Last month, I got to visit Pixar for theIncredibles 2press day.
In the upcoming sequel, Mr. During my visit, I got to sit down and talk with writer-directorBrad Birdand producersNicole GrindleandJohn Walkerabout the movie.
Check out the full interview below, andclick herefor 85 things we learned from our visit.Incredibles 2opens June 15th.
So this movie has a monorail sequence, andThe Simsponsalso has the problems of monorail.
Whats with the anti-monorail agenda?
BRAD BIRD: I actually am pro-monorail.
Image via Disney/Pixar
I actually loved monorails.
I think that’s a very cool thing, and that every city should have it.
That doesn’t mean that villains can’t wreak havoc with it.
Image via Disney-Pixar
What does the villain in ‘Incredibles 2’ bring to the table?
BIRD: I think that the villain has a means to get people to do what he wants.
And he has an interesting button to press.
Image via Disney-Pixar
And he is sort of not even when you see him he’s not what you think.
And he has an equally persuasive motivation I think.
NICOLE GRINDLE: Yes, yes, yes.
BIRD: It could be seen that way, or they could be seen alone.
It’s not required that you see the first film.
You won’t understand it as well as people that have seen the first film.
But I think you could drop into this and pick it up.
And making them feel organic.
But yeah, if you wanted to do a double bill this would be a damn good one.
Does she actually have the ability to-I was wondering if they sort of have new elements of their powers.
That that’s where the time has passed.
She’s fascinated by them more, where she wanted to hide them and was embarrassed by them before.
How do you create a character arc for him?
Babies are very good at detecting the vibe of the room.
I remember there was a scene in ‘Tomorrowland’ that we were filming.
It’s not in the film unfortunately.
But the scene had a baby that was crying and driving people kinda nuts.
And we needed the baby to be comfortable.
“Yes, your scene is the next, c’mon be happy!”
And it was just making him more like, “Ahhhh!”
And finally I just kinda yelled at everybody and I said, “Everybody stop!
And the baby’s going, “Ahhhh!”
And everybody turned away and the baby went, “Ahhh, ahh, ahh.”
And then everybody went, and we just went on with the scene.
But because everybody was trying to make him …
So babies are excellent temperature gauges for the vibe of the room.
But beyond that, they don’t understand the dynamics beyond that.
But they don’t have complicated motivations.
That becomes grounded again, and becomes more interesting.
And you’d be surprised how expressive babies are.
So we used real baby sound, and they’re great.
And we found everything we needed.
So what’s happening with the raccoon?
BIRD: You know, I think that people that see that sequence like it and remember it.
So it’s kind of found its way into a lot of places.
I wouldn’t read anything deep into it.
GRINDLE: We just love that raccoon.
JOHN WALKER: We just love the raccoon.
It’s a good sequence.
The Deavors, when we meet them they have that …
Especially Winston seems to have that fawning-ness that we saw from young Syndrome.
What can you tell us about these new characters and how we should feel about them?
BIRD: The benefactor who is sympathetic to what they’re going through.
What is Dash up to in this movie?
What’s his story?
BIRD: I don’t think Dash has a lot of complicated thoughts either.
I think Dash kinda, I mean I hate to say-
GRINDLE: That’s why we love him.
Dash kinda is like, I don’t know, I wasn’t that complicated at 10.
I was kinda like, “This is fun, let’s do that!
Oh, that’s cool, can I stay up late?
What do you mean I can’t?”
That’s what it is.
WALKER: He doesn’t have a character arc, he has a character line.
BIRD: Yeah, it’s a very fast line.
No, it’s just more or Dash.
I mean Dash is really fun for me to write.
I think it’s fun for people to animate.
And he’s just your quintessential energy ball.
Is Michael Giacchino coming back to write the score?
Wouldn’t do a movie without him.
