the Director of Toy Story and A
Bug's Life, and Co-director of Toy Story 2. In March 1996, Mr. Lasseter received
a Special Achievement Oscar from the Academy of Motion Picture Arts and Sciences
for the development and application of techniques that made possible the first
feature-length computer-animated film, Toy Story. Pixar has built an entire
creative team consisting of highly skilled story artists, animators and other
artists highly skilled in the art of animation, especially computer animation.
Pixar's story department is responsible for a project's concept, treatment,
outline, script, story boards and story reels. The art department is responsible
for the visual development of a project, including the design of characters and
sets and the color, textures, shading and lighting. It is also quite common for
creative contributions to come from the technical group. Along with the story
department and the art department, the creative team at Pixar includes
animators. Pixar strives to hire animators who have superior acting ability,
those able to make characters and inanimate objects come to life and appear as
though they have their own thought processes. Pixar's proprietary software tools
enable artists unfamiliar with computers to quickly become skilled in the art of
three-dimensional animation. All groups work closely together in an iterative
process. To encourage collaboration, Pixar has created a cooperative working
environment and a non-hierarchical culture whereby each member of the creative
team, regardless of position or department, considers the ideas of any other
member of the team. See "Risk Factors -- We Depend on Certain Key Employees."

     The success of each animated feature film developed by Pixar will depend in
large part upon the Pixar creative team's ability to predict the type of content
that will appeal to a broad audience and to develop stories and characters that
achieve broad market acceptance. Traditionally, this has been extremely
difficult. Disney provided creative assistance throughout the production of Toy
Story, A Bug's Life and Toy Story 2, including creative reviews and approvals,
and the Co-Production Agreement contemplates that Disney will continue to
provide creative assistance to Pixar on feature films and other products made
pursuant to that agreement; however, there can be no assurance that Disney will
continue to provide assistance to Pixar in the development of creative content
for its feature films or related products. In addition, there can be no
assurance that voices and other intellectual property rights used in an animated
feature film will be available for use in any sequel or other product related to
such feature film. For example, Pixar was unable to obtain the rights to use
certain voices from Toy Story in the two CD-ROM products based on Toy Story. See
"Risk Factors -- We Depend on Successful Development of Appealing Creative
Content For Animated Feature Films and Related Products."

TECHNOLOGY

     Pixar has three core proprietary technologies: (1) Marionette, an animation
software system for modeling, animating and lighting, (2) Ringmaster, a
production management software system for scheduling, coordinating and tracking
of a computer animation project and (3) RenderMan, a rendering software system

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for high quality photo-realistic image synthesis that Pixar uses internally and
licenses to third parties. Each of these systems is critical to the production
of Pixar's animated feature films and other animation products.

     Marionette. Marionette is Pixar's software system for modeling, animation
and lighting for computer animation. Marionette is the primary software tool of
every animator and technical director at Pixar. In contrast to many commercially
available animation systems, which are designed to address product design,
corporate logo graphics or cinematic special effects, Marionette has been
designed and optimized for character modeling and animation. Marionette is
portable across many of the standard Unix workstations, including those from
Silicon Graphics and Sun. Pixar has also ported Marionette to IBM and
Hewlett-Packard workstations for hardware evaluation purposes.

     Ringmaster. Ringmaster is a production management software system for
scheduling, coordinating and tracking a computer animation project. Due to the
enormous amount of data required in three-dimensional animation, accurate
production information is essential for producing high quality animation.
Pixar's production coordination staff uses Ringmaster to plan and track projects
ranging from short animation projects to feature films.

     A key component of Ringmaster is a distributed rendering system for
managing the huge quantity of images and data that must be rendered to create
Pixar's products. Pixar does its rendering on an array of powerful Unix
processors, which are dedicated to rendering 24 hours a day. These machines,
which Pixar calls the RenderFarm, are connected via a local area network. To
achieve the desired quality level, the average time to render a single frame at
film resolution is between one and four hours. Since an animated feature film
contains well over 100,000 frames, each of which may be rendered several times
in the production process, Pixar typically has a large number of frames to
render at any given time. To manage this process, Ringmaster coordinates and
schedules all the processors in the RenderFarm. Ringmaster includes a
compositing system and also maintains an array of disk drives as a central data
repository for the digital image files generated by the rendering and
compositing steps of the production process. Finally, Ringmaster controls the
filming phase of production and is responsible for backing up shots for archival
purposes.

     RenderMan. RenderMan is a rendering software system for high quality
photo-realistic image synthesis that Pixar uses internally and also licenses to
third parties. Today, RenderMan is used by many major film studios and special
effects firms. Examples of projects which have used RenderMan include Star Wars
Episode 1: The Phantom Menace, Mulan, Apollo 13, Jurassic Park and Terminator 2.
By licensing RenderMan to film studios, visual effects houses, commercial
production facilities and other computer animation companies, Pixar believes
that RenderMan has been established as a de facto industry standard for high
quality rendering.

     RenderMan was designed to be easily portable. It runs on a wide variety of
Unix workstations, including those from Silicon Graphics, Sun and Digital
Equipment and on PC's under Linux and Windows NT platforms.

RELATIONSHIP WITH DISNEY

     A critical component of Pixar's objective to become a leading brand in the
animated feature film market is to secure strong promotion, marketing and
distribution of its films and related products. Pixar believes that Disney is
the leader in marketing and distribution of animated feature films and related
products and one of the industry's most widely recognized brand names.
Consequently, in 1997 Pixar extended its existing relationship with Disney by
entering into the Co-Production Agreement. This arrangement allows Pixar to
focus on the story and other creative and production elements of making animated
feature films while utilizing Disney's significant promotion, marketing and
distribution capabilities.

  Prior Agreements

     Pixar's relationship with Disney dates to 1986, when Pixar and Disney
entered into a joint technical development effort that resulted in the Computer
Animated Production System ("CAPS"), a production system owned and used by
Disney in certain of its two-dimensional cel-based animated feature films.
Disney

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first used CAPS for The Rescuers Down Under and has continued to use it for all
of its subsequent animated feature films, such as The Lion King and Tarzan. In
1992, certain employees of Pixar and Disney were jointly awarded an Academy
Award for Scientific and Engineering Achievement for CAPS.

     In May 1991, Pixar entered into the Feature Film Agreement with Walt Disney
Pictures, a wholly-owned subsidiary of Disney, which provided for the
development, production and distribution of up to three feature-length motion
pictures (the "Feature Film Agreement"). It is pursuant to the Feature Film
Agreement that Toy Story was developed, produced and distributed. In August
1995, Pixar entered into a non-exclusive CD-ROM development and publishing
agreement with Disney Interactive, Inc., a wholly-owned subsidiary of Disney,
for the development, production and distribution of CD-ROM titles based on Toy
Story (the "CD-ROM Agreement"). It is pursuant to the CD-ROM Agreement that two
Toy Story CD-ROM products were developed, produced and distributed. Both the
Feature Film Agreement and the CD-ROM Agreement were superseded by the
Co-Production Agreement, except as discussed below.

  Co-Production Agreement

     The following is a summary of the Co-Production Agreement, which was filed
as an exhibit to Pixar's Annual Report on Form 10-K for the year ended December
31, 1996 (the "1996 Form 10-K"). The foregoing summary is not complete, and
reference is made to the Co-Production Agreement filed as an exhibit to the 1996
Form 10-K. This summary is qualified in all respects by such reference.
Prospective investors in Pixar's Common Stock are encouraged to read the
Co-Production Agreement.

     Overview. On February 24, 1997, Pixar and Disney entered into the
Co-Production Agreement pursuant to which Pixar, on an exclusive basis, agreed
to produce five original computer-animated feature-length theatrical motion
pictures (the "Pictures") for distribution by Disney. Pixar and Disney agreed to
Co-finance the production costs of the Pictures, Co-own the Pictures (with
Disney having exclusive distribution and exploitation rights), Co-brand the
Pictures and share equally in the profits of each Picture and any related
merchandise and other ancillary products, after recovery of all marketing and
distribution costs (which are financed by Disney), a distribution fee paid to
Disney and any other fees or costs, including any participations provided to
talent and the like. The Co-Production Agreement generally provides that Pixar
produces each Picture and that Disney controls all decisions relating to
marketing, promotion, publicity, advertising and distribution of each Picture.
The first original Picture under the Co-Production Agreement was A Bug's Life,
which was released in November 1998. The second original Picture governed by the
Co-Production Agreement will be Monsters, Inc., which is scheduled for release
in late 2001. Toy Story 2, the theatrical sequel to Toy Story, was released in
November 1999, and is also governed by the Co-Production Agreement, although it
does not count towards the five original pictures. The Co-Production Agreement
also contemplates that with respect to theatrical sequels, made-for-home video
sequels, television productions, interactive media products and other derivative
works related to the Pictures, Pixar will have the opportunity to co-finance and
produce such products or to earn passive royalties on such products. Pixar will
not share in any theme park revenues generated as a result of the Pictures.

     Production. The Co-Production Agreement provides a mechanism for Pixar's
submission and the mutual selection of treatments that will be developed and
produced as Pictures. After the selection of a treatment, Pixar generally
controls the production of each Picture. Disney is entitled to designate a
representative at Pixar to monitor the production and production costs of the
Pictures.

     Financing of Development and Production. Pixar and Disney equally share all
production costs. Production costs are defined in the Co-Production Agreement to
mean all costs and expenses incurred by Pixar directly related to or fairly
allocable to the creation, development, pre-production, production, post-
production and delivery to Disney of the Pictures. Production costs include,
among other things, all carrying costs incurred by Pixar for retention of
employees for production purposes and the overhead attendant thereto, the costs
of all treatments prepared by Pixar for submission to Disney, all costs of
computer hardware and software used to develop the Pictures, and fair
allocations of all costs and expenses of Pixar associated with or benefiting the
Picture, including research and development, general and administrative and
overhead expenses. The Co-Production Agreement provides mechanisms for Disney
and Pixar to agree upon the

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budgets for treatments, development and production of each Picture. Pixar may
not exceed production budgets (which may be revised with mutual approval)
without Disney's written approval, subject to certain limited exceptions.

     Distribution. Disney has control over all decisions relating to, and is
solely responsible for financing the costs and expenses of, the marketing,
promotion, publicity, advertising and distribution of each Picture, subject to
certain requirements. Disney is to consult with Pixar regarding all such major
marketing and distribution decisions, and Pixar is entitled to designate a
representative to monitor marketing and distribution of the Pictures. Provided,
in general, that Disney has agreed on the treatment to be developed into each
Picture, Disney has committed to initially release each Picture within certain
windows and not to release other Disney family films during certain windows.
Further, each Picture is to be distributed and marketed under the Walt Disney
Pictures brand (or the then current Disney brand for premiere Disney movies) and
is to be distributed and marketed by Disney in all markets and media and on a
worldwide basis in a manner similar to that in which Disney then currently
distributes and markets its premiere animated movies. In addition, the costs for
marketing, distribution and promotion of the films and related products are
incurred well in advance of the release of such films and products, and Pixar
will experience a delay in the receipt of cash proceeds from such films and
products until after Disney recovers such costs.

     Division of Gross Receipts. Pixar and Disney are entitled to share equally
in all gross receipts remaining after deduction of: (1) a distribution fee to
Disney, (2) mutually agreed participations (payments to third parties such as
actors, composers and other artists contingent upon the success of the
Pictures), if any, paid by either Disney or Pixar, and (3) Disney's distribution
costs. Gross receipts includes all revenues or other consideration received by
Disney from the exploitation of the Pictures and any related merchandise, books,
soundtracks and other tangible personal property based upon the Pictures, as
more specifically provided in the Co-Production Agreement (collectively,
"Merchandise"), subject to certain exceptions relating primarily to receipts
from Disney's affiliates. The distribution fee payable to Disney is
substantially lower than under the prior Feature Film Agreement and reflects
Pixar's commitment to finance half of the production costs of the Pictures.
Distribution costs are broadly defined in the Co-Production Agreement to include
out-of-pocket costs paid (or in certain instances, accrued for payment) to a
third party (or in certain instances, to Disney's affiliates) by Disney or
certain of its affiliates, provided that such out-of-pocket costs are directly
related or fairly allocable to the distribution of the Picture and Merchandise.
Pursuant to the Co-Production Agreement, Pixar will receive statements and
payments of its share of gross receipts monthly within 45 days after the end of
each calendar month, and Pixar has the right to audit Disney's and its
affiliates' books and records relating to the Pictures and Merchandise.

     Derivative Works. Subject to certain exceptions, Disney and Pixar have
mutual control of the decision to develop, produce or otherwise exploit any
derivative works (or to transfer or license any rights to exploit any derivative
works) during the term of the Co-Production Agreement or thereafter. Derivative
works include theatrical sequels such as Toy Story 2, made-for-home video
sequels, television productions, interactive media products and other derivative
works as more specifically provided in the Co-Production Agreement
(collectively, "Derivative Works"). Except in certain very limited
circumstances, in the event of a disagreement over whether to proceed with a
Derivative Work, Disney's decision governs. Pixar is to be given the option to
co-finance and produce, or to participate on a passive financial basis with
respect to, a Derivative Work that is (1) a theatrical motion picture, (2) a
made-for-home video production, (3) a television production , (4) location-based
entertainment which uses unique characters or other elements from any of the
Pictures or Toy Story as its primary theme, or (5) an interactive product such
as CD-ROMs, DVDs, video games and arcade games (collectively, "Interactive
Products").

     If Pixar elects to co-finance and produce a Derivative Work, such as it did
with Toy Story 2, the Co-Production Agreement provides for the following:

          (1) with respect to theatrical motion pictures and made-for-home video
     productions, the terms and conditions of the Co-Production Agreement are to
     be extended to cover such Derivative Works, subject to certain exceptions;

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          (2) with respect to (A) location-based entertainment using characters
     or other elements from a Picture or Toy Story as its primary theme and (B)
     television productions, Pixar and Disney are to mutually agree upon the
     terms and the conditions under which such work will be financed, produced
     and distributed, subject to certain specified requirements in the case of
     television productions; and

          (3) with respect to Interactive Products, Disney and Pixar are to
     mutually agree upon the terms and conditions under which such Interactive
     Product shall be financed, produced and distributed, subject to certain
     commitments by Disney with respect to marketing and distribution and
     provided that there will be no distribution fee payable to Disney.

     For live entertainment such as stage plays or ice shows, Pixar is entitled
to participate on a passive financial basis as specified in the Co-Production
Agreement. For all other Derivative Works except theme parks, Pixar is entitled
to participate on a passive financial basis in such work and to receive a
reasonable royalty to be mutually agreed upon if the work is a revenue-producing
work. Disney has the sole and exclusive right in perpetuity to use, without
compensation to Pixar, each Picture, the characters therefrom and any story
elements thereof in theme parks, location-based entertainment for which Picture
or Toy Story characters or elements are not the primary theme and cruise ships.

     A Derivative Work that is a theatrical motion picture would not count
towards the five Pictures to be produced under the Co-Production Agreement.
Accordingly, Toy Story 2 does not count as one of the five Pictures to be
produced. However, under the Co-Production Agreement, all provisions applicable
to the original five Pictures apply to Toy Story 2 as well.

     Creative Controls. Creative controls and decisions with respect to
developing and producing Pictures are generally subject to the mutual approval
of Pixar and Disney. The Co-Production Agreement provides for certain dispute
resolution procedures in the event of disagreement.

     Brand/Credit. The Co-Production Agreement sets forth Disney's and Pixar's
intent that the Pixar brand be established as a co-equal brand to the Disney
brand in connection with the Pictures, Merchandise and Derivative Works. The
Co-Production Agreement provides that the Pixar logo, animated logo and credit
shall be used in a manner which is perceptually equal to the Disney logo,
animated logo and credit, subject to certain specific requirements as set forth
in the Co-Production Agreement.

     Exclusivity. Pixar has agreed not to release or authorize the release of
any feature-length animated theatrical motion picture produced by Pixar, other
than the Pictures and Derivative Works produced by Pixar under the Co-Production
Agreement, until twelve months from delivery of the fifth Picture under the Co-
Production Agreement. Pixar has further agreed that it will not enter into any
agreement with any third party for the development, production or distribution
of any feature length animated theatrical motion picture until after Pixar has
delivered the third Picture to Disney under the Co-Production Agreement. Pixar
has also agreed that it will not develop or produce any rides or attractions for
major theme parks not owned or operated by Disney, and to give Disney a right to
negotiate with respect to animated television productions or animated
made-for-home video productions that Pixar proposes to produce during the term
of the Co-Production Agreement. Disney, however, is not similarly restricted by
the exclusivity provisions that bind Pixar under the Co-Production Agreement
and, therefore, may develop, produce, or distribute other feature-length
animated and computer-animated theatrical motion pictures itself or enter into
similar agreements with third parties. See "-- Competition."

     Proprietary Rights. The copyrights, trademarks and other intellectual
property rights in and to the Pictures, all new and unique characters and story
elements thereof and the audio-visual images thereof, and Merchandise relating
thereto, shall be jointly owned by Disney and Pixar on an undivided 50/50 basis,
subject to Pixar's ownership rights in the technology and excluding any
intellectual property rights previously owned by Pixar or Disney.
Notwithstanding the foregoing, Disney has the exclusive distribution and
exploitation rights with respect to the Pictures, Derivative Works and
Merchandise relating thereto. Pixar shall own the copyright and all other
intellectual property rights in and to all computer programs and other
technology developed or discovered by Pixar before, during or after the term of
the Co-Production Agreement.

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     Term and Termination. The Co-Production Agreement continues until delivery
to Disney of the fifth Picture produced and financed under the Co-Production
Agreement, unless earlier terminated. Disney is entitled to terminate the
Co-Production Agreement in the event that Disney and Pixar fail to agree on a
treatment for a Picture within one year after the initial theatrical release of
the last Picture for which a treatment has been approved or selected, subject to
certain exceptions. Disney is also entitled to terminate the Co-Production
Agreement in the event that certain types of competitors directly or indirectly
acquire or control a 50% or greater ownership interest in Pixar or Pixar merges
or consolidates into such a competitor. Upon termination by Disney pursuant to
either of the last two sentences, Disney has certain rights to compel Pixar to
complete works in production. In the event of termination, the Co-Production
Agreement provides that its terms and conditions continue to apply with respect
to Pictures, Merchandise and Derivative Works which have been delivered by Pixar
to Disney or which Disney elects to have completed, as well as all future
Merchandise and future Derivative Works relating thereto, but otherwise
terminates.

     Effect on Prior Agreements. All Derivative Works based on Toy Story,
including Toy Story 2, are to be governed by the Co-Production Agreement and not
the original Feature Film Agreement or the CD-ROM Agreement. The original
Feature Film Agreement now applies only to the rights and obligations of Disney
and Pixar relating to the financial participation in, and the production and
distribution of, the theatrical motion picture Toy Story and the financial
participation in certain Merchandise related to Toy Story (unless gross receipts
in any given month exceed a certain amount, in which case they will be subject
to the Co-Production Agreement), and otherwise has no further force or effect.
The original CD-ROM Agreement remains in full force and effect with respect to
the first and second CD-ROM products developed under that agreement, but
otherwise has no force or effect.

COMPETITION

     Pixar experiences intense competition with respect to animated feature
films, animation products and software.

     Movie Studios. Pixar's animated feature films compete and will continue to
compete with feature films and other family-oriented entertainment products
produced by major movie studios, including Disney (as somewhat limited by the
Co-Production Agreement), DreamWorks SKG ("DreamWorks") (which continues to
expressly target the animated film market), Warner Bros. Inc., Sony Pictures
Entertainment ("Sony"), Twentieth Century Fox Film Corporation ("Twentieth
Century Fox"), Paramount Pictures ("Paramount"), Lucasfilm Ltd. ("Lucasfilm"),
Universal Studios, Inc. and MGM/UA, as well as numerous other independent motion
picture production companies.

     In 1998 and 1999, competition significantly intensified in the animated
feature film market. Family-oriented animated feature films released in 1998 and
1999 included the following:

     Released in 1998:

      - Quest for Camelot by Warner Bros.,

      - The Rugrats Movie by Paramount,

      - Prince of Egypt by DreamWorks, and

      - Antz, a fully computer-animated movie by DreamWorks with its affiliate
        Pacific Data Images ("PDI").

     Released in 1999:

      - Pokemon: The First Movie by Warner Bros.,

      - Tarzan by Disney, and

      - Iron Giant by Warner Bros.

     In 1998, while the release of A Bug's Life was extremely successful,
achieving domestic box office revenues exceeding $162 million, Antz, The Rugrats
Movie and Prince of Egypt achieved domestic box office
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revenues of over $91 million, $100 million and $98 million, respectively. These
three films were released during or near the 1998 holiday season and directly
competed with A Bug's Life. Each of these films was more successful than any
preceding animated feature film not released by Disney or the combination of
Disney and Pixar. In addition, other non-animated family oriented feature films
released during the 1998 holiday season, such as Disney's Mighty Joe Young, also
generated competition for A Bug's Life.

     The release of Toy Story 2 in 1999 was even more successful than A Bug's
Life, with domestic box office revenues currently exceeding $241 million.
However, other animated family-oriented feature films released during 1999, such
as Pokemon: The First Movie, Tarzan, and Iron Giant, achieved domestic box
office revenues of over $85 million, $171 million, and $23 million,
respectively. Pixar also experienced competition from a non-animated
family-oriented film, Stuart Little, released by Sony during the 1999 holiday
season, which combined live action with computer-animated characters. As of
March 20, 2000, Stuart Little had generated over $138 million in domestic box
office revenue. These films generated box office competition for Toy Story 2,
and may continue to compete with Toy Story 2 with respect to related
merchandise, home video sales, and other future revenue sources. Pixar expects
that a variety of animated feature films may be released in the theaters in the
next several years that will directly compete with Monsters, Inc. and Film Five,
which are targeted for release in late 2001 and 2002, respectively. Due to a
potentially large number of releases in the next several years, it is possible
that the market for animated films will become further saturated before we can
release Monsters, Inc. and Film Five, which could result in failure of such
films to achieve the extraordinary commercial success required for Pixar to
profit from such films.

     Pixar's films will continue to compete with the feature films of other
movie studios for optimal release dates, audience acceptance and exhibition
outlets. In addition, Pixar competes and will continue to compete with other
movie studios for the acquisition of literary properties, the services of
performing artists, and the services of other creative and technical personnel,
particularly in the fields of animation and technical direction. Some of the
other movie studios with which Pixar competes have significantly greater
financial, marketing and other resources than does Pixar.

     At least three of these movie studios, Disney, DreamWorks and Lucasfilm,
have developed their own internal computer animation capability which may be
used for special effects in animated films and live action films. For example,
DreamWorks (with PDI) successfully produced Antz in 1998, and is currently (with
PDI) developing and producing the animated film Shrek, currently scheduled for
release in 2001 and which may compete with Monsters, Inc. In addition, Disney
plans to release Dinosaur on May 19, 2000, a film which combines live action
backgrounds with computer-animated dinosaurs and special effects. Other movie
studios may internally develop, license or sub-contract three-dimensional
animation capability. Further, Pixar believes that continuing enhancements in
commercially available computer hardware and software technology have lowered
and will continue to lower barriers to entry for studios or special effects
companies which intend to produce computer animated feature films or other
products. For example, Silicon Graphics Inc.'s Alias/ Wavefront subsidiary
licenses "Maya," its next generation three-dimensional software for creating
high quality animation and visual effects. Maya incorporates many new features
and could be used to make a computer-animated feature film.

     The Co-Production Agreement provides that Pixar will develop and produce
five original computer animated feature films. Because Disney co-finances the
films developed and produced under the Co-Production Agreement, distributes the
films under the "Walt Disney Pictures" label and enjoys financial benefits in
the event that such films achieve significant box office revenues, we believe
that Disney desires such films to be successful. Nonetheless, during its long
history Disney has been a very successful producer of its own animated feature
films. Family-oriented motion pictures distributed by Disney or its affiliates
are likely to be in the market concurrently with and competing with our animated
feature films, such as was the case with the release of Mighty Joe Young during
the 1998 holiday season which competed against A Bug's Life. Pixar's contractual
arrangement with Disney also presents other risks. See "Risk Factors -- Risks
Associated with Co-Production Agreement."

     Pixar believes that the primary competitive factors in the market for
animated feature films include creative content and talent, product quality,
technology, access to distribution channels and marketing

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resources. Due in part to Pixar's creative and technical resources and to the
Co-Production Agreement with Disney, pursuant to which Disney co-finances the
production of the feature films, markets the feature films and provides creative
assistance and access to significant distribution channels, Pixar believes that
it presently competes favorably with respect to each of these factors.

     Computer Graphics Special Effects Firms. Pixar also expects to compete with
computer graphics special effects firms, including ILM, Rhythm & Hues/VIFX,
Digital Domain, and Sony Pictures Imageworks. These computer graphics special
effects firms may be capable of creating their own three-dimensional computer
animated feature films or may produce three-dimensional computer-animated
feature films for movie studios that compete with Pixar. For example, ILM has
already created and produced three-dimensional character animation which was
used for several central characters in the live action film Star Wars Episode 1:
The Phantom Menace, and ILM has a royalty-free, paid-up license to use Pixar's
RenderMan software and to obtain at no cost all enhancements and upgrades
thereto. Other computer graphics special effects firms have licensed or may
license RenderMan. Accordingly, Pixar's RenderMan software may not provide Pixar
with a competitive advantage. Pixar also competes, or may in the future compete,
with the above firms with respect to animation products other than feature
films. Pixar believes that the primary competitive factors in the market for
three-dimensional computer animation for feature films and other animation
products include creative content and talent, product quality, technology,
access to distribution channels and marketing resources. Pixar believes that it
presently competes favorably with respect to each of these factors.

     Software Publishers. Pixar also experiences intense competition with
respect to its RenderMan software product. In particular, Pixar competes with
makers of computer graphics imaging and animation software, principally Silicon
Graphics (which acquired Wavefront Technologies, Inc. ("Wavefront") and Alias
Research, Inc. ("Alias")), MentalImage GMD and Avid Technologies (which
distributes the MentalImage product). Silicon Graphics, through its
Alias/Wavefront subsidiary licenses "Maya", its three-dimensional software for
creating high quality animation and visual effects, are each marketing competing
rendering software products, usually at lower prices than Pixar. Silicon
Graphics has licensed several of Pixar's patents that cover certain rendering
techniques and may therefore be better able to market products that compete with
Pixar's RenderMan software. Under appropriate circumstances, Pixar might elect
to license its rendering technology patents to other companies, some of which
may compete with Pixar. In addition, as PC's become more powerful, software
suppliers may also be able to introduce products for PC's that would be
competitive with RenderMan in terms of price and performance for professional
users. Pixar believes that the primary competitive factors in the market for
rendering software include product quality, price/performance, technology,
functionality, breadth of features and customer service and support. Pixar
believes that it presently competes favorably with respect to each of these
factors.

     Pixar expects competition to persist, intensify and increase in each of its
business areas in the future. Some of Pixar's current and potential competitors
have longer operating histories, larger installed customer bases and
significantly greater financial, technical, marketing and other resources than
Pixar. There can be no assurance that Pixar will be able to compete successfully
against current or future competitors. Such competition could materially
adversely affect Pixar's business, operating results or financial condition.

PROPRIETARY RIGHTS

     Pixar's success and ability to compete is dependent in part upon its
proprietary technology. While Pixar relies on a combination of patents,
copyright and trade secret protection, nondisclosure agreements and cross-
licensing arrangements to establish and protect its proprietary rights, Pixar
believes that factors such as the technical and creative skills of its personnel
are more essential to its success and ability to compete. Pixar currently is the
owner of fourteen patents issued in the United States and seven issued in
foreign countries. In addition, Pixar has a number of patent applications
pending in the United States and in foreign countries. There can be no assurance
that patents will issue from any of these pending applications or that, if
patents do issue, any claims allowed will be sufficiently broad to protect
Pixar's technology. In addition, there can be no assurance that any patents that
have been issued to Pixar, or that Pixar may license from third parties, will
not be challenged, invalidated or circumvented, or that any rights granted
thereunder would provide proprietary protection to Pixar.
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     The source code for Pixar's proprietary software is protected both as trade
secrets and as a copyrighted work. Pixar generally enters into confidentiality
or license agreements with its employees, consultants and vendors, and generally
controls access to and distribution of its software, documentation and other
proprietary information. Despite these precautions, it may be possible for a
third party to copy or otherwise obtain and use Pixar's proprietary information,
products or technology without authorization, or to develop similar or superior
technology independently. Policing unauthorized use of Pixar's products is
difficult. In addition, effective copyright and trade secret protection may be
unavailable or limited in certain foreign countries. To license its RenderMan
software product, Pixar primarily relies on "shrink wrap" licenses that are not
signed by the end-user and, therefore, may be unenforceable under the laws of
certain jurisdictions. There can be no assurance that the steps taken by Pixar
will prevent misappropriation of its technology or that its confidentiality or
license agreements will be enforceable. In addition, litigation may be necessary
in the future to enforce Pixar's intellectual property rights, to protect
Pixar's trade secrets, to determine the validity and scope of the proprietary
rights of others, or to defend against claims of infringement or invalidity. Any
such litigation could result in substantial costs and diversion of resources and
could have a material adverse effect on Pixar's business, operating results or
financial condition.

     One of the risks of the film production business are claims that Pixar's
productions infringe the intellectual property rights of third parties with
respect to previously developed films, stories, characters or other
entertainment. In addition, Pixar's technology and software may be subject to
patent, copyright or other intellectual property claims of third parties. Pixar
has received, and is likely to receive in the future, notice of claims of
infringement of other parties' proprietary rights. There can be no assurance
that infringement or invalidity claims (or claims for indemnification resulting
from infringement claims) will not be asserted or prosecuted against Pixar or
that any assertions or prosecutions will not materially adversely affect Pixar's
business, financial condition or results of operations. Irrespective of the
validity or the successful assertion of such claims, Pixar would incur
significant costs and diversion of resources with respect to the defense thereof
which could have a material adverse effect on Pixar's business, financial
condition or results of operations. If any claims or actions are asserted
against Pixar, Pixar may seek to obtain a license under a third party's
intellectual property rights. There can be no assurance, however, that under
such circumstances a license would be available on reasonable terms or at all.

     Pixar also relies on certain technology that it licenses from third
parties, including software that is integrated and used with internally
developed software. There can be no assurance that these third party technology
licenses will continue to be available to Pixar on commercially reasonable
terms. The loss of or inability to maintain any of these technology licenses
could result in delays in feature film releases or product shipments until
equivalent technology could be identified, licensed and integrated. Any such
delays in feature film releases or product shipments could materially adversely
affect Pixar's business, operating results or financial condition.

     In 1996, Pixar entered into a license agreement with Silicon Graphics
whereby Pixar granted to Silicon Graphics and its subsidiaries a non-exclusive
license to use certain of Pixar's patents covering techniques for creating
computer-generated photo-realistic images. These same patents were licensed to
Microsoft Corporation in 1995. These patents relate to pseudo-random point
sampling techniques in computer graphics, which are incorporated into Pixar's
RenderMan. The license agreements with Silicon Graphics and Microsoft will
expire no later than the year 2010. Silicon Graphics and Microsoft may use the
licensed technology in rendering products, which compete with Pixar's RenderMan
software, which could adversely impact sales of RenderMan.

EMPLOYEES

     As of January 1, 2000 Pixar had a total of 448 employees. Although none of
Pixar's employees are represented by a labor union, it is common for animators
and actors at film production companies to belong to a union. There can be no
assurance that Pixar's employees will not join or form a labor union or that
Pixar, for certain purposes, will not be required to become a union signatory.
Further, Pixar may be directly or indirectly dependent upon union members, and
work stoppages or strikes organized by such unions could materially adversely
impact Pixar's business, financial condition or results of operations. For
example, many of the actors
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who provide voice talent for the Pictures and Derivative Works are members of
the Screen Actors Guild. Pixar has not experienced any work stoppages and
considers its relations with its employees to be good.

     Pixar's success depends to a significant extent on the performance of a
number of senior management personnel and other key employees, especially its
animators, creative personnel and technical directors. In particular, Pixar is
dependent upon the services of Steve Jobs, John Lasseter, Edwin E. Catmull,
Sarah McArthur and Ann Mather. Pixar does not maintain "key person" life
insurance for any of its employees. Pixar does have an employment agreement with
Mr. Lasseter, who is fundamental to its relationship with Disney. However, this
employment agreement does not necessarily assure his services. Pixar believes
that it may be particularly difficult to retain its key employees, especially
its animators, creative personnel and technical directors, during periods in
which it is not developing animated feature films. The loss of the services of
any of Messrs. Jobs, Lasseter, or Dr. Catmull, Ms. McArthur, Ms. Mather or of
other key employees, especially its animators, creative personnel and technical
directors, could have a material adverse effect on Pixar's business, operating
results or financial condition.

RISK FACTORS

     The following is a discussion of certain factors that currently impact or
may impact our business, operating results and/or financial condition. You
should carefully consider these factors before making an investment decision
with respect to our Common Stock.

DEPENDENCE ON TOY STORY 2, A BUG'S LIFE, AND TOY STORY IN 2000

     In 2000, our revenue and operating results will be largely dependent upon
(1) the amount of our revenues from the domestic and foreign theatrical releases
of Toy Story 2, (2) the timing of release of Toy Story 2 on home video in
domestic and foreign markets and the amount of related home video revenues, (3)
the amount and timing of our revenues from merchandise sales related to Toy
Story 2, (4) the amount and timing of our revenue from foreign home video sales
of A Bug's Life and to a lesser extent from domestic home video sales of A Bug's
Life and related merchandise, (5) the amount of our domestic and international
home video revenues from the re-release of Toy Story on home video, and residual
revenues from Toy Story, if any, and (6) our limited software revenue.

     DEPENDENCE ON TOY STORY 2 AND A BUG'S LIFE IN 2000

     Toy Story 2 Revenue

     We will be significantly dependent upon the success of Toy Story 2 in 2000.
Toy Story 2 was released in November 1999, and has achieved significant box
office success, with domestic box office receipts of more than $241 million as
of March 20, 2000. In 2000, we expect to see an improved ability, through
information available to us from Disney and other sources, to estimate and
record our share of film revenues and related costs. As a result, we expect to
begin to recognize revenues from Toy Story 2 in the first quarter of 2000. While
we anticipate this improved ability will allow us to recognize our share of film
revenues and costs on a more timely basis, we will remain dependent on the
timing and accuracy of the information provided by Disney, as well as on the
continuing commercial success of Toy Story 2 throughout 2000.

     In 2000, we expect to recognize the vast majority of revenues from the
theatrical release of Toy Story 2 and some revenues from related merchandise
sales. In addition, with the release of Toy Story 2 on home video in fall 2000,
we expect to recognize a portion of domestic and foreign home video revenues.
These future revenues of Toy Story 2 will be offset by associated distribution
and marketing costs for worldwide theatrical and home video releases, video cost
of goods, Disney's distribution fee based on film-related revenues, and other
distribution costs such as talent participations and residuals. Fees and
participations paid to key talent on Toy Story 2 are substantially greater than
for Toy Story or A Bug's Life, which together with other increases in production
costs will have the effect of increasing the cost of the film when compared to
Pixar's first two films.

     Toy Story 2 faced significant competition from other family-oriented films
released theatrically during the 1999 holiday season, such as Stuart Little and
Pokemon: The First Movie. We believe theatrical proceeds and

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product sales from these competing films have and may continue to adversely
impact proceeds from Toy Story 2.

     A Bug's Life Revenue

     A Bug's Life was released in November 1998, and in 1999 we recognized
revenues of $110.3 million, which represents the majority of revenues we expect
to recognize over the lifetime of A Bug's Life. Under the Co-Production
Agreement, Pixar and Disney share equally in the profits of A Bug's Life after
Disney recovers its distribution costs and its distribution fee.
Correspondingly, our film revenue in 1999 resulted primarily from the domestic
and foreign theatrical revenues from A Bug's Life, related domestic and foreign
home video revenue, and related merchandise licensing, offset by Disney's
distribution costs and its distribution fee. Distribution costs reported to date
include the majority of worldwide theatrical release costs, the majority of
Disney's costs to distribute A Bug's Life on home video in the United States,
and a portion of the costs to distribute A Bug's Life on home video in foreign
markets. We believe that A Bug's Life faced a high number of competing films
released during the 1998 holiday season, such as, Antz, The Rugrats Movie and
Prince of Egypt, and that the related home video and/or merchandise sales from
these films have adversely impacted and may continue to impact sales of A Bug's
Life products.

     The majority of revenues we expect to receive from A Bug's Life have
already been reported in 1999, including the vast majority of revenues from the
worldwide theatrical release of A Bug's Life, the majority of domestic home
video revenues, a portion of foreign home video revenues, and related
merchandise revenues. Sources of revenues in 2000 primarily include remaining
foreign home video sales, any remaining domestic home video sales, possibly some
television revenues, and any future merchandise royalties, all of which must be
substantial in order for the film to generate significant revenues in 2000.
Moreover, potential future revenues will be offset by future distribution costs,
which primarily include marketing costs for the foreign home video release,
video cost of goods, remaining distribution costs for the international
theatrical release of A Bug's Life, Disney's distribution fee based on
film-related revenues, and other distribution costs such as residuals.

     Difficulty in Forecasting Toy Story 2 and A Bug's Life Revenues

     It is difficult to forecast the amount and timing of our future revenues
from Toy Story 2 and A Bug's Life in 2000. The amount of future revenues depends
not only on customer acceptance of the film in its worldwide theatrical release,
but also on customer acceptance of related products in each separate release
category -- home video, merchandise and television being the most significant.
While customer acceptance is initially measured by box office success, customer
acceptance within each follow-on product category, such as home video, toys or
television, depends on factors unique to each type of product, such as pricing,
competitive products, and the time of year or state of the economy in which a
product is released, among many other factors. In addition, we have found that
the degree of customer acceptance varies widely among foreign countries. While
box office success is often a good indicator of general customer acceptance, the
relative success of follow-on products is not always directly correlated, and
the degree of correlation is difficult to predict. Disney's strategic
distribution decisions also impact the amount of our future revenues. For
example, in the first half of 1999, Disney reported general softness in its
domestic home video sales and worldwide merchandise licensing as compared to
levels associated with many of its previous blockbuster animated feature films.
As a result, Disney recently announced a new strategy of releasing animated
films on home video year-round, and in special editions in both VHS and DVD
formats. However, the relative success of that new strategy is not yet known.
For this reason and all of the above reasons, while Toy Story 2 has been a
remarkable box office success, it is difficult to predict how successful its
home video release will be in 2000 or how successful sales of other follow-on
products will be in 2000. Similarly, it is difficult to predict video sales of A
Bug's Life in 2000.

     With respect to the difficulty of forecasting the timing of revenues,
Disney distributes our films and film-related products and therefore determines
the timing of product releases. While the timing of theatrical releases is
typically known well in advance of release, the timing of release of follow-on
products is often decided just in advance of release, is subject to change, and
is therefore less predictable. For example, it was
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<PAGE>   17

not until the first quarter of fiscal year 2000 that it was determined that the
Toy Story 2 home video would be released in fall 2000. In all product
categories, timing of revenues is particularly uncertain with respect to
releases in foreign markets, as a foreign product release is often marked by a
rollout across many countries over the course of many months. Therefore, the
timing of international revenues is inherently more difficult to predict than
the timing of domestic revenues. Lastly, the amount of revenue recognized in any
given quarter or quarters from all of our films depends on the timing, accuracy,
and sufficiency of the information we receive from Disney and other sources to
determine revenues and associated costs. Due to these factors, the amount and
timing of our future revenues from Toy Story 2 and A Bug's Life are difficult to
forecast, and it is possible, in any given quarter or quarters in 2000 that
Pixar will not recognize sufficient film revenue to generate significant
earnings.

     Risks Associated with Toy Story 2 and A Bug's Life

     Under the Co-Production Agreement, Pixar and Disney share the production
costs of Toy Story 2 and A Bug's Life. We initially capitalized our share of
these costs as film production costs, under Statement of Financial Accounting
Standards ("SFAS") No. 53, Financial Reporting by Producers and Distributors of
Motion Picture Films. Our policy is to amortize these costs over the expected
revenue streams as we recognize revenues from the associated films. The amount
of film costs that will be amortized each quarter will depend on how much future
revenue Pixar expects to receive from Toy Story 2 and A Bug's Life. Although Toy
Story 2 has achieved substantial domestic and foreign box office success, we
believe that the amount spent by Disney for marketing and distribution has been
and will continue to be significant. It is possible that total revenue generated
in all markets by Toy Story 2 may not generate significant revenue and operating
results for us in any given quarter in 2000, even though Toy Story 2 is
critically acclaimed and has achieved worldwide box office success. With respect
to A Bug's Life, it is difficult to predict how much additional revenue will be
derived from home video and merchandise sales and from television airings. In
any given quarter, if our forecast changes with respect to total revenue from
Toy Story 2 or A Bug's Life, and becomes lower than was previously forecasted,
we would be required to accelerate amortization of related film costs, resulting
in lower gross margins. Such lower gross margins would adversely impact our
business, operating results, and financial condition. See "-- Risks Associated
with Co-Production Agreement -- Dependence on Disney for Distribution and
Promotion of Feature Films and Related Products," "-- Risks Associated with the
Motion Picture Industry," and "Business -- Relationship with Disney. " See also
Note 4 of Notes to Financial Statements in the 1999 Annual Report to
Shareholders.

     TOY STORY REVENUE

     We have already recognized the majority of the revenue we expect to receive
from Toy Story. Disney re-released the original Toy Story home video in January
2000. Other than potential revenue from any additional worldwide television
airings, the re-release of the home video, any additional merchandise sales, and
other minor amounts of revenue in subsequent periods, we do not expect to
recognize further significant revenue from Toy Story. Based on terms of the
Feature Film Agreement, film revenue from Toy Story is now received from Disney
on a semi-annual basis (March and September).

     SOFTWARE REVENUE

     We continue to reduce our emphasis on the commercialization of software
products. We are not increasing the time and resources necessary to generate
higher RenderMan licensing revenues; therefore, we expect that revenue from the
licensing of RenderMan will remain flat or possibly decline. In addition, from
the acquisition date of Physical Effects, Inc. ("PEI") in June 1998, through
January 1, 2000, we received lower license revenue than expected related to the
purchased technology associated with the acquisition. If future license revenue
continues to be lower than originally estimated, we may be required to write-off
all or a significant portion of the unamortized purchased technology.

                                       17
<PAGE>   18

     CD-ROM REVENUE

     In March 1997 we discontinued our business of producing CD-ROM products in
favor of other opportunities arising, in part, as a result of entering into the
Co-Production Agreement. It is unlikely that we will recognize further
significant royalty income from these products or from this discontinued
operation in 2000 or thereafter.

RISK OF NET LOSSES IN 2001

     We received the majority of anticipated proceeds from A Bug's Life in 1999,
and we expect to receive the majority of proceeds from Toy Story 2 by the end of
2000. We will not release a feature film in 2000, and we do not plan to release
the next feature film until late 2001. Therefore, in 2001, our revenues will
depend on (1) remaining proceeds from the anticipated fall 2000 home video
release of Toy Story 2, remaining Toy Story 2 merchandise revenues, and revenues
from Toy Story 2 television airings, if any, (2) remaining proceeds, if any,
from television airings of A Bug's Life, and any remaining revenue from A Bug's
Life home video sales and related merchandise, (3) remaining proceeds from Toy
Story merchandise and home video sales, if any, and (4) our other businesses,
such as software and animation services, from which we expect limited revenue.
Due to the uncertainty of the amount and timing of revenues from Toy Story 2, A
Bug's Life, and other sources, we may not receive sufficient proceeds from
operations in any given quarter or quarters in 2001 to generate earnings.

RISKS ASSOCIATED WITH MONSTERS, INC. AND FILM FIVE BEYOND 2001

     RISK OF DELAY IN PLANNED RELEASE DATES OF MONSTERS, INC. AND FILM FIVE

     Beyond 2001, we expect to be largely dependent upon the success of
Monsters, Inc. and Film Five (together referred to as the "Current Projects").
Although development and/or production of the Current Projects is underway, we
cannot provide any assurances that they will be successfully produced and
released when scheduled. For example, Monsters, Inc. is currently targeted for
release in late 2001. Disney has not formally scheduled the theatrical release
of Monsters, Inc., and we cannot provide any assurances as to when the film will
be released. We may experience difficulties that could delay or prevent the
successful development or production of any of the Current Projects or
subsequent animated feature films or related products. If we are unable to
produce and develop on a timely basis the Current Projects and subsequent
animated feature films and related products that meet with broad market
acceptance, our business, operating results and financial condition will be
materially adversely affected.

     RISK OF INSUFFICIENT REVENUES GENERATED FROM MONSTERS, INC. AND FILM FIVE

     It is rare for animated feature films to achieve extraordinary box office
success. While we have been successful in the release of our first three feature
films, this level of success is unusual in the motion picture industry, and our
future releases may not achieve similar results. Beyond 2001, we will be
dependent on the future success of our Current Projects. Unless Monsters, Inc.
and Film Five achieve extraordinary box office success and also achieve success
in home video and merchandise sales, they may not generate significant revenue
and operating results for us in future years. See "-- Risks Associated with
Co-Production Agreement -- Dependence on Disney for Distribution and Promotion
of Feature Films and Related Products," "-- Risks Associated with the Motion
Picture Industry," and "Business -- Relationship with Disney." See also Note 4
of Notes to Financial Statements in the 1999 Annual Report to Shareholders.

WE EXPECT OUR OPERATING RESULTS TO CONTINUE TO FLUCTUATE

     FLUCTUATIONS IN REVENUE

     We continue to expect significant fluctuations in our future annual and
quarterly revenues because of a variety of factors, including the following:

     - the timing of the domestic and international releases of our animated
       feature films,

     - the success of our animated feature films (which can fluctuate
       significantly from film to film),
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<PAGE>   19

     - the timing of the release of related products into their respective
       markets (such as home videos, television, and merchandising),

     - the demand for such related products (which is often a function of the
       success of the related animated feature film),

     - Disney's costs to distribute and promote the feature films and related
       products,

     - Disney's success at marketing the films and related products,

     - the timing and accuracy of information received from Disney and other
       sources on which we base estimates of revenue to be recognized from our
       animated feature films and related products by Disney,

     - the introduction of new feature films or products by our competitors, and

     - general economic conditions.

     In particular, since our revenue under the Co-Production Agreement is
directly related to the success of a feature film, our operating results are
likely to fluctuate depending on the level of success of our animated feature
films and related products. The revenues derived from the production and
distribution of an animated feature film depend primarily on the film's
acceptance by the public, which cannot be predicted and does not necessarily
bear a direct correlation to the production or distribution costs incurred. The
commercial success of a motion picture also depends upon promotion and
marketing, production costs and other factors. Further, the theatrical success
of a feature film can be a significant factor in determining the amount of
revenues generated from the sale of the related products.

     FLUCTUATIONS IN OPERATING EXPENSES

     Increase in Our Operating Expenses and Effective Tax Rate

     Over the last few years, we significantly increased our operating expenses,
and we plan to continue to increase our operating expenses to fund greater
levels of research and development and to expand operations. Specifically, we
expect our spending levels to increase significantly due to (1) continued
investment in proprietary software systems, (2) increased compensation costs as
a result of intense competition for animators, creative personnel, technical
directors and other personnel, (3) increased costs associated with the expansion
of our facilities, and (4) increased investment in creative development. A
portion of our operating expenses that are allocable to film productions is
either capitalized by us or reimbursed by Disney under the Co-Production
Agreement. To the extent that we do not capitalize (or Disney does not pay for)
the increases in expenses, our operating expenses will significantly increase in
2000. Finally, our annual tax rate increased in 1999 and is likely to increase
in 2000 and possibly in future years because we have utilized our remaining net
operating loss carryforwards except those which originated as non-qualified
employee stock option costs. The realization of tax benefits from non-qualified
employee stock option costs will not reduce our effective tax rate in the
future.

     Difficulty in Predicting Operating Expenses

     Moreover, our operating expenses will continue to be extremely difficult to
forecast. We budget the direct costs of film productions with Disney, and we
share such costs equally. We capitalize our share of these direct costs of film
production in accordance with SFAS No. 53. A substantial portion of all of our
other costs are incurred for the benefit of feature films ("Overhead"),
including research and development expenses and general and administrative
expenses. Portions of our Overhead are included in the budgets for the Pictures,
and we will share such costs equally with Disney under the Co-Production
Agreement. With respect to the portion of our Overhead that is not reimbursed by
Disney, we either (1) capitalize such portion as film production costs, if
required under SFAS No. 53, or (2) charge it to operating expense in the period
incurred. Since a substantial portion of our Overhead is related to the
Pictures, and is therefore reimbursed by Disney, and since we capitalize other
amounts in accordance with SFAS No. 53, our reported operating expenses for 1999
have not reflected, and future reported operating expenses will not reflect, our
true level of spending on the production of animated feature films, related
products and overhead.

                                       19
<PAGE>   20

     Risk Associated with Production Budgets

     Given the (1) escalation in compensation rates of people required to work
on the Current Projects, (2) number of personnel required to work on the Current
Projects, and (3) equipment needs, the budget for the Current Projects and
subsequent films and related products may continue to be greater than the
budgets for Toy Story, A Bug's Life, and Toy Story 2. We will continue to
finance these budgets equally with Disney under the Co-Production Agreement. In
addition, due to production exigencies which are often difficult to predict, we
believe that it is not uncommon for film production spending to exceed film
production budgets, and the Current Projects may not be completed within the
budgeted amounts. For example, to meet the production schedule of Toy Story 2,
we reassigned employees from other projects, including Monsters, Inc., to
complete Toy Story 2. This resulted in a larger production staff than originally
anticipated and it increased production costs. In addition, when production of
each film is completed, we may incur significant carrying costs associated with
transitioning personnel on creative and development teams from one project to
another, which, although shared with Disney, are treated as film costs, which
increase overall production budgets and could have a material adverse effect on
our results of operations and financial condition.

     As a result of the factors discussed above, we believe that
period-to-period comparisons of our results of operations are not necessarily
meaningful, and you should not rely on our annual and quarterly results of
operations as any indication of future performance. Due to the factors discussed
above, it is likely that in some future period our operating results will be
below the expectations of public market analysts and investors. In such event,
the price of our Common Stock would likely be materially adversely affected. See
"Management's Discussion and Analysis of Financial Condition and Results of
Operations" in the 1999 Annual Report to Shareholders.

RISKS ASSOCIATED WITH ADEQUACY OF CASH BALANCES

     Pursuant to the Co-Production Agreement, we co-financed A Bug's Life and
Toy Story 2 and will co-finance the next four original animated feature films
which we produce, including Monsters, Inc. and Film Five. In the future, we may
co-finance other derivative works such as sequels, interactive products and
television productions. In addition, we are constructing a new studio and
headquarters facility in Emeryville, California, which is being financed by the
use of our cash and may continue to be financed by the use of our cash. The
development and production costs of Monsters, Inc., Film Five and costs of the
new Emeryville facility may have an adverse impact on our cash and short-term
investment balances. As of January 1, 2000, we had approximately $194.9 million
in cash and short-term investments. We believe that these funds will be
sufficient to meet our anticipated cash needs for working capital and capital
expenditures, including the development and production costs of Monsters, Inc.
and Film Five, until we begin receiving cash from the release of Toy Story 2 and
any remaining proceeds from A Bug's Life. See "Management's Discussion and
Analysis of Financial Condition and Results of Operations -- Liquidity and
Capital Resources" in the 1999 Annual Report to Shareholders. To date, we have
chosen to use our existing cash resources to fund construction costs and film
production costs. We may continue to use our cash resources for such
expenditures, or may choose to finance such capital expenditures through
issuance of additional equity or debt securities, by obtaining a credit facility
or by some other financing mechanism. The sale of additional equity or
convertible debt securities would result in additional dilution to our
shareholders. Moreover, we cannot provide any assurances that we will be
successful in obtaining future financing, or even if such financing is
available, that we will obtain it on favorable terms or on terms providing us
with sufficient funds to meet our obligations and objectives. If we fail to
obtain such financing, it would have a material adverse effect on our business,
operating results and financial condition.

RISKS ASSOCIATED WITH SCHEDULED SUCCESSIVE RELEASES OF FILMS

     In order to meet our obligations pursuant to the Co-Production Agreement,
we have established parallel creative teams so that we can develop more than one
film at a time. These teams are currently working on Monsters, Inc., which is
currently targeted for release in late 2001, and Film Five, which is currently
targeted for release in 2002. We have only produced three prior feature films to
date and have limited experience with respect to producing animated feature
films in parallel. We have been required, and will continue to be
                                       20
<PAGE>   21

required, to expand our employee base, increase capital expenditures and procure
additional resources and facilities in order to accomplish the scheduled release
of these two feature films. This period of rapid growth and expansion has
placed, and continues to place, a significant strain on our resources. We cannot
provide any assurances that Monsters, Inc. or Film Five will be released as
targeted or that this strain on resources will not have a material adverse
effect on our business, financial condition or results of operations. For
example, to meet the production schedule of A Bug's Life, we reassigned
employees from other projects, including Toy Story 2, to A Bug's Life.
Similarly, to meet the production schedule of Toy Story 2, we reassigned
employees from other projects, including Monsters, Inc., to Toy Story 2. In
addition, John Lasseter, who was previously providing creative oversight for Toy
Story 2 in his role as Executive Vice President, Creative, assumed the role of
Co-Director of Toy Story 2 in order to expedite development and production of
the film. Using the personnel of future films to meet the immediate deadlines of
films nearing release, as we have for both A Bug's Life and Toy Story 2, (and we
may have to do for Monsters, Inc.) is likely to have the long term impact of
pushing out the targeted release dates of future films, substantially increasing
film budgets, and adversely impacting our ability to generate creative concepts
for subsequent films on a timely basis.

     While the story treatment and production budget for Monsters, Inc. have
been approved pursuant to the Co-Production Agreement, we have not formally
agreed with Disney on the timing of its release and we cannot provide any
assurances that Disney will agree to release Monsters, Inc. in late 2001 as it
is currently targeted. In addition, as Co-Director of Toy Story 2, John Lasseter
was focused on Toy Story 2 until its completion in late 1999, and was less
available to assist on Monsters, Inc. during its development phase. John
Lasseter's availability has been a key ingredient in the successful completion
of our prior films. A lack of his availability may adversely impact our ability
to release Monsters, Inc. and future films as targeted.

     If we are able to release films in 2001 and 2002, we cannot provide any
assurances that we will release our next film in 2003. Due to the strain on our
personnel from the effort required for the release of Monsters, Inc. and Film
Five and the time required for creative development of a new film, it is
possible that we would be unable to release a successive new film in 2003. It is
too early to determine the rate at which any future films are to be released,
and we cannot provide any assurances that we will release a film in each
successive year or in any particular year.

     To continue to accommodate growth, we will be required to implement a
variety of new and upgraded operational and financial systems, procedures and
controls, including improvement and maintenance of our accounting system, other
internal management systems and backup systems. In addition, this growth and
these diversification activities, along with the corresponding increase in the
number of our employees and rapidly increasing costs, have resulted in increased
responsibility for our management team. We will need to continue to improve our
operational, financial and management information systems and to hire, train,
motivate and manage our employees, to integrate them into Pixar and to provide
adequate facilities and other resources for them. We cannot provide any
assurance we will be successful in accomplishing all of these activities on a
timely and cost-effective basis. Any failure to accomplish one or more of these
activities on a timely and cost-effective basis would have a material adverse
effect on our business, financial condition and results of operations.

RISKS ASSOCIATED WITH CO-PRODUCTION AGREEMENT

     DEPENDENCE ON DISNEY FOR DISTRIBUTION AND PROMOTION OF FEATURE FILMS AND
RELATED PRODUCTS

     The decisions regarding the timing of release of motion pictures and
related products and which of Disney's motion pictures and related products will
receive extensive promotional support from the studio are important in
determining the success of the motion picture and related products. Under the
terms of the Co-Production Agreement, we have some general protections with
respect to the marketing and distribution of the feature films in the form of
commitments by Disney as to release windows, the timing of release of other
Disney family films and marketing obligations. However, we ultimately do not
control (1) the manner in which Disney distributes our animated feature films
and related products, (2) the number of theaters to which Disney distributes our
feature films, (3) the specific timing of release of the feature films and
related products or (4) the specific amount or quality of promotional support of
the feature films and related products and the

                                       21
<PAGE>   22

associated promotional and marketing budgets. Because Disney co-finances the
films developed and produced under the Co-Production Agreement, distributes the
films under the "Walt Disney Pictures" label and may enjoy financial benefits in
the event that such films achieve significant box office revenues, we believe
that Disney desires such films to be successful. Nonetheless, Disney could make
certain decisions as to marketing, distribution or promotion of the animated
feature films or related products or the marketing and promotion of its own
animated or other family films that could have a material adverse effect on our
business, operating results or financial condition. In addition, the costs for
marketing, distribution and promotion of the films and related products are
incurred well in advance of the release of such films and products, and we will
experience a delay in the receipt of proceeds from such films and products until
after Disney recovers such costs. We are also dependent on Disney for receiving
accurate information on a timely basis on which we base estimates to recognize
revenue from the animated feature films and related products. If we failed to
receive accurate information from Disney, or failed to receive it on a timely
basis, it could have a material adverse effect on our business, operating
results or financial condition.

     EXCLUSIVITY

     We have agreed not to release or authorize the release of any of our
feature length animated theatrical motion pictures, other than the feature films
that we produced under the Co-Production Agreement, until twelve months from our
delivery of the fifth original feature film under the Co-Production Agreement.
We currently anticipate that we will not deliver the fifth Picture until 2004 at
the earliest. We have further agreed that we will not enter into any agreement
with any third party for the development, production or distribution of any
feature length animated theatrical motion picture until after we have delivered
the third original feature film to Disney under the Co-Production Agreement. We
have also agreed that we will not develop or produce any rides or attractions
for major theme parks not owned or operated by Disney, and to give Disney a
right to negotiate with respect to animated television productions or animated
made-for-home video productions that we propose to produce during the term of
the Co-Production Agreement. Disney, however, is not similarly restricted by the
exclusivity provisions that bind us under the Co-Production Agreement and,
therefore, may develop, produce, or distribute other feature length animated and
computer animated theatrical motion pictures itself or enter into similar
agreements with third parties. See "Business -- Competition," and "-- Our
Markets Are Highly Competitive."

     FINANCING OF PRODUCTION COSTS

     Under the Co-Production Agreement, unlike the Feature Film Agreement which
is applicable to Toy Story, we will continue to co-finance each of the four
remaining original animated feature films and may co-finance other related
products to be developed and produced pursuant to the Co-Production Agreement.
We co-financed A Bug's Life and Toy Story 2 and are currently co-financing
Monsters, Inc. and Film Five under the Co-Production Agreement. Accordingly,
unlike the Feature Film Agreement, we will incur significant production costs,
which must be offset by proceeds generated by the animated feature films and
related products. If the feature films and related products do not generate
proceeds sufficient to more than offset our share of their production costs, our
business, operating results and financial condition will be materially adversely
effected.

     RIGHTS TO CHARACTERS AND ELEMENTS RETAINED BY DISNEY

     We share equally with Disney in the profits of each Picture and any related
merchandise after Disney recovers certain costs; however, Disney retains the
exclusive distribution and exploitation right to all feature films, all
characters and story elements of the feature films and all related products we
develop under the Co-Production Agreement. Accordingly, except in certain
specified circumstances, we are not able to exploit or distribute any of the
feature films or characters or elements of any of the feature films or related
products developed under the Co-Production Agreement without a license from
Disney. We cannot provide any assurances that such a license would be available
to us on commercially reasonable terms or at all.

                                       22
<PAGE>   23

     TERMINATION

     Under the terms of the Co-Production Agreement, Disney may terminate the
agreement under certain circumstances. For example, Disney is entitled to
terminate the Co-Production Agreement in the event that we fail to agree with
Disney on a treatment for a Picture within one year after the initial theatrical
release of the last Picture for which a treatment has been approved or selected,
subject to certain exceptions. Disney is also entitled to terminate the
Co-Production Agreement in the event that certain types of competitors directly
or indirectly acquire or control a 50% or greater ownership interest in Pixar or
Pixar merges or consolidates into such a competitor. We cannot provide any
assurances that Disney would not terminate the Co-Production Agreement under
these circumstances. Disney would not lose any of its rights to distribute and
exploit all feature films and all characters and elements of the feature films
and other products we develop under the Co-Production Agreement, except for a
feature film or related product then in production as to which Disney does not
elect to proceed, as to which we would regain the rights subject to a lien in
favor of Disney for the costs advanced to date. Further, in the event that
Disney terminated the Co-Production Agreement, we would be required to seek
alternative channels for distribution of our animated feature films and related
products. We cannot provide any assurances that we would be able to find a third
party to finance, distribute and promote our animated feature films and related
products on terms acceptable to us, if at all. See "Business -- Relationship
with Disney."

RISKS ASSOCIATED WITH THE MOTION PICTURE INDUSTRY

     COMMERCIAL SUCCESS OF A MOTION PICTURE IS UNPREDICTABLE

     The motion picture industry involves a substantial degree of risk. Each
motion picture is an individual artistic work, and its commercial success is
primarily determined by audience reaction, which is unpredictable. The
commercial success of a motion picture also depends upon other factors, such as:

     - the quality and acceptance of other competing films released into the
       marketplace at or near the same time,

     - critical reviews,

     - the availability of alternative forms of entertainment and leisure time
       activities,

     - general economic conditions,

     - weather conditions, and

     - other tangible and intangible factors.

     All of these factors can change and cannot be predicted with certainty. In
addition, motion picture attendance is seasonal, with the greatest attendance
typically occurring during the summer and holidays. The release of a film during
a period of relatively low theater attendance is likely to affect the film's box
office receipts adversely. Further, due to the expected release of a large
number of animated films by Disney and other movie studios in the next several
years, it is possible that the market for animated films will become saturated.
Therefore, there is a substantial risk that some or all of our motion pictures
will not be commercially successful, which would have a material adverse effect
on our business, financial condition and results of operations. See
"Business -- Competition."

     COMPLETION OF A MOTION PICTURE SUBJECT TO UNCERTAINTIES AND FINANCIAL RISKS

     The production, completion and distribution of motion pictures is subject
to numerous uncertainties, including financing requirements, personnel
availability and the release schedule of competitive films. We are concurrently
developing and producing two animated feature films, Monsters, Inc. and Film
Five, which compounds these uncertainties and jeopardizes the successful, timely
and cost-effective production and completion of each film. Under the
Co-Production Agreement, we have increased our financial involvement in the
production costs of motion pictures, which subjects us to substantial financial
risks relating to the

                                       23
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production, completion and release of the motion pictures. In addition, a
significant amount of time will elapse between our expenditure of funds and our
receipt of proceeds from the animated feature films.

WE DEPEND ON SUCCESSFUL DEVELOPMENT OF APPEALING CREATIVE CONTENT FOR ANIMATED
FEATURE FILMS AND RELATED PRODUCTS

     The success of each of our animated feature films will depend in large part
upon our creative team's ability to predict the type of content that will appeal
to a broad audience and to develop stories and characters that achieve broad
market acceptance. Traditionally, this has been extremely difficult. Disney
provided creative assistance throughout the production of Toy Story, A Bug's
Life, and Toy Story 2. Although the Co-Production Agreement contemplates that
Disney will continue to provide creative assistance on feature films and other
products made pursuant to that agreement, we cannot provide any assurances that
Disney will continue to provide us with assistance in the development of
creative content for our feature films or related products. We cannot provide
any assurances that voices and other intellectual property rights used in an
animated feature film will be available for use in any derivative product
related to such feature film. For example, we were unable to obtain the rights
to use certain voices from Toy Story in the two CD-ROM products based on Toy
Story. See "Business -- Creative Development Group."

OUR MARKETS ARE HIGHLY COMPETITIVE

     We experience intense competition with respect to animated feature films,
animation products and software.

     MOVIE STUDIOS

     Our animated feature films compete and will continue to compete with
feature films and other family oriented entertainment products produced by major
movie studios, including Disney (as somewhat limited by the Co-Production
Agreement), DreamWorks SKG ("DreamWorks") (which continues to expressly target
the animated film market), Warner Bros. Inc., Twentieth Century Fox Film
Corporation ("Twentieth Century Fox"), Paramount Pictures ("Paramount"), Sony
Pictures Entertainment ("Sony"), Lucasfilm Ltd. ("Lucasfilm"), Universal
Studios, Inc. and MGM/UA, as well as numerous other independent motion picture
production companies.

     In 1998 and 1999, competition significantly intensified in the animated
feature film market. Family-oriented animated feature films released in 1998 and
1999 included the following:

     Released in 1998:

      - Quest for Camelot by Warner Bros.,

      - The Rugrats Movie by Paramount,

      - Prince of Egypt by DreamWorks, and

      - Antz, a fully computer-animated movie by DreamWorks with its affiliate
        Pacific Data Images ("PDI").

     Released in 1999:

      - Pokemon: The First Movie by Warner Bros.,

      - Tarzan by Disney, and

      - Iron Giant by Warner Bros.

     In 1998, while the release of A Bug's Life was extremely successful,
achieving domestic box office revenues exceeding $162 million, Antz, The Rugrats
Movie and Prince of Egypt achieved domestic box office revenues of over $91
million, $100 million and $98 million, respectively. These three films were
released during or near the 1998 holiday season and directly competed with A
Bug's Life. Each of these films was more successful than any preceding animated
feature film not released by Disney or the combination of Disney and
                                       24
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Pixar. In addition, other non-animated family oriented feature films released
during the 1998 holiday season, such as Disney's Mighty Joe Young, also
generated competition for A Bug's Life.

     The release of Toy Story 2 in 1999 was even more successful than A Bug's
Life, with domestic box office revenues currently exceeding $241 million.
However, other animated family-oriented feature films released during 1999, such
as Pokemon: The First Movie, Tarzan, and Iron Giant, achieved domestic box
office revenues of over $85 million, $171 million, and $23 million,
respectively. We also experienced competition from a non-animated
family-oriented film, Stuart Little, released by Sony during the 1999 holiday
season, which combined live action with computer-animated characters. As of
March 20, 2000, Stuart Little had generated over $138 million in domestic box
office revenue. These films generated box office competition for Toy Story 2,
and may continue to compete with Toy Story 2 with respect to related
merchandise, home video sales, and other future revenue sources. We expect that
a variety of animated feature films may be released in the theaters in the next
several years that will directly compete with Monsters, Inc. and Film Five,
which are targeted for release in late 2001 and 2002, respectively. Due to a
potentially large number of releases in the next several years, it is possible
that the market for animated films will become further saturated before we can
release Monsters, Inc. and Film Five, which could result in failure of such
films to achieve the extraordinary commercial success required for us to profit
from such films.

     Our films will continue to compete with the feature films of other movie
studios for optimal release dates, audience acceptance and exhibition outlets.
In addition, we compete and will continue to compete with other movie studios
for the acquisition of literary properties, the services of performing artists,
and the services of other creative and technical personnel, particularly in the
fields of animation and technical direction. Some of the other movie studios
with which we compete have significantly greater financial, marketing and other
resources than we do.

     At least three of these movie studios, Disney, DreamWorks and Lucasfilm,
have developed their own internal computer animation capability which may be
used for special effects in animated films and live action films. For example,
DreamWorks (with PDI) successfully produced Antz in 1998, and is currently (with
PDI) developing and producing the animated film Shrek, currently scheduled for
release in 2001 and which may compete with Monsters, Inc. In addition, Disney
plans to release Dinosaur on May 19, 2000, a film which combines live action
backgrounds with computer-animated dinosaurs and special effects. Other movie
studios may internally develop, license or sub-contract three-dimensional
animation capability. Further, we believe that continuing enhancements in
commercially available computer hardware and software technology have lowered
and will continue to lower barriers to entry for studios or special effects
companies which intend to produce computer animated feature films or other
products. For example, Silicon Graphics Inc.'s Alias/ Wavefront subsidiary
licenses "Maya," its next generation three-dimensional software for creating
high quality animation and visual effects. Maya incorporates many new features
and could be used to make a computer animated feature film.

     The Co-Production Agreement provides that we will develop and produce five
original computer animated feature films. Because Disney co-finances the films
developed and produced under the Co-Production Agreement, distributes the films
under the "Walt Disney Pictures" label and enjoys financial benefits in the
event that such films achieve significant box office revenues, we believe that
Disney desires such films to be successful. Nonetheless, Disney has been by far
the most successful producer of animated feature films. Family-oriented motion
pictures distributed by Disney or its affiliates are likely to be in the market
concurrently with and competing with our animated feature films, such as was the
case with the release of Mighty Joe Young during the 1998 holiday season which
competed against A Bug's Life. Our contractual arrangement with Disney also
presents other risks. See "Risk Factors -- Risks Associated with Co-Production
Agreement."

     We believe that the primary competitive factors in the market for animated
feature films include creative content and talent, product quality, technology,
access to distribution channels and marketing resources. Due in part to our
creative and technical resources and to the Co-Production Agreement with Disney,
pursuant to which Disney co-finances the production of the feature films,
markets the feature films and provides creative

                                       25
<PAGE>   26

assistance and access to significant distribution channels, we believe that we
presently compete favorably with respect to each of these factors.

     COMPUTER GRAPHICS SPECIAL EFFECTS FIRMS

     We also expect to compete with computer graphics special effects firms,
including ILM, Rhythm & Hues/VIFX, Digital Domain, and Sony Pictures Imageworks.
These computer graphics special effects firms may be capable of creating their
own three-dimensional computer animated feature films or may produce
three-dimensional computer animated feature films for movie studios that we
compete with. For example, ILM has already created and produced significant
three-dimensional character animation which was used for several central
characters in the live action film Star Wars Episode 1: The Phantom Menace, and
ILM has a royalty-free, paid-up license to use our RenderMan software and to
obtain at no cost all enhancements and upgrades thereto. Other computer graphics
special effects firms have licensed or may license RenderMan. Accordingly, our
RenderMan software may not provide us with a competitive advantage. We also
compete, or may in the future compete, with the above firms with respect to
animation products other than feature films. We believe that the primary
competitive factors in the market for three-dimensional computer animation for
feature films and other animation products include creative content and talent,
product quality, technology, access to distribution channels and marketing
resources. We believe that we presently compete favorably with respect to each
of these factors.

     SOFTWARE PUBLISHERS

     We also experience intense competition with respect to our RenderMan
software product. In particular, we compete with makers of computer graphics
imaging and animation software, principally Silicon Graphics (which acquired
Wavefront Technologies, Inc. ("Wavefront") and Alias Research, Inc. ("Alias")),
MentalImage GMD and Avid Technologies (which distributes the MentalImage
product). MentalImage and Silicon Graphics, through its Alias/Wavefront
subsidiary, are each marketing competing rendering software products, usually at
prices that are lower than ours. Silicon Graphics has licensed several of our
patents that cover certain rendering techniques and may therefore be better able
to market products that compete with our RenderMan software. Under appropriate
circumstances, we might elect to license our rendering technology patents to
other companies, some of which may compete with us. In addition, as PC's become
more powerful, software suppliers may also be able to introduce products for
PC's that would be competitive with RenderMan in terms of price and performance
for professional users. We believe that the primary competitive factors in the
market for rendering software include product quality, price/performance,
technology, functionality, breadth of features and customer service and support.
We believe that we presently compete favorably with respect to each of these
factors.

     We expect competition to persist, intensify and increase in each of our
business areas in the future. Almost all of our current and potential
competitors have longer operating histories, greater name recognition, larger
installed customer bases and significantly greater financial, technical,
marketing and other resources. We cannot provide any assurances that we will be
able to compete successfully against current or future competitors. Such
competition could materially adversely affect our business, operating results or
financial condition.

WE HAVE A LIMITED OPERATING HISTORY

     Until 1996, we had generated recurring revenue primarily from the license
of our RenderMan software, amounts we received under software development
contracts and fees for animated television commercial development. However, we
continue to expect to generate a substantial majority of our future revenue from
the development and production of animated feature films and related products,
as we have since 1996. We have, to date, developed and produced only three
animated feature films, Toy Story, A Bug's Life, and Toy Story 2, and only two
related products (both CD-ROM titles, which we no longer intend to produce).
Accordingly, we have only a limited operating history in implementing our
business model upon which an evaluation of Pixar and our prospects can be based.
Our prospects must be considered in light of the risks, expenses and
difficulties frequently encountered by companies in the early stages of a
business enterprise,
                                       26
<PAGE>   27

particularly companies in highly competitive markets. To address these risks, we
must, among other things, respond to competitive developments, continue to
attract, retain and motivate qualified persons, and continue to upgrade our
technologies. We cannot provide any assurances that we will be successful in
addressing such risks.

WE DEPEND ON CERTAIN KEY EMPLOYEES

     Our success depends to a significant extent on the performance of a number
of senior management personnel and other key employees, especially our
animators, creative personnel and technical directors. In particular, we are
dependent upon the services of Steve Jobs, John Lasseter, Edwin E. Catmull, Ann
Mather, and Sarah McArthur. We do not maintain "key person" life insurance for
any of our employees. We do have an employment agreement with Mr. Lasseter, who
is fundamental to Pixar's relationship with Disney. However, such employment
agreement does not necessarily assure the services of Mr. Lasseter. Moreover,
although it is standard in the motion picture industry to rely on employment
agreements as a method of retaining the services of key employees, we have not
required our employees, other than Mr. Lasseter, to enter into employment
agreements. We believe that it may be particularly difficult to retain our key
employees, especially our animators, creative personnel and technical directors,
during periods in which we are not developing animated feature films. The loss
of the services of any of Messrs. Jobs, Lasseter, or Catmull, Ms. Mather, Ms.
McArthur or of other key employees, especially our animators, creative personnel
and technical directors, could have a material adverse effect on our business,
operating results or financial condition. Although none of our employees is
represented by a labor union, it is common for animators and actors at film
production companies to belong to a union. Further, we may be directly or
indirectly dependent upon union members, and work stoppages or strikes organized
by such unions could materially adversely impact our business, financial
condition or results of operations. There can be no assurance that our employees
will not join or form a labor union, or that we will not be directly or
indirectly impacted by industry related work stoppages or that we, for certain
purposes, will not be required to become a union signatory. See
"Business -- Employees" and "Management -- Directors and Executive Officers of
the Company."

OUR CHIEF EXECUTIVE OFFICER HAS DIVIDED RESPONSIBILITIES

     Pixar's Chief Executive Officer and Chairman, Steve Jobs, is also Chief
Executive Officer at Apple Computer, Inc. ("Apple"). Although Mr. Jobs spends
time at Pixar and is active in our management, he does not devote his full time
and resources to Pixar.

WE NEED TO ATTRACT AND RETAIN QUALIFIED PERSONNEL TO BE SUCCESSFUL

     Our success continues to depend to a significant extent on our ability to
identify, attract, hire, train and retain qualified professional, creative,
technical and managerial personnel. Competition for such personnel is intense,
and there can be no assurance that we will be successful in identifying,
attracting, hiring, training and retaining such personnel in the future. The
competition for quality animators, creative personnel and technical directors is
especially intense because the entertainment market has significantly expanded
over the past several years. If we were unable to hire, assimilate and retain
qualified personnel in the future, particularly animators, creative personnel
and technical directors, such inability would have a material adverse effect on
our business, operating results and financial condition. See
"Business -- Employees" and "Management -- Executive Officers of the Company."

WE FACE DISTRIBUTION RISKS

     Disney is required to distribute the remaining four animated feature films
to be produced pursuant to the Co-Production Agreement. Distribution of a motion
picture generally involves domestic and foreign licensing for (1) theatrical
exhibition, (2) home video, (3) presentation on television, including pay, basic
cable and syndication, (4) non-theatrical exhibition, which includes airlines,
hotels and armed forces facilities and (5) marketing of other rights of the
picture, which may include merchandising, such as CD-ROM titles, toys and
soundtrack recordings. Although the Co-Production Agreement provides us with
some protection, we cannot provide any assurances that the feature films made
under the Co-Production Agreement will be
                                       27
<PAGE>   28

distributed through all of these outlets. For example, Disney has traditionally
not made its animated feature films available on pay television other than the
Disney Channel or on network television other than ABC, an affiliate of Disney.
See "Business -- Business Model and Products."

WE DEPEND ON PROPRIETARY TECHNOLOGY AND COMPUTER SYSTEMS FOR TIMELY AND
SUCCESSFUL DEVELOPMENT OF FEATURE FILMS AND RELATED PRODUCTS

     We cannot provide any assurances that we will not experience difficulties
that could delay or prevent the successful development or production of future
animated feature films or other related products. Among other things, because we
are dependent upon a large base of software and a large number of computers for
the development and production of our animated feature films and related
products, an error or defect in the software, a failure in the hardware or a
failure of the backup facilities could result in a significant delay in one or
more productions in process which, in turn, could result in potentially
significant delays in the release dates of our feature films or other products.
For example, early in 1998 we experienced a failure of our backup systems for
Toy Story 2 which resulted in substantial effort to restore data and a loss of
certain data, but which did not have a material impact on the schedule for
production or release of Toy Story 2. However, significant delays in production
and significant delays in release dates could have a material adverse effect on
our business, operating results or financial condition. Further, because we rely
mostly on internally developed software, we would not be able to rely upon
assistance from third parties in the event that the software fails. See
"Business -- Technology."

ONE SHAREHOLDER OWNS A LARGE PERCENTAGE OF OUR STOCK

     Pixar's Chief Executive Officer, Steve Jobs, beneficially owns
approximately 63.8% of the outstanding Common Stock as of March 20, 2000. As a
result, Mr. Jobs, acting alone, is able to exercise sole discretion over all
matters requiring shareholder approval, including the election of the entire
board of directors and approval of significant corporate transactions, including
an acquisition of Pixar. Such concentration of ownership may also have the
effect of delaying or preventing a change in control of Pixar, impeding a
merger, consolidation, takeover or other business combination involving Pixar,
or discouraging a potential acquirer from making a tender offer or otherwise
attempting to obtain control of Pixar.

RISK OF SUBSTANTIAL ADDITIONAL COSTS RELATED TO FACILITIES EXPANSION

     At January 1, 2000, we had incurred capital expenditures of approximately
$54.2 million to purchase and begin development of approximately 15 acres of
land in Emeryville, California to build a new headquarters and studio facility.
To complete the construction of the facility, we currently expect to incur
capital expenditures of approximately $34.2 million in 2000. Due to changes in
construction, design and/or other specifications, which may or may not be at the
discretion of management and are often difficult to predict, we cannot provide
any assurances that construction of the new studio facility can be completed
within these specified amounts. On March 16, 2000, Pixar purchased an existing
building on 1.76 acres in Emeryville for $7.6 million. While it was purchased
for potential future expansion, the building will serve as a rental property, is
occupied by commercial tenants and is expected to generate rental income. To
date, we have chosen to use our existing cash resources to fund facility-related
costs. We may continue to use our cash resources for such expenditures, or may
choose to finance such capital expenditures through the issuance of additional
equity or debt securities, by obtaining a credit facility or by some other
financing mechanism. If we choose to seek financing for such expenditures, we
cannot provide any assurances that such financing will be available on terms
reasonably acceptable to us or at all. See "-- Liquidity Risks" and "Properties"
herein and "Management's Discussion and Analysis of Financial Condition and
Results of Operations -- Liquidity and Capital Resources" in the 1999 Annual
Report to Shareholders.

WE DEPEND ON TECHNOLOGICAL ADVANCEMENT TO BE SUCCESSFUL

     Substantially all of our revenues have been derived, and substantially all
of our future revenues are expected to be derived, from the use and license of
our proprietary technologies. We expect that we will be required to enhance
these technologies and to develop new technologies in order to be successful in
our
                                       28
<PAGE>   29

industry and in the licensing of our RenderMan software. We cannot provide any
assurances that we will be successful in enhancing our existing technologies or
in developing and utilizing new technologies, or that competitors will not
develop technology that is equivalent or superior to our technologies or that
makes our technologies obsolete. If we are unable to develop enhancements to our
existing technologies or new technologies as required, our business, operating
results or financial condition could be materially adversely affected. See
"Business -- Technology" and "Business -- Competition -- Movie Studios."

WE DEPEND ON PROPRIETARY RIGHTS

     NO ASSURANCE THAT EFFORTS TO PROTECT PROPRIETARY TECHNOLOGIES WILL SUCCEED

     Our success and ability to compete is dependent in part upon our
proprietary technology. While we rely on a combination of patents, copyright and
trade secret protection, nondisclosure agreements and cross-licensing
arrangements to establish and protect our proprietary rights, we believe that
factors such as the technical and creative skills of our personnel are more
essential to our success and ability to compete. We currently own fourteen
patents issued in the United States and seven issued in foreign countries. In
addition, we have a number of patent applications pending in the United States
and in foreign countries. We cannot provide any assurances that patents will
issue from any of these pending applications or that, if patents do issue, any
claims allowed will be sufficiently broad to protect our technology. In
addition, we cannot provide any assurances that any patents that have been
issued to us, or that we may license from third parties, will not be challenged,
invalidated or circumvented, or that any rights granted thereunder would provide
us with any proprietary protection. Failure of the patents to provide protection
of our technology may make it easier for our competitors to offer technology
equivalent to or superior to our technology. See "Business -- Proprietary
Rights."

     The source code for our proprietary software is protected both as trade
secrets and as a copyrighted work. We generally enter into confidentiality or
license agreements with our employees, consultants and vendors, and generally
control access to and distribution of our software, documentation and other
proprietary information. Despite these precautions, it may be possible for a
third party to copy or otherwise obtain and use our proprietary information,
products or technology without authorization, or to develop similar or superior
technology independently. Policing unauthorized use of our products is
difficult. In addition, effective copyright and trade secret protection may be
unavailable or limited in certain foreign countries. To license our RenderMan
software product, we primarily rely on "shrink wrap" licenses that are not
signed by the end-user and, therefore, may be unenforceable under the laws of
certain jurisdictions. We cannot provide any assurances that the steps we take
will prevent misappropriation of our technology or that our confidentiality or
license agreements will be enforceable. See "Business -- Proprietary Rights."

     RISK THAT LITIGATION WILL BE REQUIRED TO ENFORCE PROPRIETARY RIGHTS

     Litigation may be necessary in the future to enforce our intellectual
property rights, to protect our trade secrets, to determine the validity and
scope of the proprietary rights of others, or to defend against claims of
infringement or invalidity. Any such litigation could result in substantial
costs and diversion of resources and could have a material adverse effect on our
business, operating results or financial condition. See "Business -- Proprietary
Rights."

     RISK OF INFRINGEMENT CLAIMS

     One of the risks of the film production business is the possibility of
claims that our productions infringe the intellectual property rights of third
parties with respect to previously developed films, stories, characters or other
entertainment. In addition, our technology and software may be subject to
patent, copyright or other intellectual property claims of third parties. We
have received, and are likely to receive in the future, notice of claims of
infringement of other parties' proprietary rights. There can be no assurance
that infringement or invalidity claims (or claims for indemnification resulting
from infringement claims) will not be asserted or prosecuted against us, or that
any assertions or prosecutions will not materially adversely affect our
business, financial condition or results of operations. Irrespective of the
validity or the successful assertion of such

                                       29
<PAGE>   30

claims, we would incur significant costs and diversion of resources with respect
to the defense thereof which could have a material adverse effect on our
business, financial condition or results of operations. If any claims or actions
are asserted against us, we may seek to obtain a license under a third party's
intellectual property rights. We cannot provide any assurances, however, that
under such circumstances a license would be available on reasonable terms or at
all. See "Business -- Proprietary Rights."

    NO ASSURANCE THAT THIRD PARTY TECHNOLOGY LICENSES WILL CONTINUE TO BE
    AVAILABLE

     We also rely on certain technology that we license from third parties,
including software that we integrate and use with our internally developed
software. We cannot provide any assurances that these third party technology
licenses will continue to be available to us on commercially reasonable terms.
The loss of or inability to maintain any of these technology licenses could
result in delays in feature film releases or product releases until equivalent
technology could be identified, licensed and integrated. Any such delays in
feature film releases or product releases could materially adversely affect our
business, operating results and financial condition. See
"Business -- Proprietary Rights."

POSSIBLE VOLATILITY OF SHARE PRICE AND RISK OF LITIGATION

     The market price of our Common Stock is highly volatile and is subject to
wide fluctuations in response to a wide variety of factors including the
publication of box office results for our feature films and those of our
competitors, fluctuations in our quarterly or annual results of operations,
changes in financial estimates by securities analysts, announcements made by us,
Disney, or our competitors, budget increases, delays in or cancellation of
feature film or other product release dates, or other events or factors. For
example, since January 2, 1999, our Common Stock has closed as low as $33.50 and
as high as $50 per share. Moreover, in recent years, the stock market in
general, and the shares of technology companies in particular, have experienced
extreme price and volume fluctuations, some of which have been unrelated or
disproportionate to the operating performances of such companies. These broad
market and industry fluctuations may adversely affect the market price of our
Common Stock. In the past, following periods of volatility in the market price
of a company's securities, securities class action litigation has often been
instituted against such a company. If brought against Pixar, such litigation
could result in substantial costs and a diversion of management's attention and
resources, which could have a material adverse effect on our business, operating
results or financial condition. See "Market for Registrant's Common Stock and
Related Shareholder Matters."

ITEM 2. PROPERTIES

     Pixar leases approximately 128,000 square feet of office space in Richmond,
California. The related leases expire on various dates ranging from September
2000 to July 2002.

     As of January 1, 2000, Pixar had incurred total capital expenditures of
approximately $54.2 million to purchase and begin construction on approximately
15 acres of land in Emeryville, California for a new headquarters and studio
facility. Pixar expects to incur capital expenditures of approximately $34.2
million in 2000 to complete the project. Pixar's current expectation is to move
into the new facility in fall 2000. On March 16, 2000, Pixar purchased an
existing building on 1.76 acres in Emeryville for $7.6 million. While it was
purchased for potential future expansion, the building will serve as a rental
property, is occupied by commercial tenants and is expected to generate rental
income. To date, Pixar has chosen to use its existing cash resources to fund
facility-related costs. Pixar may continue to use its cash resources for such
expenditures, or may choose to finance such capital expenditures through the
issuance of additional equity or debt securities, by obtaining a credit facility
or by some other financing mechanism. See "Risk Factors -- Risk of Substantial
Additional Costs Related to Facilities Expansion" and "Management's Discussion
and Analysis of Financial Condition and Results of Operations -- Liquidity and
Capital Resources" in the 1999 Annual Report to Shareholders.

                                       30
<PAGE>   31

ITEM 3. LEGAL PROCEEDINGS

     We are involved in claims arising in the ordinary course of business. We
believe these matters will be resolved without material adverse effect on our
financial position or cash flows.

ITEM 4. SUBMISSION OF MATTERS TO A VOTE OF SECURITY HOLDERS

     Not applicable.

                                       31
<PAGE>   32

                       EXECUTIVE OFFICERS OF THE COMPANY

     The executive officers of Pixar and their ages as of March 20, 2000 are as
follows:

<TABLE>
<CAPTION>
             NAME                AGE                              POSITION
             ----                ---                              --------
<S>                              <C>   <C>
Steve Jobs.....................  45    Chairman and Chief Executive Officer
Edwin E. Catmull...............  54    Executive Vice President and Chief Technical Officer
Ann Mather.....................  39    Executive Vice President, Chief Financial Officer and Secretary
John Lasseter..................  43    Executive Vice President, Creative Development
Sarah McArthur.................  43    Executive Vice President, Production
</TABLE>

     Pixar's executive officers are appointed by, and serve at the discretion
of, the Board of Directors. Each executive officer is an employee of Pixar.
There is no family relationship between any executive officer or director of
Pixar.

     Mr. Jobs is a co-founder of Pixar and has served as its Chairman since
March 1991 and as its Chief Executive Officer since 1986. He has been a director
of Pixar since 1986. In addition, Mr. Jobs currently serves as Chief Executive
Officer and as a member of the Board of Directors of Apple Computer, Inc.
("Apple"). Mr. Jobs was also a co-founder of NeXT Software, Inc. ("NeXT"), which
developed and marketed object-oriented software for client/server business
applications and the Internet, and served as the Chairman and Chief Executive
Officer of NeXT from October 1985 until February 1997, when NeXT was acquired by
Apple. Mr. Jobs then served as an advisor on a limited basis, then interim Chief
Executive Officer to Apple until assuming his current role as Chief Executive
Officer of Apple.

     Dr. Catmull is a co-founder of Pixar and has served as Executive Vice
President and Chief Technical Officer since June 1995. From March 1991 to
February 1995, he served as President, from November 1988 to March 1991 he
served as Chairman and from February 1986 to November 1988 he served as
President. Prior to joining Pixar, he was Vice President of the Computer
Division of Lucasfilm. Dr. Catmull received the Scientific and Engineering Award
from The Academy of Motion Picture Arts and Sciences in 1992 and also received
the SIGGRAPH Coons Award for lifetime contributions in 1993. Dr. Catmull is a
member of the Scientific and Technical Awards Committee of The Academy of Motion
Picture Arts and Sciences. Dr. Catmull received B.S. degrees in computer science
and physics and a Ph.D. in computer science from the University of Utah.

     Ms. Mather has served as Executive Vice President and Chief Financial
Officer since September 1999. Ms. Mather has served as Secretary of Pixar since
October 1999. Prior to joining Pixar, she was Executive Vice President and Chief
Financial Officer of Village Roadshow Pictures. From 1992 to 1999, Ms. Mather
held various executive positions at The Walt Disney Company including Senior
Vice President of Finance and Administration of its Buena Vista International
Theatrical Division (the division that markets and distributes all of Disney's
theatrical films outside of the U.S. and Canada). From 1991 to 1992, she was the
European Controller for Alico, a division of AIG, Inc. From 1989 to 1991, she
was Director of Finance for Polo Ralph Lauren Europe and from 1984 to 1988, Ms.
Mather was at Paramount Pictures Corporation where she held various executive
positions in London, Amsterdam and New York. Ms. Mather is a graduate of
Cambridge University in England and is a chartered public accountant.

     Mr. Lasseter has served as Vice President, Creative Development since
August 1991 and was promoted to Executive Vice President, Creative Development
on February 4, 1999. Mr. Lasseter was Co-Director of Toy Story 2 in addition to
serving as creative head of Pixar's other films and projects. Mr. Lasseter
joined Pixar in February 1986 as Animator/Director. From 1984 to 1986, he was an
animator at Lucasfilm and from 1979 to 1984, he worked as an animator at The
Walt Disney Company. For his work in directing Toy Story, Mr. Lasseter received
an Academy Award in 1996 for Special Achievement, and for his work in directing
Tin Toy, Mr. Lasseter received an Academy Award in 1988 for Best Short Film
(Animated). Mr. Lasseter received a B.F.A. degree in film from the California
Institute of the Arts.

     Ms. McArthur has served as Vice President, Production since May 1997 and
was promoted to Executive Vice President, Production on February 4, 1999. Ms.
McArthur oversees all Pixar production teams and

                                       32
<PAGE>   33

manages all aspects of making the films. From 1989 to April 1997, Ms. McArthur
worked at The Walt Disney Company, where she was most recently Vice President of
Production for Disney Feature Animation, overseeing the production of feature
animation films in Disney's Burbank, Florida and Paris studios. During Ms.
McArthur's eight years at Disney, she was the Production Manager on The Rescuers
Down Under, went on to be the Associate Producer on Beauty and the Beast and an
Executive Producer on The Lion King. She was appointed Director of Production in
late 1991 and promoted to Vice President of Production in 1994. Prior to working
at Disney, Ms. McArthur worked at the Mark Taper Forum as their Production
Manager of special projects. Ms. McArthur earned her B.A. degree in Theatre from
the University of California, Santa Barbara, and she attended Carnegie-Mellon
University's M.F.A. program in Theater Arts.

                                       33
<PAGE>   34

                                    PART II

ITEM 5. MARKET FOR REGISTRANT'S COMMON STOCK AND RELATED SHAREHOLDER MATTERS

     Pixar's Common Stock trades on The Nasdaq Stock Market's Nasdaq National
Market under the trading symbol "PIXR." The following table sets forth the high
and low sale prices per share of Pixar's Common Stock for the periods indicated.

<TABLE>
<CAPTION>
                                                                HIGH          LOW
                                                              ---------    ---------
<S>                                                           <C>          <C>
1998
  First Quarter.............................................  $38          $20 1/4
  Second Quarter............................................  $65 5/8      $33 3/4
  Third Quarter.............................................  $66          $27 1/2
  Fourth Quarter............................................  $53 3/4      $31
1999
  First Quarter.............................................  $45          $36 1/16
  Second Quarter............................................  $49 3/4      $33 5/8
  Third Quarter.............................................  $49 7/8      $33 1/2
  Fourth Quarter............................................  $50          $35 3/8
2000
  First Quarter (through March 20, 2000)....................  $39 7/8      $35 7/16
</TABLE>

     As of March 20, 2000, Pixar had approximately 2,928 shareholders of record.
The price for the Common Stock as of the close of business on March 20, 2000 was
$37.4375 per share. Pixar has never paid any cash dividends on its Common Stock.
Pixar intends to retain any earnings for use in its business and does not
anticipate paying any cash dividends on its Common Stock in the foreseeable
future.

ITEM 6. SELECTED FINANCIAL DATA

     The information required by this item is incorporated by reference to the
section entitled "Selected Financial Data" in the 1999 Annual Report to
Shareholders and has been filed as an exhibit to this Annual Report on Form
10-K.

ITEM 7.MANAGEMENT'S DISCUSSION AND ANALYSIS OF FINANCIAL CONDITION AND RESULTS
       OF OPERATIONS

     The information required by this item is incorporated by reference to the
section entitled "Management's Discussion and Analysis of Financial Condition
and Results of Operations" in the 1999 Annual Report to Shareholders and has
been filed as an exhibit to this Annual Report on Form 10-K.

ITEM 8. FINANCIAL STATEMENTS AND SUPPLEMENTARY DATA

     The information required by this item is incorporated by reference to the
section entitled "Financial Statements and Selected Financial Data" in the 1999
Annual Report to Shareholders and has been filed as an exhibit to this Annual
Report on Form 10-K.

ITEM 9.CHANGES IN AND DISAGREEMENTS WITH ACCOUNTANTS ON ACCOUNTING AND FINANCIAL
       DISCLOSURE

     Not applicable.

                                       34
<PAGE>   35

                                    PART III

ITEM 10. DIRECTORS AND EXECUTIVE OFFICERS OF THE COMPANY

DIRECTORS

     The members of Pixar's Board of Directors as of March 20, 2000 are as
follows:

<TABLE>
<CAPTION>
                  NAME                    AGE                   POSITION WITH PIXAR
                  ----                    ---                   -------------------
<S>                                       <C>   <C>
Steve Jobs..............................  45    Chairman and Chief Executive Officer
Jill E. Barad...........................  48    Director
Skip M. Brittenham......................  58    Director
Edwin E. Catmull........................  54    Executive Vice President and Chief Technical Officer
Joseph A. Graziano......................  56    Director
Lawrence B. Levy........................  40    Director
Larry W. Sonsini........................  59    Director
</TABLE>

     Mr. Jobs is a co-founder of Pixar and has served as its Chairman since
March 1991, as its Chief Executive Officer since February 1986. He has been a
director of Pixar since February 1986. In addition, Mr. Jobs is currently Chief
Executive Officer and a member of the Board of Directors of Apple Computer, Inc.
("Apple"). Mr. Jobs was also a co-founder of NeXT Software, Inc. ("NeXT"), which
developed and marketed object-oriented software for client/server business
applications and the Internet, and served as the Chairman and Chief Executive
Officer of NeXT from October 1985 until February 1997, when NeXT was acquired by
Apple. Mr. Jobs then served as an advisor to Apple on a limited basis and served
as interim Chief Executive Officer until assuming his current role as Chief
Executive Officer at Apple.

     Ms. Barad has served as a director of Pixar since July 1997. She was
formerly the Chairman and Chief Executive Officer of Mattel, Inc. from January
1998 to February 2000. From January 1997 to December 1997, she was President and
Chief Executive Officer of Mattel, Inc., and from July 1992 until December 1996,
she was President and Chief Operating Officer.

     Mr. Brittenham has served as a director of Pixar since August 1995. He has
been an attorney with the law firm of Ziffren, Brittenham, Branca & Fischer, an
entertainment law firm, since 1978. Mr. Brittenham currently serves on the board
of, or is a trustee of, numerous charitable organizations, including
Conservation International, the American Oceans Campaign, the Environmental
Media Association and the Alternative Medical AIDS Foundation. Mr. Brittenham
received a B.S. from the United States Air Force Academy and a J.D. from the
University of California at Los Angeles.

     Dr. Catmull is a co-founder of Pixar and has served as Executive Vice
President and Chief Technical Officer since June 1995. From March 1991 to
February 1995, he served as President, from November 1988 to March 1991 he
served as Chairman and from February 1986 to November 1988 he served as
President. Prior to joining Pixar, he was Vice President of the Computer
Division of Lucasfilm. Dr. Catmull received the Scientific and Engineering Award
from The Academy of Motion Picture Arts and Sciences in 1992 and also received
the SIGGRAPH Coons Award for lifetime contributions in 1993. Dr. Catmull is a
member of the Scientific and Technical Awards Committee of The Academy of Motion
Picture Arts and Sciences. Dr. Catmull received B.S. degrees in computer science
and physics and a Ph.D. in computer science from the University of Utah.

     Mr. Graziano has served as a director of Pixar since August 1995. From June
1989 to December 1995, he was the Executive Vice President and Chief Financial
Officer of Apple and was a member of the Board of Directors of Apple from June
1993 until October 1995. From May 1987 to June 1989, Mr. Graziano served as
Chief Financial Officer of Sun Microsystems, Inc. and from October 1981 to May
1985 as Chief Financial Officer of Apple. In addition, he has held accounting
positions with various technology companies in the Silicon Valley. Mr. Graziano
also serves as a director of Carrier Access Corporation, Packeteer, Inc. and
Talk City, Inc. Mr. Graziano received a B.S. in accounting from Merrimack
College and is a certified public accountant.

                                       35
<PAGE>   36

     Mr. Levy has served as a director of Pixar since April 1999. In March 2000,
Mr. Levy became Chief Financial Officer and a director of myCustoms.com, a
start-up in the business of building an online, realtime system for enabling
global e-commerce. Mr. Levy served as Executive Vice President and Chief
Financial Officer of Pixar from February 1995 to March 1999. Mr. Levy served as
Secretary of Pixar from October 1995 to March 1999. Prior to joining Pixar, he
was Vice Chairman and Chief Financial Officer of Electronics for Imaging, Inc.
(EFI), a provider of hardware products for the digital color imaging market.
Prior to his tenure at EFI, he was head of the Technology Licensing and
Distribution Department at the law firm of Wilson Sonsini Goodrich and Rosati.
Mr. Levy received a B.S. in business and accounting from Indiana University and
a J.D. from Harvard Law school.

     Mr. Sonsini has served as a director of Pixar since April 1995 and served
as Secretary from April 1995 to October 1995. He has been an attorney with the
law firm of Wilson Sonsini Goodrich & Rosati since 1966 and currently serves as
the Chairman of the firm's Executive Committee. Mr. Sonsini also serves as a
director of Lattice Semiconductor Corporation and Novell, Inc. Mr. Sonsini
received A.B. and L.L.B. degrees from the University of California, Berkeley.

EXECUTIVE OFFICERS

     The information required by this item concerning the executive officers of
Pixar is incorporated by reference to the information set forth in the section
entitled "Executive Officers of the Company" at the end of Part I of this Form
10-K.

SECTION 16(a) BENEFICIAL OWNERSHIP REPORTING COMPLIANCE

     Section 16(a) of the Exchange Act ("Section 16(a)") requires Pixar's
executive officers, directors and persons who own more than ten percent of
Pixar's Common Stock, to file initial reports of ownership on Form 3 and changes
in ownership on Form 4 or Form 5 with the SEC and the National Association of
Securities Dealers, Inc. Such executive officers, directors and ten-percent
shareholders are also required by SEC rules to furnish Pixar with copies of all
such forms that they file.

     Based solely on its review of the copies of such forms received by Pixar
and written representations from certain reporting persons that no Forms 5 were
required for such persons, Pixar believes that during fiscal 1999 all Section
16(a) filing requirements applicable to its executive officers, directors and
ten-percent shareholders were complied with.

                                       36
<PAGE>   37

ITEM 11. EXECUTIVE COMPENSATION

SUMMARY COMPENSATION TABLE

     The following table shows, as to the Chief Executive Officer and each of
the five most highly compensated executive officers whose salary plus bonus
exceeded $100,000 during the last fiscal year (the "Named Officers"),
information concerning compensation paid for services to Pixar in all capacities
during the last three fiscal years.

<TABLE>
<CAPTION>
                                                                                     LONG TERM
                                                                                    COMPENSATION
                                                                                       AWARDS
                                                                                    ------------
                                                           ANNUAL COMPENSATION       SECURITIES
                                                         -----------------------     UNDERLYING
          NAME AND PRINCIPAL POSITION            YEAR    SALARY($)     BONUS($)      OPTIONS(#)
          ---------------------------            ----    ---------    ----------    ------------
<S>                                              <C>     <C>          <C>           <C>
Steve Jobs.....................................  1999    $     52     $       --           --
Chairman, Chief Executive Officer                1998          50             --           --
                                                 1997          --             --           --

Edwin E. Catmull...............................  1999     322,596         54,167           --
Executive Vice President, Chief Technical
  Officer                                        1998     295,846             --           --
                                                 1997     208,539             --           --

Ann Mather(1)..................................  1999     124,617        203,600           --
Executive Vice President, Chief Financial
  Officer                                        1998         N/A            N/A          N/A
                                                 1997         N/A            N/A          N/A

John Lasseter..................................  1999     806,726        900,000           --
Executive Vice President, Creative Development   1998     769,315        250,000           --
                                                 1997     625,903      1,250,000      125,000

Sarah McArthur(2)..............................  1999     322,596         54,167           --
Executive Vice President, Production             1998     300,000             --      200,000
                                                 1997     196,148             --      200,000
</TABLE>

---------------
(1) Ms. Mather joined Pixar in September 1999.

(2) Ms. McArthur joined Pixar in February 1997.

OPTION GRANTS IN LAST FISCAL YEAR

     The following table shows, as to each of the Named Officers, information
concerning stock options granted during fiscal year 1999.

<TABLE>
<CAPTION>
                                       OPTION GRANTS IN FISCAL 1999
                       ------------------------------------------------------------
                       INDIVIDUAL GRANTS
                       ------------------                                             POTENTIAL REALIZABLE VALUE AT
                                               % OF TOTAL                                ASSUMED ANNUAL RATES OF
                           NUMBER OF            OPTIONS                               STOCK PRICE APPRECIATION FOR
                           SECURITIES          GRANTED TO     EXERCISE                       OPTION TERM(4)
                       UNDERLYING OPTIONS     EMPLOYEES IN     PRICE     EXPIRATION   -----------------------------
        NAME               GRANTED(1)        FISCAL YEAR(2)    ($/SH)     DATE(3)          5%              10%
        ----           ------------------    --------------   --------   ----------   -------------   -------------
<S>                    <C>                   <C>              <C>        <C>          <C>             <C>
Steve Jobs...........            --                 --%        $   --          --      $        --     $        --
Edwin E. Catmull.....            --                 --             --          --               --              --
Ann Mather...........       500,000(5)            23.8          33.94      9/7/09       10,671,556      27,043,817
John Lasseter........            --                 --             --          --               --              --
Sarah McArthur.......            --                 --             --          --               --              --
</TABLE>

---------------
(1) All options in this table were granted under the 1995 Stock Plan and have
    exercise prices equal to the fair market value on the date of grant.

(2) Pixar granted options for 2,100,077 shares of Common Stock to employees in
    fiscal 1999.

                                       37
<PAGE>   38

(3) Options may terminate before their expiration upon the termination of
    optionee's status as an employee or consultant, the optionee's death or an
    acquisition of Pixar.

(4) The 5% and 10% assumed rates of appreciation are provided in accordance with
    rules of the SEC and do not represent Pixar's estimate or projection of the
    future Common Stock price. This table does not take into account any
    appreciation in the price of the Common Stock from the date of grant to
    date.

(5) These options are nonstatutory stock options, which vest over a four-year
    period at the rate of one-fourth at the end of each year from the vesting
    start date.

OPTION EXERCISES AND HOLDINGS

     The following table sets forth, for each of the Named Officers, certain
information concerning stock options exercised during fiscal 1999, and the
number of shares subject to both exercisable and unexercisable stock options as
of January 1, 2000. Also reported are values for "in-the-money" options that
represent the positive spread between the respective exercise prices of
outstanding stock options and the fair market value of Pixar's Common Stock as
of January 1, 2000.

   AGGREGATED OPTION EXERCISES IN FISCAL 1999 AND FISCAL 1999 YEAR-END OPTION
                                     VALUES

<TABLE>
<CAPTION>
                                                  NUMBER OF SECURITIES          VALUE OF UNEXERCISED
                      SHARES                     UNDERLYING UNEXERCISED        IN-THE-MONEY OPTIONS AT
                    ACQUIRED ON     VALUE      OPTIONS AT FISCAL YEAR END       FISCAL YEAR END($)(1)
                     EXERCISE      REALIZED    ---------------------------   ---------------------------
       NAME             (#)          ($)       EXERCISABLE   UNEXERCISABLE   EXERCISABLE   UNEXERCISABLE
       ----         -----------   ----------   -----------   -------------   -----------   -------------
<S>                 <C>           <C>          <C>           <C>             <C>           <C>
Steve Jobs........         --     $       --          --             --      $       --     $       --
Edwin E.
  Catmull.........     83,333      2,988,530      66,667             --       2,345,012             --
Ann Mather........         --             --          --        500,000              --        718,750
John Lasseter.....    260,000     10,663,000     353,542         36,458      11,505,893        774,733
Sarah McArthur....     60,000      2,097,188      54,167        270,833       1,225,528      4,402,597
</TABLE>

---------------
(1) Market value of underlying securities based on the closing price of Pixar's
    Common Stock on December 31, 1999 (the last trading day of fiscal 1999) on
    the Nasdaq National Market of $35.375 minus the exercise price.

EMPLOYMENT AGREEMENTS

     In February 1997, Pixar entered into an employment agreement with John
Lasseter that extends until February 23, 2004. Pursuant to the agreement, Mr.
Lasseter received a signing bonus of $1,250,000 and was granted additional stock
options to purchase 125,000 shares of Pixar's Common Stock which vest over four
years. The agreement provides for a current annual salary of $881,837, with 8%
annual increases. The agreement also provides for the payment of a bonus (the
"Motion Picture Bonus") based upon domestic theatrical box office gross receipts
from feature-length animated motion pictures ("Feature Films") directed by Mr.
Lasseter. Under the agreement, Mr. Lasseter will direct three Feature Films and
has the option to direct certain sequels to Feature Films he directed if Pixar
elects to produce such sequels within twelve years after the initial release of
the applicable picture. During the term of the agreement, Mr. Lasseter is
prohibited from accepting other employment and from becoming financially
interested or associated with any entity engaged in a related or competitive
business. Pixar can terminate the agreement at any time for any reason. However,
if Pixar terminates Mr. Lasseter's employment without cause, Pixar must pay Mr.
Lasseter (i) an amount equal to 75% of the balance of the salary Mr. Lasseter
would have earned through the remainder of the term of the agreement and (ii)
any portion of the Motion Picture Bonus as and if due. In addition, the vesting
of Mr. Lasseter's stock options would accelerate so that they would be
exercisable in full and Mr. Lasseter could accept employment with any third
party.

     In September 1999, Pixar agreed with Ann Mather that in the event that Ms.
Mather is terminated for reasons other than cause during her first 24 months of
employment, Pixar will pay an amount equal to her then-current monthly salary
times the number of months remaining in her first 24 months of employment.

                                       38
<PAGE>   39

DIRECTOR COMPENSATION

     Directors who are not employees of Pixar receive a fee of $1,000 for each
meeting attended of the Board of Directors and a fee of $1,000 for each meeting
attended of a committee of the Board of Directors if such committee meeting is
not held in conjunction with a meeting of the Board of Directors. All directors
are reimbursed for expenses incurred in attending such meetings.

     Non-employee directors are eligible to receive option grants pursuant to
Pixar's 1995 Director Option Plan (the "Director Plan") which was adopted by the
Board of Directors in October 1995, approved by the shareholders in November
1995 and took effect in November 1995. A total of 200,000 shares of Common Stock
has been reserved for issuance under the Director Plan. As of March 20, 2000,
there were 90,000 options outstanding under the Director Plan. The Director Plan
provides for an automatic grant of an option to purchase 30,000 shares of Common
Stock (the "First Option") to each nonemployee director who first becomes a
non-employee director (other than an employee director who ceases to be an
employee but remains a director) after the effective date of the Director Plan
on the date on which such person first becomes a non-employee director.
Beginning on the third anniversary of the date he or she became an outside
director, each nonemployee director will automatically be granted an option to
purchase 10,000 shares of Common Stock (a "Subsequent Option") each year on the
date of such anniversary, provided he or she is then a non-employee director.
Each nonemployee director will be eligible to receive a Subsequent Option,
regardless of whether such non-employee director was eligible to receive a First
Option. First Options and each Subsequent Option will have a term of ten years.
One-third of the shares subject to a First Option will vest one year after its
date of grant and an additional one-third will vest at the end of each year
thereafter, provided that the optionee continues to serve as a director on such
dates. All of the shares subject to a Subsequent Option will vest one year after
the date of the option grant, provided that the optionee continues to serve as a
director on such date. The exercise prices of the First Option and each
Subsequent Option will be 100% of the fair market value per share of Pixar's
Common Stock on the date of the grant of the option. Ms. Barad was granted a
First Option in July 1997 at an exercise price of $15.125 per share. Mr. Sonsini
was granted Subsequent Options in April 1998 at an exercise price of $43.50 per
share and in April 1999 at an exercise price of $40.875 per share. Messrs.
Brittenham and Graziano were each granted Subsequent Options in August 1998 at
an exercise price of $30.75 per share and in August 1999 at an exercise price of
$33.50 per share. Ms. Barad and Mr. Levy, non-employee directors of Pixar, will
be eligible for Subsequent Options under the Director Plan on the third
anniversary of the dates they became directors. Messrs. Sonsini, Brittenham and
Graziano, also non-employee directors, are eligible for Subsequent Options each
year on the anniversary of the dates they became directors.

COMPENSATION COMMITTEE INTERLOCKS AND INSIDER PARTICIPATION

     Pixar's Compensation Committee is currently composed of Ms. Barad and Mr.
Graziano. No interlocking relationships exist between any member of Pixar's
Board of Directors or Compensation Committee and any member of the board of
directors or compensation committee of any other company, nor has any such
interlocking relationship existed in the past. No member of the Compensation
Committee is or was formerly an officer or an employee of Pixar.

                                       39
<PAGE>   40

ITEM 12. SECURITY OWNERSHIP OF CERTAIN BENEFICIAL OWNERS AND MANAGEMENT

     The following table sets forth the beneficial ownership of Common Stock of
Pixar as of March 20, 2000 for the following: (i) each person who is known by
Pixar to own beneficially more than 5% of the outstanding shares of Pixar's
Common Stock; (ii) each of Pixar's directors; (iii) each of the Named Officers;
and (iv) all directors and executive officers of Pixar as a group.

<TABLE>
<CAPTION>
                                                              NUMBER OF    PERCENT OF
                  NAME OF BENEFICIAL OWNER                    SHARES(1)     TOTAL(1)
                  ------------------------                    ----------   ----------
<S>                                                           <C>          <C>
Steve Jobs..................................................  30,000,001      63.8%
c/o Pixar
1001 West Cutting Boulevard
Richmond, CA 94804
The TCW Group, Inc.(2)......................................   3,025,869       6.4
865 South Figueroa St
Los Angeles, CA 90017
Disney Enterprises, Inc.(3).................................   2,500,100       5.3
500 South Buena Vista Street
Burbank, CA 91521
John Lasseter(4)............................................     774,558       1.6
Edwin E. Catmull(5).........................................     442,800       1.0
Sarah McArthur(6)...........................................      75,000         *
Ann Mather..................................................           0         *
Lawrence B. Levy............................................     192,200         *
Larry W. Sonsini(7).........................................      24,528         *
Skip M. Brittenham(8).......................................      40,000         *
Joseph A. Graziano(9).......................................      40,000         *
Jill E. Barad (10)..........................................      21,000         *
All directors and executive officers as a group
  (10 persons)(11)..........................................  31,610,087      66.3%
</TABLE>

---------------
  *  Represents less than 1% of the total.

 (1) Based on 47,033,847 shares outstanding on March 20, 2000. The number and
     percentage of shares beneficially owned is determined under rules of the
     Securities and Exchange Commission ("SEC"), and the information is not
     necessarily indicative of beneficial ownership for any other purpose. Under
     such rules, beneficial ownership includes any shares as to which the
     individual has sole or shared voting power or investment power and also any
     shares which the individual has the right to acquire within sixty days of
     March 20, 2000 through the exercise of any stock option or other right.
     Unless otherwise indicated in the footnotes, each person has sole voting
     and investment power (or shares such powers with his or her spouse) with
     respect to the shares shown as beneficially owned.

 (2) As indicated in the Schedule 13G filed by The TCW Group, Inc. pursuant to
     the Exchange Act on February 11, 2000.

 (3) As indicated in the Schedule 13D filed by Disney Enterprises, Inc. pursuant
     to the Exchange Act on April 18, 1997. Includes 1,500,000 shares issuable
     upon exercise of warrants.

 (4) Includes 363,958 shares subject to options that are exercisable within 60
     days of March 20, 2000.

 (5) Includes 66,667 shares subject to options that are exercisable within 60
     days of March 20, 2000.

 (6) Includes 75,000 shares subject to options that are exercisable within 60
     days of March 20, 2000.

 (7) Includes 20,000 shares subject to options that are exercisable within 60
     days of March 20, 2000.

 (8) Includes 40,000 shares subject to options that are exercisable within 60
     days of March 20, 2000.

 (9) Includes 40,000 shares subject to options that are exercisable within 60
     days of March 20, 2000.

(10) Includes 20,000 shares subject to options that are exercisable within 60
     days of March 20, 2000.

(11) Includes 625,625 shares subject to options that are exercisable within 60
     days of March 20, 2000.

                                       40
<PAGE>   41

ITEM 13. CERTAIN RELATIONSHIPS AND RELATED TRANSACTIONS

     Pixar has engaged the law firm of Ziffren, Brittenham, Branca & Fischer
("ZBB&F") to handle certain matters. Skip M. Brittenham, a director of Pixar, is
a senior partner of the firm. Pixar has also engaged the law firm of Wilson
Sonsini Goodrich & Rosati ("WSGR") to handle certain legal matters. Larry W.
Sonsini, a director of Pixar, is a member of the firm. Payments by Pixar to each
of ZBB&F and WSGR did not exceed five percent of either law firm's respective
gross revenues in the last fiscal year of either such firm.

     Pixar believes that all of the transactions set forth above were made on
terms no less favorable to Pixar than could have been obtained from unaffiliated
third parties. All future transactions, including loans, between Pixar and its
officers, directors and principal shareholders and their affiliates will be
approved by a majority of the Board of Directors, including a majority of the
independent and disinterested directors of the Board of Directors, and will be
on terms no less favorable to Pixar than could be obtained from unaffiliated
third parties.

                                       41
<PAGE>   42

                                    PART IV

ITEM 14. EXHIBITS, FINANCIAL STATEMENT SCHEDULES AND REPORTS ON FORM 8-K

(a) The following documents are filed as part of this Form 10-K:

<TABLE>
    <S>  <C>                                                             <C>
    1.   Financial Statements. The following financial statements of Pixar
         and the Independent Auditors' Report thereon are incorporated by
         reference to the portions of Pixar's 1999 Annual Report to
         Shareholders filed as Exhibit 13.1 to this Form 10-K:
         Independent Auditors' Report................................
         Balance Sheets as of January 2, 1999 and January 1, 2000....
         Statements of Operations for the years ended December 31,
         1997, January 2, 1999 and January 1, 2000...................
         Statements of Shareholders' Equity for the years ended
         December 31, 1997, January 2, 1999 and January 1, 2000......
         Statements of Cash Flows for the years ended December 31,
         1997, January 2, 1999 and January 1, 2000...................
         Notes to Financial Statements...............................
    2.   Financial Statement Schedule. The following financial statement
         schedule of Pixar for the years ended December 31, 1997, January 2,
         1999 and January 1, 2000 is filed as part of this Form 10-K and
         should be read in conjunction with the Financial Statements, and
         related notes thereto, of Pixar.
         Independent Auditors' Report on Financial Statement
         Schedule....................................................    S-1
         Schedule II -- Valuation and Qualifying Accounts and
         Reserves....................................................    S-2
         Schedules not listed above have been omitted since they are
         either not required, not applicable, or the information is
         otherwise included.
    3.   Exhibits: See Item 14(c) below.
</TABLE>

(b) Reports on Form 8-K. No Reports on Form 8-K were filed during the fourth
    quarter ended January 1, 2000.

(c) Exhibits. The exhibits listed on the accompanying index to exhibits
    immediately following the financial statement schedule are filed as part of,
    or incorporated by reference into, this Form 10-K.

(d) Financial Statement Schedules. See Item 14(a) above.

                                       42
<PAGE>   43

                                   SIGNATURES

     Pursuant to the requirements of Section 13 or 15(d) of the Securities
Exchange Act of 1934, the Registrant has duly caused this Form 10-K to be signed
on its behalf by the undersigned, thereunto duly authorized, on this 29th day of
March, 2000.

                                          PIXAR

                                          By:       /s/ ANN MATHER
                                          --------------------------------------
                                          Ann Mather
                                          Executive Vice President and Chief
                                          Financial Officer

                               POWER OF ATTORNEY

     KNOW ALL THESE PERSONS BY THESE PRESENTS, that each person whose signature
appears below constitutes and appoints Steve Jobs, Ann Mather and Edwin E.
Catmull and each of them, jointly and severally, his or her attorneys-in-fact,
each with full power of substitution, for him or her in any and all capacities,
to sign any and all amendments to this Form 10-K, and to file the same, with
exhibits thereto and other documents in connection therewith, with the
Securities and Exchange Commission, hereby ratifying and confirming all that
each said attorneys-in-fact or his substitute or substitutes, may do or cause to
be done by virtue hereof.

     Pursuant to the requirements of the Securities Exchange Act of 1934, this
Form 10-K has been signed below by the following persons on behalf of the
Registrant and in the capacities and on the dates indicated:

<TABLE>
<CAPTION>
                       SIGNATURE                                      TITLE                   DATE
                       ---------                                      -----                   ----
<S>                                                       <C>                            <C>
                     /s/ STEVE JOBS                         Chairman of the Board and    March 29, 2000
--------------------------------------------------------     Chief Executive Officer
                       Steve Jobs                         (Principal Executive Officer)

                     /s/ ANN MATHER                       Executive Vice President and   March 29, 2000
--------------------------------------------------------     Chief Financial Officer
                       Ann Mather                           (Principal Financial and
                                                               Accounting Officer)

                   /s/ JILL E. BARAD                                Director             March 29, 2000
--------------------------------------------------------
                     Jill E. Barad

                 /s/ SKIP M. BRITTENHAM                             Director             March 29, 2000
--------------------------------------------------------
                   Skip M. Brittenham

                  /s/ EDWIN E. CATMULL                              Director             March 29, 2000
--------------------------------------------------------
                    Edwin E. Catmull

                 /s/ JOSEPH A. GRAZIANO                             Director             March 29, 2000
--------------------------------------------------------
                   Joseph A. Graziano

                  /s/ LAWRENCE B. LEVY                              Director             March 29, 2000
--------------------------------------------------------
                    Lawrence B. Levy

                  /s/ LARRY W. SONSINI                              Director             March 29, 2000
--------------------------------------------------------
                    Larry W. Sonsini
</TABLE>

                                       43
<PAGE>   44

                    INDEPENDENT AUDITORS' REPORT ON SCHEDULE

The Board of Directors and Shareholders
Pixar:

     Under date of February 2, 2000, we reported on the balance sheets of Pixar
as of January 2, 1999 and January 1, 2000, and the related statements of
operations, shareholders' equity, and cash flows for each of the years in the
three-year period ended January 1, 2000, which are incorporated by reference in
the annual report on Form 10-K. In connection with our audits of the
aforementioned financial statements, we also audited the related financial
statement schedule included herein. This financial statement schedule is the
responsibility of Pixar's management. Our responsibility is to express an
opinion on this financial statement schedule based on our audits.

     In our opinion, such financial statement schedule, when considered in
relation to the basic financial statements taken as a whole, presents fairly, in
all material respects, the information set forth therein.

                                          /s/ KPMG LLP

San Francisco, California
February 2, 2000

                                       S-1
<PAGE>   45

                                     PIXAR

         SCHEDULE II -- VALUATION AND QUALIFYING ACCOUNTS AND RESERVES
                                 (IN THOUSANDS)

<TABLE>
<CAPTION>
                                                BALANCE AT                  DEDUCTIONS:
                                                BEGINNING                  WRITE OFFS OF    BALANCE AT
                CLASSIFICATION                   OF YEAR      ADDITIONS      ACCOUNTS       END OF YEAR
                --------------                  ----------    ---------    -------------    -----------
<S>                                             <C>           <C>          <C>              <C>
Allowance for returns and doubtful accounts
  Year ended December 31, 1997................     $259         $100           $(102)          $257
                                                   ====         ====           =====           ====
  Year ended January 2, 1999..................     $257         $ --           $ (28)          $229
                                                   ====         ====           =====           ====
  Year ended January 1, 2000..................     $229         $ --           $  (5)          $224
                                                   ====         ====           =====           ====
</TABLE>

                                       S-2
<PAGE>   46

                               INDEX TO EXHIBITS

<TABLE>
<CAPTION>
EXHIBIT
NUMBER                              EXHIBITS
-------                             --------
<S>       <C>
 3.1      Amended and Restated Articles of Incorporation (which is
          incorporated herein by reference to Exhibit 3.3 to the
          Registrant's Form S-1 Registration Statement No. 33-97918).
 3.4      Amended and Restated Bylaws, as amended (which is
          incorporated herein by reference to Exhibit 3.4 to the
          Registrant's Quarterly Report on Form 10-Q for the quarter
          ended June 30, 1997.
 4.1      See Exhibit 3.1.
 4.2      See Exhibit 3.4.
 4.5      Specimen Common Stock Certificate (which is incorporated
          herein by reference to Exhibit 4.5 to the Registrant's Form
          S-1 Registration Statement No. 33-97918).
 4.6      Common Stock and Warrant Purchase Agreement between the
          Registrant and Disney Enterprises, Inc. dated as of February
          23, 1997 (which is incorporated herein by reference to
          Exhibit 4.6 to the Registrant's Annual Report on Form 10-K
          for the year ended December 31, 1996).
 4.7      Form of Common Stock Purchase Warrant to be issued to Disney
          Enterprises, Inc. (which is incorporated herein by reference
          to Exhibit 4.7 to the Registrant's Annual Report on Form
          10-K for the year ended December 31, 1996).
 4.8      Form of Registration Rights Agreement by and between the
          Registrant and Disney Enterprises, Inc. (which is
          incorporated herein by reference to Exhibit 4.8 to the
          Registrant's Annual Report on Form 10-K for the year ended
          December 31, 1996).
10.1*     1995 Stock Plan, as amended (which is incorporated herein by
          reference to Exhibit 10.1 to the Registrant's Quarterly
          Report on Form 10-Q for the quarter ended June 30, 1998).
10.2*     1995 Director Option Plan (which is incorporated herein by
          reference to Exhibit 10.2 to the Registrant's Form S-1
          Registration Statement No. 33-97918).
10.3*     Form of Indemnification Agreement entered into between the
          Registrant and each of the executive officers and directors
          (which is incorporated herein by reference to Exhibit 10.3
          to the Registrant's Form S-1 Registration Statement No.
          33-97918).
10.4      Agreement between the Registrant and Walt Disney Pictures
          dated May 3, 1991, as amended (which is incorporated herein
          by reference to Exhibit 10.4 to the Registrant's Form S-1
          Registration Statement No. 33-97918).(1)
10.5      Net Office Lease between the Registrant and Point Richmond
          R&D Associates dated February 15, 1990, as amended (which is
          incorporated herein by reference to Exhibit 10.5 to the
          Registrant's Form S-1 Registration Statement No. 33-97918).
10.6      Patent License Agreement between the Registrant and
          Microsoft Corporation dated June 21, 1995 (which is
          incorporated herein by reference to Exhibit 10.7 to the
          Registrant's Form S-1 Registration Statement No.
          33-97918.(1)
10.7*     Employment Agreement between the Registrant and John
          Lasseter dated February 24, 1997 (which is incorporated
          herein by reference to Exhibit 10.10 to the Registrant's
          Annual Report on Form 10-K for the year ended December 31,
          1996).(1)
10.8      Patent License Agreement between the Registrant and Silicon
          Graphics, Inc. dated March 12, 1996 (which is incorporated
          herein by reference to Exhibit 10.14 to the Registrant's
          Annual Report on Form 10-K for the year ended December 31,
          1995).
10.9      Net Office Lease between the Registrant and Point Richmond
          R&D Associates dated November 7, 1995 (which is incorporated
          herein by reference to Exhibit 10.15 to the Registrant's
          Annual Report on Form 10-K for the year ended December 31,
          1995).
</TABLE>
<PAGE>   47

<TABLE>
<CAPTION>
EXHIBIT
NUMBER                              EXHIBITS
-------                             --------
<S>       <C>
10.10     Co-Production Agreement between the Registrant and Walt
          Disney Pictures and Television dated February 24, 1997
          (which is incorporated herein by reference to Exhibit 10.16
          to the Registrant's Annual Report on Form 10-K for the year
          ended December 31, 1996).(1)
10.11     Net Office Lease between the Registrant and Point Richmond
          R&D Associates dated April 1, 1996 (which is incorporated
          herein by reference to Exhibit 10.16 to the Registrant's
          Quarterly Report on Form 10-Q for the quarter ended
          September 30, 1996).
10.12     Net Office Lease between the Registrant and Point Richmond
          R&D Associates dated September 12, 1996 (which is
          incorporated herein by reference to Exhibit 10.17 to the
          Registrant's Quarterly Report on Form 10-Q for the quarter
          ended September 30, 1996).
10.13     Agreement of Purchase and Sale between the Registrant and
          Del Monte Corporation dated as of September 6, 1996, as
          amended (which is incorporated herein by reference to
          Exhibit 10.19 to the Registrant's Quarterly Report on Form
          10-Q for the quarter ended June 30, 1997).
10.14     Amendment to the September 12, 1996 Net Office Lease between
          the Registrant and Point Richmond R&D Associates dated as of
          May 8, 1997 (which is incorporated herein by reference to
          Exhibit 10.17 to the Registrant's Annual Report on Form 10-K
          for the year ended December 31, 1997).
10.15     Net Office Lease between the Registrant and Point Richmond
          R&D Associates dated January 11, 1999 (which is incorporated
          herein by reference to Exhibit 10.15 to the Registrant's
          Annual Report on Form 10-K for the year ended January 2,
          1999).
13.1      Portions of the Annual Report to Shareholders for the fiscal
          year ended January 1, 2000, expressly incorporated by
          reference herein.
23.1      Consent of Independent Auditors.
27.1      Financial Data Schedule.
</TABLE>

---------------
(1) Documents for which confidential treatment has been granted for certain
    portions of these exhibits.

 *  Indicates management compensatory plan, contract or arrangement.