Hi, I'm Brad Bird.
I am writer and director of lncredibles 2.
And we thought we'd do something different this time,
because Lord knows, we have plenty of director commentaries,
and frankly, you've heard enough.
You need to hear from animators.
These are the men and women that bring these characters to life.
So, without further ado,
a commentary by lncredibles 2 animators.
Thank you, Brad, we love you.
Hi, I'm Dave Mullins.
I am an Animation Supervisor on lncredibles 2.
I am Alan Barillaro.
I'm also an Animation Supervisor, so ditto.
And I'm the third one, Tony Fucile.
I am Bret Parker,
and I am the Animation Second Unit
and Crowds Supervisor.
Animation Supervisors are responsible for the performance of the characters.
Every frame we are posing the characters,
redoing their expressions,
and we're trying to get the audience to connect to these characters
through their performance.
The second unit is a smaller team
that helps build the world
with the background characters.
So we're here with Tony Rydinger,
picking up right where we left off from the old film,
and we're excited to get into it.
I'm excited to see a stadium full of people.
That's a first-film joke where we could not get a stadium full of people.
This part of the film is kind of interesting,
having to revisit something we did 14 years ago and...
We all worked on the first film, so it's amazing to be able to come back.
It's like a reunion.
We don't look any older, that's what's amazing.
No.
All the animation you saw in the beginning there
really was new animation.
That wasn't actually stuff that we reused from the initial film.
And we would do the better version,
the version that we really wanted to do of the characters
as far as the way they looked.
And Tony Rydinger's a much improved version in this film
'cause we had more time to give him some love and it shows.
The neat thing about doing a sequel is we can take a second shot at stuff.
You know, one of my biggest pet peeves on the first film was the masks
because we didn't actually have masks in the first film.
That happened after we animated the shots then we would see the masks.
And so you would animate the brows, the brows would look good,
and you get the mask in and you'd be like,
"My, God, what is this abomination?"
We were able to fix that on this film and it makes me so happy.
Well, folks that worked on the original
had a laundry list of things we wanted to fix.
Telephone cords, I remember, were a big thing.
I spent weeks animating a telephone cord.
You know what's so much fun about watching this is
we haven't actually seen so many of these scenes
final lit and fully rendered and...
It's a little bit like watching your life flash before you really quickly,
there's all these moments and memories.
In animation, it takes so long
to create these things.
At least a year of your life.
- Yeah. - Exactly.
You're watching a year of your life go by in two hours.
We're gonna talk about animation dailies a lot.
Animations dailies is where we go every morning to review our work.
Animations dailies has typically been just animators
showing to the director.
It's very much actors getting together and playing out a scene.
On this film it's been different, in that, every department,
they're all in animation dailies.
There's the Effects Department that do all the special effects,
there's the Characters Department that creates the models that we animate.
There's a Lighting Department that lights the film.
There's a Layout Department that does the cameras,
and then dailies became a bigger thing.
There were edits being made, dialogue was being rewritten,
we were changing shots, we were combining shots.
Every department was kind of kicking in, and it wasn'tjust animation dailies.
I feel like it was just our dailies and that's where we made the film.
It's cool to see Underminer here,
another character that we're kind of revisiting
which was just this one-off character in two shots.
And then we had to go back in
and figure out what he actually looks like in this film.
He was a last minute addition in the first film,
so he was put together pretty quickly.
So it was nice to get another shot at him.
This was a fun sequence
just in terms of trying to figure out the Tunneler
and the weight of the Tunneler.
We realized in comparison it was a machine
that was the size of our entire campus,
and four stories high.
And, so how is this thing gonna move through the streets
in a believable way at a speed that would work.
So that was a really
interesting challenge to face for the sequence.
It's a metaphor for the film.
You're in this intense action scenario of getting a movie done
and stopping the Underminer vehicle from crashing.
Yeah, this sequence is interesting,
because, early on, we wanted to get into this as soon as possible
to really put all the departments through the ringer.
We had to move so quickly on this film.
We're really all doing the work at the same time.
Basically, Animation, Lighting, Crowds, Effects,
everybody was working on top of one another,
including characters and sets.
And this was a great way to test
how we were gonna get through this entire film in record time.
- Some great Elastigirl animation here. - Yeah.
And it shows Brad's attention to weight.
It's not just whipping around, you wanna worry for them.
And that means their weight's there
and there's dangerous situations where they can get hurt.
Like this one, coming up right now.
Which was a really fun moment, I think, for the animators to work with
the new version of the effects with Frozone,
what that was gonna look like
and how that changed from the first film.
We really started putting the animators to the test
on what they could do with weights here,
and we see Bob starts trying to move this gigantic machine.
He's just pushing it and moves it just a little bit.
Yeah, and it was also a challenge getting the physics
of smashing all the cars right
and getting them flinging and flying through the air.
We had some stuff where it was just animated too quickly,
Bill Watral out of Effects was actually really good about like,
"Hey, this is moving kind of fast. I know it looks cool on screen..."
And so, we kind of slowed it down and had them flying through the air
in a way that's more believable.
Dave animated a lot of Elastigirl in the first film,
so if you're a new animator on lncredibles 2
you usually had a visit from Dave
and a lot of elastic bands being shot at you.
I'm so happy with the way the animation turned out on her.
There's a lot of new shape language with her
as far as the way she throws her arms and things like that.
I feel like it wasn'tjust the stuff that we did in the first film,
it's kind of a continuation of that and she has new abilities.
They all kind of live in the world that we set up in the first film,
but they go beyond that in a way
which was really fun and interesting to figure out.
Even though these are Supers,
we worked really hard
to get the audience to feel for these characters
and know there is imminent danger.
Brad talks a lot about how
if they can just be clocked in the face with a sledgehammer
and they just laugh it off,
how you're never gonna really worry about the characters.
They look like they're having actual pain.
That's a good thing, a little bit of damage.
So, in CG, interacting with objects takes a little bit of extra love
because there's no touch.
I mean, you can have the hand go through the roof of the car,
you can have Bob's feet go through the Tunneler,
you can have Frozone go through the ice here.
There's nothing physical about that.
We actually have to place that by hand
and it is really hard to get those things
to feel like they're physically touching one another.
It's a big deal. I remember when I first got to Pixar years ago,
contact was like, "Oh, let's take it easy on the contact."
But that's an instinct the animators have, is the touch.
To not have that is a challenge.
And then when you have two characters and they touch each other, and they hug,
they're deforming and they're moving,
and there's hair and everything else, there's cloth,
there's a lot of work that goes in
to make it feel like these two characters
are physically hugging, and physically touching each other.
And just like the way they're touching one another here,
the more that you believe in the moment
that they're actually touching one another,
that makes it real.
And interacting with objects...
ltjust makes you feel like you're in the world.
Grounding the performance.
There's a lot of work that goes into the things
that we just take for granted in our day-to-day life.
There's math involved,
so for kids that wanna be artists
and don't think math has to do with animation,
you gotta learn math, it's a real thing.
Technically, on the first film, that's why we avoided contact,
at all cost.
- But we've made some advances. - Yeah.
- And now we can jump in. - Yeah.
And this scene is called Chewed Out.
It was pretty interesting because we had it in the film
and then it was out and then half of it came back,
there was a whole sequence at the end.
The other cop was chewing out the kids in the other room.
We just found that it slowed down the film too much.
You know, that is part of the process of animation.
Sometimes you're actually in, animating a sequence
and then that gets cut and hopefully on the DVD.
And yes, Chewed Out is going to be on the DVD,
so check it out.
Now, this is great in here,
the attention to detail that's being put into the truck
and how, while they're going along the street,
there's those little bumps and things.
Just that thing that Brad talks about
how it creates a believable moment in the film.
The more believable moments you have in the film,
the more you invest in the characters,
the more you care about the story.
Yeah, those little details, they accumulate,
kind of the unconscious result is, "This is a real world.
"This feels like a believable place."
That we're worried about these characters.
Well, this scene is really a tribute to Bud Luckey
because he did the voice of Dicker in the original Incredibles,
then it was one of our great sadnesses
that he wasn't able to do the voice again for Dicker
in the second film.
So, Bud Luckey also directed Boundin'.
And he did a lot of the Sesame Street shorts
that we all grew up with.
And he's just a lovely...
He was just a lovely, lovely person and an amazing creator.
- And a story artist here, for years. - Yeah.
So this scene is all for you, Bud.
This scene's great.
This was the first scene that we animated
where all the characters were together.
We figured out a lot of things in this scene.
We've seen Violet before, we've seen Dash,
we've seen Jack-Jack, we've seen all of these characters,
but as we were animating this scene there were a lot of things
that we were rediscovering about the appeal of the characters.
And I feel like this scene was where we put a stake in the ground and said,
"This is what the characters are gonna look like.
"This is what their appeal's gonna be."
And the animators worked really hard to hit those notes that Brad was after
and trying to hit the drawings that Tony was doing.
- There were several people on this, too. - Yeah.
So it was challenging that way, to keep the consistency.
I love the job the animator did with Jack-Jack.
It doesn't draw your eyes.
But when you watch it through, a second time,
you notice all of the appealing gestures and chewing on the broccoli.
We had this thing where Bob was dropping the broccoli with his chopsticks.
We put it in animation, we dropped the broccoli six times,
it's like, "Now, the scene's about dropping the broccoli."
So then, we backed it off and it wasn't enough.
- And then we had to add more back in. - Yeah.
It's something that just goes by in the background.
This acting in this scene is phenomenal,
and it's what they're not doing that is so impressive.
The simplicity of some of these poses that are not simple to find,
but the "less is more" rule for the show.
Brad was constantly asking us to strip back
and get down to the root of the scene,
which just shows what a great actor he is, as well as a director.
When you're working with Brad, it's happening quickly,
and there's a little bit of an improvisational-type workflow.
You're not overthinking moments with Brad.
He's great that way, he's an actor's director,
and you go with your gut and you don't belabor the moment.
The giant iguana-kaiju character on the TV back there,
that model's actually Jonesy, the iguana from Toy Story of Terror!
We turned him into a giant kaiju.
This scene's great.
Yeah, what it takes to play a scene like this,
if you think of it, just from a pure acting standpoint.
Helen and Bob have both lost everything
and they're having this private discussion by the pool.
It's a great example for the film school students
of lighting and what's happening here,
where they're down, they're blue and how we're shooting this around the pool.
The acting being contained, it's so easy to move around.
One thing about Brad is you can't impress him.
He's one of those directors that is so skilled as an animator,
you want to pull all these tricks to maybe overwork a scene
and you quickly have to put that aside
and just try to dig for the main idea of each scene.
It's a great example to maintaining almost a single pose,
and then acting within it.
So, you're not moving all over the place like you said,
but even keeping very contained within almost a single pose.
Though this looks very simple and it plays really well,
there was so much talk about the camera in this scene,
and so, the animators are animating to camera...
We put a performance up,
and then Brad would start moving around the performance.
The animators were so good at adjusting to these new cameras...
He's grabbing all these awesome performances
like all the business-card-passing-back-and-forth,
that's the animator just coming up with these great ideas.
By the end of this, it looks simple and clean,
but the way we went through it
was not simple and clean.
In all honesty, it was kind of a mess,
and then you see it in the end, it's like, "It works just fine."
The fact that Dash is just absorbed in the TV and not paying attention,
again, that's this attention to detail in the acting.
And Brad really leaning on everybody
to bring something personal to it so that...
We've all been siblings or parents or vice versa.
You gotta bring your own life experiences in.
Little fun fact here. This is Usher, the recording artist.
It's a really funny moment.
So, in animation, we record the voice actors first,
and then we animate to that.
We do that probably about 95% of the time.
Sometimes we ADR, but it's rare.
ADR is when the voice actor is watching the scene that has been animated,
and then is going in reverse and trying to match that.
There were times where we'd be actually animating to Brad's voice
in the middle of writing and changing a line.
He'd be like, "I'll give you the line and just get going
"and I'll rush over and fly God-knows-where to get the line."
It shows you how much of the film is in Brad's head.
Bob Odenkirk was the voice actor for Deavor
and he did a fantastic job.
He has that musical quality that makes it really fun to animate to.
And this scene, geez.
This was a killer.
- For more than just one department. - Yeah.
That was like a whole new level for simulation,
-and animation. - Yeah, it goes by so quick.
- There's so much work put into that. - I know. Months.
The introduction of a new character is always tough.
We're trying to figure out how to introduce Evelyn.
I mean, by now, hopefully you've seen the movie
and you know she's the villain,
but if you play that too early, you're just gonna be telegraphing it
and you're gonna know what's coming,
but at the same time, we have to play her in a way
that you're building this character that has all these flaws
that are building up to her being a villain in the film.
The animators, I think, did a really good job
of just layering this in very lightly in the beginning,
and more and more of her personality comes through.
If you rewatch the film,
I think you quickly start to see what Evelyn's all about.
Hopefully, you don't pick that up the first time through.
And, hopefully, you've seen the movie already.
Yeah, a lot of spoilers today.
Spoiler alert.
This was a really complicated scene.
When the animator's animating,
you're not actually seeing the reflection,
so you're not actually working with the end result.
Yeah.
A lot of back-and-forth there.
It's fun to see the contrast between the brother and sister.
Evelyn being almost akimbo.
All of her body being a little more looser than his.
His being a little more rigid.
Well, he's very showman-like, very presentational.
She kind of hangs back in the shadows. For animators that's performance gold
to have these characters that are very well-defined.
Brad's writing really supports that.
And then the vocal performances he's getting out of the actors
really makes for very unique characters.
Odenkirk's performance is so great.
You really see his personality come through.
And to take a great vocal performance,
and then make the performance on top of it look like this is just incredible.
In this scene, Winston Deavor is really the focus of the scene.
Brad was trying to take the emphasis off Evelyn early on in the film
because she's going to be the villain,
and you don't wanna tip the hat too early.
So, she's meant to fade into the background.
She's the person that's behind everything that's going on.
And it's even reflected in her costume.
When we see her in this sequence,
her costume's very drab, it's like earth tones,
it's like tans...
And I think supporting that in this scene, too,
is even that little look that's shared between Helen and Evelyn.
It's their first meeting and that little aside moment.
And I love how it's not a big deal
but it's just this acknowledgment of respect between two women.
It's a really interesting moment,
but also set up to kind of help throw you off.
Yeah, it's like you get a sense early on that, "These guys are gonna be friends."
I love how each character is very much themselves,
and emphasized as Bob's reaction versus Frozone and Helen's.
There's a great contrast in watching them play off each other.
Looking at Deavor's tongue here and just this dialogue in the shot,
how specific Brad is about tongues...
We had the thing, the lemon-mouth,
which was this thing that Brad and Tony hate.
It's basically when you have a mouth that looks perfectly symmetrical,
looks like a football shape.
And any time you get that in a shot,
he would be honest about...
"You gotta fix the lemon-mouth! You gotta fix the lemon-mouth!"
And so we put a lot of controls in the mouth to make it look asymmetrical
and so that we can pose it in a way that looked more like a drawing.
If you ever see a completely symmetrical mouth, we messed up.
- We apologize. - We apologize.
This scene here is great. Talk about making it personal.
This is a husband-and-wife couple animating it. Dave and Jessica Torres.
That's a perfect example of how Brad Bird directs.
There's just an honesty that comes across
when you're actually connecting to the material.
Well, it's funny, this scene was our top requested scene by the animators.
They wanted to animate in this scene.
'Cause, really, this is where the whole conflict
between Helen and Bob is laid out for the film.
And you see what the film's really about in this scene.
And the animators are all naturally attracted to this
because this is really the juice of the film.
And there'd be a lot of conversation amongst all of us
of how a couple would handle themselves in this situation.
When Bob was coming off
as somebody who's being just such a jerk to Helen in this scene,
we had to rework and rework the animation
until you see he was more frustrated with himself
than he was with Helen.
The whole thing's frustrating for him,
but he was really mostly frustrated about himself.
This was a very delicate line to animate,
and to find this line between the two of them so they're both appealing.
And writing-wise, too.
I mean, Brad was doing a lot of tweakage.
- And we had many versions of this. - Yeah.
Trying to find that balance of him being annoyed and competitive.
But not being such a jerk.
Yeah, this scene went into production three times, I think, in animation.
- It was the first scene in production... - Yeah.
...which, as actors, it was not the kind of scene you want to start with.
Because you want to warm up to a scene like that.
So Brad, after, I think, our first dailies, grabbed Tony and I...
Dave had not yet joined the film
because he was making that short film called Lou.
And he was wondering if maybe we should pause for a moment and warm up to it.
It shows you that we are looking to get into character.
And hopefully not have the audiences be aware of where you're warming up
and save yourjuice for the big scenes.
This scene's interesting where you introduce this house.
And this house is kind of a character in and of itself.
I mean, it's got all these water features and everything else.
The set is amazing.
Kind of represents all this fanciness that's in their lives
is also a problem for them.
This really is kind of the opposite of them.
They're more simple, I feel. This house is just insane.
Yeah, Brad would say, "It's the house they think they want."
- Yeah. - They find out it doesn't work for them.
Brad had been in New York... Or was it Ralph Eggleston?
Ralph Eggleston was our production designer.
They were in New York and there was this bachelor pad,
and it was made specifically for this guy
who had people coming in and out of his house a lot.
And, basically, it was a great house for a bachelor.
It was a terrible house if you actually had a family.
Brad and Ralph really wanted to push this idea
that they would have to fight this house.
Every step of the way there'd be so much comedy out of that.
And when you finally get into House Attack,
the house then becomes a character that's actually working against them.
Dash pretty quickly exemplifies why it doesn't work.
- For any family with children. - Exactly.
Helen's new suit.
I love the acting in this scene
because it just exemplifies Helen's total frustration,
or feeling so awkward in her new suit.
So this scene coming up, we turned to all the motorcycle-riding animators,
and relied heavily on them for this.
Absolutely. Right from Art and Design.
Look at Helen's proportions
and that'll give you an example right off the bat
how you're gonna design a motorcycle
that looks comfortable for her.
You know, size of the head, relationship from hips to really long legs...
It's built for her.
So it means, immediately, when you're coming up with motorcycle designs,
you have to be constantly comparing it to her.
Just as step one.
Ifyoulook at what she's doing with the bike,
the way she's dealing with the throttle,
the way she uses the shifters and everything...
This is all real. If this bike existed, this is how it would be driven.
And the animators were amazing about putting in that level of detail.
Again, making that believability,
with that believability you care about the characters.
Yeah, great little details.
Kureha Yokoo, an animator here,
had a huge part in both
the pre-production of setting up the motorcycle,
and then, later, both she and John Walker,
who is one of our producers, are both pilots.
And so, it was really fun to have their expertise,
and really teaching all of the animators
how to dive in to really animating a plane.
Both in this sequence and then later in the film
when it gets really even more complicated.
Great specificity in this breakfast scene.
Was this the first one we got into, this scene?
One of, yeah. I'd say one of the first three.
This is not probably the thing to talk about,
but that Fiber O's box kept moving around on us.
It was like this weird... It was like there was this gremlin in the system,
and I'm like, "I just put that box back where it's supposed to be!
"Why is it floating?"
And there's all this great animation going on,
we should be talking about that, but the box!
- Months of discussion on the chewing. - Yeah.
Brad would always talk about attention to detail,
and the specificity of mouth shapes being important.
He would talk about Milt Kahl quite often.
One of the most important Nine Old Men of Disney Animation and a mentor of his.
He told this particular story of a Friar Tuck scene.
Friar Tuck is gonna have a sip off a spoon and the mouth shape was perfect.
It looked gorgeous, but Milt Kahl was just frustrated with it.
Saying that there was a mistake here.
If you really, really listen to the sound,
he's not making an "Ooh" shape,
he's making a "U" shape, and they reanimated it.
And that is kind of representative
of what we're trying to do with Brad in every scene.
There's great stuff that just has to be tossed away
because it's not specifically right for that scene.
I love also how Brad would point out
that when you stop a live-action scene on a single frame,
often the actor's making a really exaggerated
and maybe unappealing expression on that one frame,
but when you play it together as a whole, it plays beautifully.
And you actually need that maybe "ugly frame"
in order to get the end result.
Yeah, there's a misconception you're looking for the perfect thing
when, a lot of the times, we are looking for the imperfections.
The acting choice to let the hairdryer blow her hair straight up,
that was another fun, spontaneous moment.
The hair actually has attitude.
- Yeah, exactly. - It's like... And then...
Just drops.
Yeah, that little drag off the lip.
Just the knowledge in this scene of putting down Jack-Jack
and knowing that's definitely a parent cradling the head,
and not just dropping the kid.
"New math."
It's so funny because we've been dealing with that in California.
State school system with stars and everything else.
They changed math on us. I saw this,
I'm like, "Okay, this is in the movie for me."
That's exactly how I feel as a parent.
"They changed math? Math is math. That's it."
Yeah, and I don't get new math.
Just to be clear.
I don't, at all.
We got the frustration. We emotionally knew how to do it.
There are a lot of us who understood that scene, inside and out.
It's a great scene just for like,
if you're looking at mouth shapes, what Bob's doing here.
There's a lot of great design in his mouth and in his face.
It's such a nice, simple, but really well conceived scene.
So, this sequence is Runaway Train.
And it was really one of the first
crowd-heavy sequences that we jumped into.
And you guys are doing something
that general audiences don't notice
which is you're constantly directing our eye.
Telling us where to look.
Where our focus should be. Which sounds easy, and it's not, at all.
Well, there's a lot of working with camera
to make sure that the crowds were supporting
where you wanted your eye to go
and not detracting from the hero moment of a performance.
You kind of notice them, but you don't.
One of the really fun things about this sequence
was not only animating the huge crowds,
but there's a lot of background story and detail that goes in,
that are little asides of people walking in the park.
There's actually people playing tag on the fields in the background.
That's great.
People riding bikes, jumping out of the way in the action sequence here,
and really trying to fill the world in a realistic way.
Really responding to what's going on with Helen and the bike and the sirens.
Now we're getting into the chase.
Nice bump. That's a great detail from the animator.
A thing we always want to remind everybody
is this stuff doesn't come for free, it doesn't exist.
We're trying to throw these little moments of reality
and the little choices someone would make in the moment.
And you're doing that over the course of months for a single shot sometimes.
What's funny with these bike shots, too, in this whole scene,
there's so much happening so fast,
the clarity is of supreme importance
to be able to move through a scene like this,
introduce this motorcycle that's magnetic and it's electric,
and it can separate and work with Helen,
and there was a lot of discussion about how we do that,
and how we do that in a very clean and simple way.
This idea that the bike can separate
and then she can pull it together really quickly
to get a boost of momentum,
or to pop her up through a window and land on the buildings.
There's a lot of investment put in by the animators here
to figure out what the physics of this is and how believable it could be.
Brad talked a lot about here, where he didn't want this stuff to be clean
like when she wobbles there on the girder.
None of this was supposed to be clean.
Everything's supposed to be a little dirty.
She's supposed to overshoot a little bit and... Hit the window.
That type of stuff, when she's out of control,
when your hero is basically struggling just by the seat of their pants
to make everything happen,
that's when it feels real and that's when you relate to the character
because we all relate to that struggle.
If it was just easy for the character, you don't get invested.
There's no struggle and there's no conflict.
This is a great example of Helen just on the edge of her seat,
trying to stop this train
and she's doing everything in her power and almost always failing.
It's like one failure after the next and she's just barely getting by,
and that's what makes it so exciting.
There's a lot to be studied
as far as the staging and the information Brad's given you.
Small things like the train is still in frame
for clarity, but not belaboring it,
so that you know what the character's goal is.
That shot where she's running back against the wind,
that was really tricky.
'Cause it's a full run, but there's wind resistance,
and it feels great.
The sense of wind and atmosphere in this film
really tells you the speed.
There's multiple scenes where we see this,
we see it at the end of the film as well.
One of the things that we struggled with a lot was the speed on the film.
Getting this train to feel fast enough.
Like, we'd get it going at about 150 miles an hour,
and it's like, "That looks slow."
Three hundred miles an hour, 400 miles an hour,
and so, we ended up doing this movie speed
on these big structures.
Like the Tunneler, it's the same case with the runaway train here.
It's definitely the case we'll talk about at the end of the film
with the boat, the Hydroliner.
Brad loves the guy underneath the train, where the guy's so terrified.
It's one of those great examples
of trying to create a little story within the scene,
but without robbing the scene of the moment.
Talk about that college story of when he was an actor.
- Yeah. -"Don't make it so interesting."
"Don't upstage the main actor."
Your instincts are to do all this stuff, but you gotta support the scene.
Can we just say how tough it is to do walks?
- And just admit that? - Yeah.
Especially when they're walking right at camera,
-it is the worst. - Trickiest stuff in animation.
Maybe it's just a Pixar thing, I don't know.
But especially on The Incredibles,
having a character walk right at camera has just...
It should not be this hard.
Why is it this hard to make it look appealing?
And their proportions are funky, so they're pushed.
You have this guy with a massive upper body and these short legs,
it's a challenge right there.
This is a great scene where Bob's really starting to feel
that he's not doing the best job with his family,
that this job's probably a lot harder than he thinks it's gonna be.
You see him start to get frustrated here
and this really sets him up in the rest of the film.
His arc is, "Yeah, I got this. No problem. I'm Mr. incredible,"
and then he realizes howjust incredibly difficult
all this is actually gonna be.
This scene with the robbers, we redid this a bunch of times, too.
Brad really wanted to have
what was going on on-screen in the old movie,
and what was going on with the raccoon to really mirror one another,
and it was surprisingly hard to do.
This was one that Brad was right on from the beginning.
We know we're taking a scene with the raccoon
that could be really cartoony,
and we could lose a lot of believability.
There was a lot of discussion early on, too,
just about, like, "Wait a minute.
"Okay, so, the raccoon's attacking the baby,
"those things could tear a baby apart."
And trying to find that balance of, really,
"Jack-Jack needs to be kicking the crap out of this raccoon,"
or otherwise, it's like, "That's a baby getting chewed up by a raccoon."
It was a challenge.
It was a challenge to make it look like Jack-Jack wasn't getting hurt in this.
He had mentioned early on that we have to start with this scene
and go backwards with Jack-Jack,
to know we can actually get here and feel that this is plausible.
We've had quite a big baby boom here at Pixar,
and everybody had their kids as reference,
so, we're trying to ground this scene.
It shows Brad's experience to know we have to start with a scene like this
and work our way backwards.
The scene where he's turned into goo,
I don't know if, Tony, you can talk about the graphic nature of that
-and the process. - The draw-overs. Yeah.
Yeah, that was initially gonna be an effect.
I think they tried to do some gelatin type thing,
so it was just a little bit too vivid, and realistic.
It got gross.
We ended up doing that pretty much frame by frame.
Bolhem Bouchiba and Alonso Martinez, together, did a lot of that work
where they would literally sculpt every frame of that.
- On top of Tim Pixton's animation. - On top of Tim Pixton's animation.
That particular scene was a little mini-movie in itself,
but it turned out great.
So, this is a great example of where we utilize a sketch tool
to do draw-overs on the goo baby
directly on the computer over the scenes that we're animating.
Traditionally, of course, that would all have happened on pen and paper,
which we could use those sketches to do the sculpting work afterward
that needed to be done.
Yeah, it's a very direct way to make a note.
Like the lemon-mouth.
Trying to describe it, everyone's like, "What's the lemon-mouth?"
And you just draw it and they're like, "Okay. I get it. That's what this is."
That really started on Inside Out
where you were the sketch artist on Inside Out.
It's a great marriage of 3D, 2D...
And just constantly looking graphically at these characters
and where we can push them.
I always see people say, "I'm surprised you're drawing at all."
They don't know how drawing is so integral to everything we do.
We all drawjust to be able to talk to one another, really.
Much easier than doing a commentary.
Way easier.
The scene here with Bob and Helen,
to me, is really successful and interesting.
To be specific, that's not the same animator
doing Bob and then cutting to Helen.
That's someone's just focused solely on Helen and her arc,
and another animator, in this case, a few, are doing Bob.
We're all in this together, these animators.
They're actors, so you're in a vulnerable position
of always trying to express yourself every day.
It, too often, I think,
is represented as something that comes to us easily,
and a lot of it is turmoil and a lot of leaning on each other.
Every time I start a shot, I get into the blocking and go,
"Oh, my God. They're gonna find out how much I suck.
"This is gonna be the one."
- And that never goes away. - No.
- For those that are starting... - Never.
Every time I show him dailies, I'm always nervous.
"This is the point where they find me out.
"I don't know what I'm doing."
I think everybody feels like that
because, one, you're surrounded by so much talent here at Pixar,
and, two, "You're only as good as your last shot,"
is the way you feel a lot of times.
There's some great physicality here with Helen.
Just the way she's on the bed,
it's so easy to make it feel stiff,
but Michal Makarewicz put in the bounce on the bed that her weight's on the bed.
Every time she makes a movement,
the pillows are moving, the bed's moving,
and all that stuff, again, adds up to this great performance
that makes the character feel real,
so that when she's running around and fighting Screenslaver,
you feel like she's really in danger
'cause she feels like she's real and believable.
Just a shout-out, in this scene, to Simulation,
the interaction with the blanket,
also another change from the first film
where we couldn't interact with the cloth or the blankets at all.
You weren't allowed to touch the hair.
It was like a big deal, maybe one shot,
and now, we are able to work with the Simulation Department
and have that back-and-forth, and it just opens up a whole new world.
So, this entire section in morning math
was done by the animator, Jean-Claude Tran.
He did this entirely first in 2D.
And with that sketch tool you can animate
with drawings in your shot, which is pretty cool.
Wonderful experience working with Brad, that you can actually
just show him some key drawings and flip through 'em
and he'll know what your intent with the scene is
and get your notes from there.
There's so much in this scene with Tony and Violet.
This is another one of those earlier scenes that we got into.
Setting up their characters and trying to find Tony's appeal again,
there was a lot of discussion about that.
The way he was going to react to Violet
and Violet is being so incredibly vulnerable here.
A lot of times in animation, we wanna soften our arcs
so that things move beautifully and smooth.
What I love about that, Violet doesn't have perfect arcs all the time,
and it adds to the spontaneity of her searching for her feelings.
We tried to start with a very full school
that was filled with normal teenage activity,
and also, constant couples,
but as Violet is becoming more and more uncomfortable
and then she's left alone and quietly emptying out
to reinforce her sense of isolation.
Chad Brentley. Probably one of our favorite background characters
or secondary characters in the film.
Yeah, it's amazing how some of the secondary characters
become your favorite characters to animate.
Because you have so much more freedom.
There's no history. We don't know who they are.
He was a fun character, I think, for everyone to dive in to.
And there we get Isabella Rossellini here, as the Ambassador.
You know, her voice performance is so effusive
that you have to kind of over-animate her.
And I think this scene is just so awkward.
Brad talked about this. Like, two people are meeting each other
that know each other from just being famous
and they wanna show each other respect
and there's this, like, awkward moment between the two.
Yeah, and she really brought it to life.
For me, in any case, in boards, it... With scratch, it never...
And then Isabella Rossellini
just brought it to life.
And then we got Chad here again. He's hilarious.
David DeVan did one of the early scenes of him, kind of, defining his character
as this kind of crazy, cheesy newscaster
and it just felt like he just knocked it out of the park.
And then you see the way that he goes totally stiff here.
There was a lot of discussion about
when we would actually show the light on his face,
when he was actually being hypnotized
because Brad didn't want to break the joke too early
that he is under some sort of hypnosis, so you wanna see him acting weird.
He wanted you to feel awkward at first.
Well, and there was a dance there too, right,
because later in the film we have people being fairly active under hypnosis,
so there was this play of, "Well, okay, they're under hypnosis,
"but we don't want them to feel too stiff and zombie-like either."
The scene coming up is pretty amazing.
This is the first one where we really kind of put Helen to her limits.
A lot of the animators on this film had looked at the first film
and said, "Well, Helen stretches like this."
We kind of really had to challenge 'em and say,
"Well, but we want her to move beyond that."
There's a specificity to the way that she stretches,
the way that her arms work, and if she's going to throw her arm,
she literally has to throw it kind of like a baseball to get it going.
The thing that I kept hammering people on was
she doesn't stretch unless she needs to.
What you would see a lot of times in a scene like this is,
she would stretch with her arms to reach something,
but then they were stretching out her body and her legs
and I would say, "No."
She only stretches what she needs to stretch
because when she stretches, she actually becomes weaker.
The longer her arm is,
the less that she can actually have strength in it.
When you see her stretching there's a logic behind it,
and I think the animators did a killer job on it.
It makes sense and it's really aesthetically appealing.
So this scene was really complicated because people might not realize,
we're not just addressing the characters,
we're also addressing the helicopters.
The choreography of the helicopters in a moving set was chaos to track.
How fast they were going, the physics of trying to make that believable
and also just continuity across the whole sequence
was definitely a challenge.
You get Brad coming back from live-action films.
I mean, before that he's always grounded everything in the camera
and, you know, how would this really be shot
so that you feel like you're in the moment
and not just in a CG universe.
When he pulls that waffle out of there, you know, you could tell it's hot
'cause it's not him going, "Ouch, ouch, ouch,"
but it's a subtle little nod to how hot the waffle iron is.
It's one of those examples where we see Violet's hair.
She has, I don't know, how many different variations of her hair,
but it's so much a part of her character.
You know, there's so much great hair work in this film,
it really tells you where the character's at at that moment.
And just to have the opportunity to have a housecoat,
you know, to really sell Bob,
and how he's doing as a parent in this moment.
That's my dad's robe.
- Is it? - Yeah. I'm like, "That looks familiar."
And Ralph said, "I put your dad's robe in there."
The Production Designer, Ralph,
spent some time at my house about 30 years ago or so.
This scene with Helen in the limo, this was added late.
It's one of the ones we're like, "We'll get to it when we get to it."
And it was just like we were wrapped and we put this scene together.
Brad felt it was really important to see Helen connect
with the people wanting to make them Supers again and make them legal again.
But also, there's this moment where this little girl's like,
"Hey, you still..."
You know, the little girl didn't make the sign, the mother did,
but it gets to Helen so much
and it really drives this next scene forward
'cause without it, it wouldn't have as much impact.
There's a funny little Easter egg here where Deavor shouts out,
"Ellenwood! I'll have to call you back."
Amy Ellenwood is Brad's assistant and has been since...
Well, for sure the first Incredibles, yeah.
At least since Incredibles. Yeah.
And so, they've worked together for a really long time
and this was just a nice shout-out from Brad to Amy.
This is where I just start falling in love with animation.
I get silent 'cause you're watching every little bit of the performance
and all these little choices.
Again, that grab...
And looking down here to set up the scene.
A lot of stuff to appreciate.
One thing we did a lot on this film, on every film, is the hands.
We have, sort of, a standard hand size,
but often times, they would look too big
depending on the angle or what he's doing with them.
Especially with Deavor, we ended up doing a lot of variations on his hands,
sizing 'em up and down.
Usually, it's in relation to the face.
Yeah, exactly. They look fine down near his pants.
I love that design aesthetic.
I mean, these rules that we have to stay consistent in the world,
but then when you go up to the face
you just tweak proportions a bit
and make the hands small.
It's a great note for CG not to accept what the computer gives you.
So, this is a great scene with the up-and-coming heroes.
These are the heroes that idolize Mr. Incredible
and Frozone and Elastigirl and all those Supers of old,
and they are coming into their own at this point
and discovering their own powers and what they can do.
This is one of my favorite new characters.
I think Voyd is just fantastic.
And Sophia Bush, man, her performance is incredible.
And we get to see a really interesting introduction here of all of them.
You get to see Helectrix's power, you get to see Reflux
and you know, Brick.
These are really some of the funnest characters that we animated on the show
because they're a little more one-dimensional
which makes them a little more caricatured
and that's always a little more fun to animate.
They're the characters I hope I see at Comic-Con.
- Yeah. - It'd be amazing.
I wanna see a Brick so bad.
- And see Reflux's indigestion. - He's so great. Yeah.
Old man.
Oh, God, I don't know that I wanna see that.
Speaking of size difference,
in this shot where they're holding the martini was hilarious.
But the liquid sim was a fun task to take on,
trying to make sure that, you know, there was continuity
of whether there were ice cubes.
It's one of those fun little details
that you don't really notice, but it actually adds a lot.
This scene's interesting too,
because we're setting up all these characters,
and we have to set them up really quickly
and get the relationships really quickly,
and the animators did a really good job doing that.
And here's a moment where Violet and Evelyn
-are pretty much kind of competitive... - You mean Helen?
- Violet and Evelyn. - Helen!
That's interesting.
What else do you see? Let's get this therapy session going.
- Violet's in her invis mode. - Yeah.
Anyway, where you get to see Helen and Evelyn. Hevelyn.
Well, these are two really strong characters
and they have their own very strong opinions
about the way the world is...
And they're having a somewhat casual conversation,
-but there's underlying depth to it. - Yeah.
And they have differing opinions
which they are respectfully airing with one another.
It's a great example of how the animators really chose
to support their different personalities in the way they're sitting.
All of the posing through this scene, I think, is really strong.
The performance that you get out of the scene
is just so specific and so fantastic.
You really get a sense of what drives these characters in this scene.
And again, it's what they're not doing that I'm so impressed by.
It's to stay contained
and so quickly in animation you just wanna move,
you wanna keep the character moving and it does you mostly a disservice.
If anything, if we had more time, we'd be simplifying even more.
You're trying to boil down what these scenes really are about,
what the character's feeling in that moment.
Brad was talking about how... That they could almost be friends.
Like, these two women would have been friends
if it wasn't for this core belief system
that was differing between the two of them.
It was supposed to come off as a very genuine moment,
and I think it really does and it makes you like these characters so much.
I love how when we look at Dicker, he's already on vacation.
- It's like he's already left. - With the Hawaiian shirt and the drink.
Bob's office here, everything's getting unboxed, basically.
He's got his suit from the old house
which caught on fire and it's still in...
In the case, all with smoke damage.
Yes, smoke damage on the poster back there
that was in his old office that all caught on fire.
It's just great contrast between, you know, somebody that's moving out
-and somebodyjust moving in. - Yeah.
Coming in to Happy Platter,
this was another fun scene that we started off pretty early on,
really exploring the characters and the world that they live in.
The table was built intentionally tight 'cause this was gonna be a robbery,
and Bob would be downstairs changing Jack-Jack
while the kids are left to deal with the robbers.
And that changed in story, but then realizing,
we still are pretty tight in the tables.
- Is there a table he's not tight at? - He's big...
Yeah, well said. Yeah.
I just love Dash in this scene.
I know this scene, on the surface, is about Violet,
but Dash enjoying his sister squirming like this.
And if you look at him,
it's like this is the best moment in the world for him.
Brad would go back again and again to his own growing-up experience
as a brother and that brother-sister relationship.
His direction was always so spot-on and very personal around that.
This scene's pretty cool.
We get into some stuff where we see New Urbem,
and it looks a lot different than Municiberg.
It's like this acidic, sort of, steam coming up from the city.
Feels like New York and it's the first time that we see Screenslaver.
We had a lot of back-and-forth early on with the design of Screenslaver,
like, he was this big, hulking guy.
And then we wanted it
to be the pizza guy
and so he got thinner, and then he was too thin to fight Helen.
It was really kind of fun finding him
and finding somebody that could tee off with Helen,
but also be believable as just a regular dude.
There's also some fun in the way we set up his rig for his face.
You wanted to get the sense
that he was talking without seeing mouth or eye expression,
so you would see this light movement in his jaw
just to give this idea that he is speaking.
This is the first time we were doing stretchy Helen stuff on this film.
It really was putting all the animators to the test here.
And I feel like what we did on the first film was very successful
and some of my favorite stuff that I've animated personally.
And then you see what everybody brought on this film
and they just upped the ante by, like, 10.
I mean, like, this animation is spectacular with her.
A little tension in the arm before she catapults.
You feel like rubber bands tightening.
This was a good example of shot sculpting
where JC Tran had done this really wonderful squirrel suit sort of flying,
but to get the feeling that it was really rolling through the air,
we had to do a lot of shot sculpting on top of that.
I love how theatrical everything is, from the lighting
and how graphic we are, how the character's in silhouette.
Amazing art design and lighting
through all this, that you get to play off of.
So, Alan, you brought from Piper something really innovative
which was looking at lighting in context with animation,
and that really changes how you're analyzing and looking at the animation,
because when we're looking at animation where everything is lit equally,
you don't realize where you're supposed to be looking
and you really can end up spending a lot of time
trying to nuance something that really isn't the point of the shot.
I was just thinking of very specific discussions of how you enter a room.
If you're an actor and you walk into a very brightly lit room,
you kind of behave differently than a very moody, dark room
where you're worried that something's going on.
And in this scene where Helen's sneaking in,
there was a lot of discussion about her walk and the type of walk.
At one point, we had all the Pixar security involved in this scene.
Like, "So what would you do? What's your take?
"What's your style of approach?"
I think what shut it down, was when Brad was saying,
"Oh, you know, the SWAT guys they do this." And everybody's saying...
Sequoia kind of shut it down and said,
"Well, when I was a cop and I went in a room like that..."
It's, like, everybody in the room shut up.
It's, like, "Okay, we're gonna do it how Sequoia says."
-"We're all listening." -"You're the boss."
-"Okay, you win." -"Yeah, you got it."
Yeah, so Sequoia Blankenship is one of the animators here
and he actually used to be a policeman
in, I think it was Texas. He was like a state trooper or something like that.
It's always amazing when you're working with a group of artists
and you find out what else they've done.
It's like, "Well, when I was flying a plane
"and had to bring it down safely..."
We're like, "Pardon me? Excuse me?"
For this scene coming up in the cage,
Brad kept talking about old James Bond, From Russia with Love
with the train scene where the fight was sloppy, nothing was perfect.
Everything's off a little bit and that's what makes it feel
real and dirty and ugly and it makes it feel like a brawl.
And we really wanted that in this scene.
We didn't really have a layout for this.
This was just, like, the animators pitching ideas for what this could be.
Normally, you board the sequence,
Layout gets it which means they put in the characters
and they do all the camera work and then they hand it off to Animation,
we do the performance inside a finalized camera set-up.
But in this sequence, in the cage fight,
the animators were really presenting ideas to Brad
in a way where they were setting up their own shots,
they were cutting it themselves in Presto.
It was just this iterative process of taking a whole blocking pass,
editing it down.
Brad would give notes.
Layout would kind of come in and give camera notes,
taking another blocking pass and editing it down.
We all would dogpile on this scene
until this scene became what it is today.
And it's very Brad to... You know, he had done that on the first film
with the GooBall sequence where Bob is running
where we actually just animate the scene in 3D,
meaning he's gonna shoot around you in the action
and try to find what's really cool in the moment.
It's a lot of work and you jump into those moments
fully naive of how it's gonna come out, but at the end of it,
you feel like there's a grit and there's an urgency that stands out.
If we could have done it more, we certainly would have.
But those animators were on that for several months.
So it tells you the work that Tim Pixton and Mikey Bidinger was doing.
Ton, do you wanna talk about Bob's design
and how it kind of changes as he gets more tired?
You can talk about it.
Try to get the bear out of the cave.
Brad said we had to try to get Tony to talk.
- Come on, Ton. - You can do it, Ton.
- What's he talking about? - His design.
Yeah, I mean, we see his deterioration here.
A lot of this is shading using color
to make him look more and more exhausted,
but we did some tvveakage to his actual model as well.
Punching up the bags, eye bags and stuff.
- His hair is kind of more dishevelled. - His hair is... Yeah.
This level of detail that you actually see the character model change
is something that's kind of new for these characters,
and we definitely didn't see it in the first film.
Bob really changes here.
You really see something you would more see,
like, typical make-up in a live-action film.
And for a character in cloth they had wet variations
and windy variations
and shading on the faces like you mentioned, Tony,
to make him look more tired and across all the characters.
I think you mentioned earlier here,
Violet had three or four different hair styles,
but it organically just plays in the film.
You know, we had a lot of variations on Bob's model,
but we also ended up iterating on the car,
even though it's not in that many scenes.
But they didn't actually have like an internal LED,
the ability to, like, animate the lights
and we really wanted some specifics about how the rockets raised.
So it felt really sort of '60s mechanical
and not modern-day mechanical.
So we just kept going in and tweaking the car model
until we could get just that specific, sort of, animation in there too.
So we noodle everything here.
Everything.
- Nothing... - Notjust the main characters.
- Everything! - Nothing left un-noodled at Pixar.
This is a fantastic bit of animation by Kevin O'Hara.
He really dug deep
and really connected with Bob's total frustration, total tiredness.
He's looking at some old... Older movie clips
and just drawing from that
and man, he got such specificity out of this.
I love the contrast of him played against the stillness of the kids
just completely dumbfounded.
And you really feel that
Bob is inhabiting his skin at this point.
This is a performance that is so fresh and new.
Everybody lit up when we saw it in dailies.
With the exclamation point here at the end...
- Yeah. -...as he falls in the pool.
Yeah, that was fun getting the water level right for this.
So I was like, "Jack-Jack could, like, slap the water level at the end."
I just love this, Dash going for a high-five for Violet
and like, "Yeah, that was awesome!"
Violet walks by missing... Just a great little choice
that you get to notice on the second viewing.
A little piece of the old movie popping up.
Yeah, yeah.
So, demon Jack-Jack, this is fun to talk about.
This was an interesting character,
the other character that is changing shape.
So much of a movie-making is just about,
"That's super-cool. We should do something like that.
"How do we do something like that?"
The character team, they were in charge with building very specific designs.
There's two models, basically. There was the baby model
that went half-way to demon and there was a demon model
that went half-way to baby,
and, so you pop it over a frame.
I love seeing a little detail of a superpower in a very casual way,
like here when Frozone makes that little ice ball for Jack-Jack.
It's an everyday thing for him. It's just something that he lives with.
- Yeah. - Yeah. Makes his character more real.
Well, and something you do.
You give the child something to appease them
so they don't start crying, and it's just a common little gesture,
-but then with his superpower involved. - Yeah.
Brad's rule, you know, if they're home, they behave that way
'cause they're comfortable, but out in public,
maybe Dash wouldn't zoom around.
Yeah, this scene's really fun.
Where she's at the monitor and Bob's in the car,
and it's such a great callback to the first film.
But you see him, he's so beat-up.
It's kind of the opposite in the last film
where he shows up and he's kind of cocky
and he's looking for a new suit.
Here he is, completely demolished, and then we get to see Edna.
And Edna's such a great character,
of course, voiced by our fearless leader, Brad Bird.
Just, his performances are so crazy.
Crazy, good and fun. I think it's...
It probably... One of my favorite characters in the film.
Without a doubt. And I just love the juxtaposition of the two.
- He's so downtrodden. - Yeah.
And she's so disgusted with him,
and the little one-off line about not being burdened
-with motherhood. - Yeah, yeah.
- That's so her. It's perfect. - Well, I love that she...
I love that she's lecturing him about being a parent
and she doesn't have kids of her own. You know, she's like,
-"I've read about it and I know." - Yeah.
You know, that sort of thing is really funny to me.
- She's the expert on anything... - Everything.
-...no matter what. - Yeah.
This scene here with Deavor and the crowd,
it was a really challenging moment
because they're all holding champagne glasses and acting,
and trying to respond, be unique.
The unique designs of all the background characters
was really fun but also really challenging
because nothing was for free.
Yeah, the first pass at the background characters, too,
there were really cool designs on them,
and then you get them into the scene, and it's like, "Oh, my God.
"They're all too design-y." And so, it's a watering-down process
of just trying to make them all blend together.
And that's a surprisingly hard thing to do,
to make a lot of characters that don't draw attention
but fit in the world.
We probably had three or four passes
at the background characters until we got the design right.
Love this animation on Voyd.
How awkward and... I mean, it's such a great example
and a lesson of eye contact,
and how important eye contact is
when you're not able to really look at someone very long and voice.
You know, as far as the power dynamics in acting, it's a great scene to study.
- Yeah. - It's kinda cool, too.
We have five big female characters in this movie
and they're all different from each other.
They sound different, they're different people,
they move differently from one another. It's pretty cool.
I didn't... That looks cool. I didn't...
I didn't know how that was gonna turn out.
Cool how they're doing the video.
- This is the scene. - Yeah, look at this.
In the case of Bob and Violet,
a lot of conversation about relaxing
and delivering dialogue and not over-enunciating.
And when Bob looks at Violet,
him looking at her is, sort of, this admission of guilt.
If you notice, he doesn't look at her that much
and when he does it's these admissions of guilt.
Yeah, we talk a lot about, "Do we need that look?
"Do you need that gesture?"
Unless you have a great, kinda, thesis report
on why that gesture is needed.
- Strip it. - Why have it?
I just love the status that's played in this scene...
- Yeah. -...where Bob is being really vulnerable
with Violet, and Violet is allowing him in
a little bit at a time.
She's really mad at him here,
and it's played so well that she's just letting go
a little bit of the anger as he reveals how much he's struggling,
and it makes you feel for these characters so much.
The fact that Violet, here, touches him
and is so kind with him in this moment...
It... I, like, as a parent, I really got,
sort of, emotional while I was watching it.
And then I also... You laugh
because you're just so tired as a parent
that you just crash at the end of the day.
There's so much being said in that scene and it's so well-executed.
I love scenes like that where you're playing the status.
We're tracking the energy scene-to-scene.
- Yeah. - We have a lot of this film...
Helen is up and Bob is down.
In the next scene, we're playing with that.
This scene here with Evelyn and Helen.
This is a great cat-and-mouse scene.
Again, another example of really great performance
where, upon second viewing, you start to see--
- The tells. - Yeah, the tells.
And they are specifically put in there so that when you watch it again,
you start to see that Evelyn is like,
"Oh, she's starting to figure out what's going on here."
We, as the animators, knew that Evelyn's the villain,
but in animating it, the animators had to be careful
not to give anything away.
Yeah, and that's what was really fun about this
is because, you know, she sees like, "Wait a minute. What do you see?"
And she, like, genuinely inside is feeling,
"Oh, crap. She's on to me."
And she's playing this duality
of being Helen's friend,
but inside, she's actually like, "Oh, man, she's about to get onto me."
And so, I think, that was really...
Like, you're saying is what's fun about what's going on underneath the scene,
trying to put in a performance on first blush,
it feels like, "Oh, two friends are trying to solve this thing together."
And the second blush, especially here, in this scene,
where you start to see her get really concerned,
and it's like, "Oh, no. She's onto her." And now, you can see that she knows
that she's gonna have to do something about it.
Yeah. There's Jonny Quest on the TV.
Brad obviously loves Jonny Quest.
And a lot of the design, kinda, comes from
his influences watching Jonny Quest as a kid.
And so, I think it's just a really nice homage
for him to put into the film.
I was like, "Is that gonna make it
-"all the way through the final film?" - I know, I know. I was really worried
it was just gonna be temp, and...
- Yeah. - So it was really fun
-when it got to go all the way through. - Yeah.
We were talking about earlier,
here are these walking-towards-camera shots,
-and they're just so difficult. - Yeah.
We don't wanna bring attention to...
I remember the first Incredibles,
we had a scene, I think it was walking down the hall at E's place,
and we all took a crack at it. I mean...
- This looks great though. - Well... And the juxtaposition
between the pace of Bob
-with the pace of E... - Yeah.
...in the same scene next to each other.
We had to lengthen the hallway.
Like, we have the hallway and they're walking too slow,
and we kept backing them up. It's like, "Wait a minute.
"You can tell that you're backing them up."
- They pass that suit four times. - Yeah, exactly.
Brad always talked about Jack-Jack, you know, he can steal the scene.
So, in scenes where it's his, it's great but it's actually a real trick
for the animator to not have him steal the scene
and do something that won't distract the audience.
It's great to revisit this set, too, and actually put Jack-Jack in there.
The thing that always impresses me about Brad in this world in particular,
he's like, "Yeah, we're gonna catch the baby on fire.
"Yeah, we're gonna have the baby fight with the raccoon."
Like, he goes there, where other people are like, "You can't do that."
And he's like, "Yeah? Watch me." And it's funny, and it's playful.
But he goes there, and that's what's so fun about it,
is he's not afraid to do that.
Well... And I love how, with Jack-Jack,
you know, he's physicalizing all those things
that really are happening with a baby, you know?
It really feels like there are...
You know, when they're throwing a temper tantrum,
-it's just the physicalization of that. - Yeah, they're little devils.
- They're actual demons in their house. - Yeah.
- Yeah. Teething is pretty much the... - They feel like they turn
into goo-babies and slip out of your hands,
-or into 10 babies. - Yeah.
It's a metaphor.
This was a really complicated scene with all the effects in Jack-Jack,
whether he was on fire...
Whether the fire was being put out.
It took a lot of specificity.
For example, with the lavender foam,
you didn't want it to be totally Cool Whip,
and it needed to be appealing, it needed to have the right texture.
Yeah, I think the performance that you get in that moment
where the fire retardant pops out and he starts munching on it happily,
and he's spinning around in it.
And we got such a big reaction to that in the dailies.
Yeah. And watching Jack-Jack go through the realization
that it tastes good...
Well, that's the fun stuff. I mean, that's the stuff
that's animation gold, you know?
That interplay back-and-forth with Effects and Animation
to try to really get the exact right thing that felt believable and fun
-and would've put the fire out... - Yeah.
...was a hard moment to, kinda, work through, but really a lot of fun.
Cold room. The sequence is called Cold Room.
There was a lot of detail put into this sequence.
Once we got into animation,
trying to figure out this thing that was holding her down,
how does it hold her but she can stretch?
Initially, she was stretching towards some door or something.
We didn't know what it was. And so, you know, we made the suggestion,
"Can she just, like, stretch up towards her face?"
And she can't even stretch that far because if she does, she'll break.
I think that constraint was actually redesigned during animation.
- Yeah, yeah. It was... -'Cause we were trying to figure out
how to keep her from getting...
Based off the performance of what we needed,
we kinda reworked that.
You always want each movie to have the characters grow
and have issues. This is the first time,
we're getting to a place where we know Elastigirl's weaknesses.
Cold can hurt her.
They're starting to chip away at what's vulnerable to the characters.
This is such a great moment
where Evelyn's just putting all the cards on the table,
and the fact that she's so cocky in knowing
that she controls Helen at this point
is just fantastic.
And there's this subtle shift in the costume,
so that, as Evelyn exposes herself more and more
as the evil character,
her costuming gets more and more complex,
-sort of matching... - Optic, yeah. Screenslaver.
The Screenslaver, yeah, exactly.
- I love that. - Yeah.
I think we all really just wanna dress
-like Evelyn. - It's the truth.
This shot with Evelyn's reflection in here,
starting with the back of her head, seeing her face and then seeing Helen,
from a film-making standpoint, it's so great to see a shot like this,
where you have these multi-planes of depth,
an emotional shot that's going on.
And Brad's so good at stacking information like this.
It just gives the film a level of polish and a level of cinematic quality.
It's the things that really excite us to work on these films
is 'cause Brad has that film language at his disposal.
And again, talking about the depth of character with Evelyn...
In that moment, she's her most angry,
but not to overact it and really, to hit the tragedy
of her parents being killed, which is really the driving force
behind all of her actions.
And if you had overplayed that in the theatricality,
I think we would have lost that core emotion in her.
Now, we've got the scene
where basically, Bob is starting to become Dad.
He's gotten over the hump, he's starting to enjoy the kids,
he's embracing the chaos.
- He's getting sleep. - Yeah, he's shaved.
- He's got his shirt tucked in. - Yeah.
The scene here where they're like, "Don't fire the baby," you know?
I think it was one of the last scenes we did on the film.
Such a fun reveal because it's like your everyday life.
What are you not allowed to do with the baby?
- Certainly not to fire it. - Yeah.
All those Pixar cookies that you get in the atrium.
I think that's what that cookie was modeled off of.
There was a lot of discussion about this phone, how it worked.
Like, does the thing flip up? Like, how does he dial?
Is it just a hang-up thing? Are there things underneath?
There was so much annoying conversation about that,
and it simply was, yeah, he flips the thing up
and pretends like he's hitting buttons.
You want all this movie cool in there, you know, and style and design.
And somehow, Frozone answers the phone immediately.
He's standing right next to the phone. "Yes?"
I have to say, I love the design of the handles on those drawers.
- Yeah, I'd love to live in... - I know...
- A house designed by Ralph... - Wow. Yeah.
- Ralph, will you design my house? - Please design...
I spent a lot of time on that head turn, just getting it just right.
- Yeah. - Whatever that owl thing is.
- Creepy factor. - Yeah.
Can I just say, I love Frozone.
- He's so cool. - Yeah, I think...
He is just so cool.
Definitely one of the characters every animator's requesting.
Love that little reveal, hiding behind her.
One of the backstories there is,
she's the reporter who was interviewing him,
and now they're having wine together. Yeah.
This scene right here, the House Attack,
is one of the most complicated things we did in the film.
Like, trying to figure out everything that was going on in this scene.
Where you leave ice, where you leave lava,
how you break the window. It was like a Rubik's cube
trying to figure out how things fit together.
Brad's decisions compositionally,
of what information you're getting as an audience
and when, so you can follow it, but it also has a pace.
We worked really hard to get the look of the lightning coming from Helectrix.
A lot of 2D draw-overs to set the design for that,
and then Effects took it over from there.
I think they really nailed it. I love the look of the lightning.
This was a moment in the film that got reanimated a bunch of times.
How to grab Frozone
and then how he was gonna break out, and that interplay.
Like, just in terms of figuring out that choreography,
-that was a tough moment. - To have these beats
that work in the story of, we need this to happen,
but then, we also wanna make it believable,
and wanna buy that Frozone can be held there.
And why wouldn't he just use his superpowers?
Yeah, yeah. Exactly.
This next scene, I fell like, is a real study
in amazing animation combat.
Don Crum did a stellar job with it.
Lighting and just how dramatic it is.
Well, and to see Bob and Helen fight is,
you really wanna know who is gonna win.
- Obviously Helen. - Spoil the whole thing.
- Spoiler. - They've seen it.
But that answers the question, I guess, for all the fans.
If Bob and Helen fought, who'd win?
Helen.
In that scene right there, Bob getting the goggles,
technically speaking, the model is a full-on sketch pass
on top of the animator's work.
The animator working with Alonso the sculptor,
and added in animation.
So, that's not in any of the other shots.
It's specifically for that shot.
This is another one of those moments where things you don't do
is have a 13-year-old drive a car.
It's just all these moments in the film that just makes it so awesome.
There's a lot of discussion about this scene
with Jack-Jack having his... What was he calling it?
If a fart was an astral transformation?
What was Brad calling it?
Just the little details of Jack-Jack and how he puts on his mask
and it's not quite there.
It's easy enough just to put it on properly,
but to do that extra little bit of layering of a kid that age...
We're starting to get into the third act conflict here.
The things really start to pick up now.
And I guess we'll just start talking faster now.
- It will be the way to get through this. - It's very intense.
And who didn't always want to have a car that turned into a boat?
It was like my dream from forever.
Yeah, it's the James Bond car from Moonraker?
Which one was his, the Lotus that turned...
That turned into it?
I had one of those when I was a kid, the toy.
Again, a fun physics issue animation-wise
to figure out the speed of this huge boat, the Hydroliner,
versus the speed of the car and how they respond to the water,
in a fun play back-and-forth with Effects.
Yeah, "fun."
That's one way of putting it.
Another way of putting it is we spent about three months
trying to figure out how to make this 600-foot boat
look like it's moving at break-neck speed.
'Cause if you make it go too fast, then it looks like it's tiny,
and if it's not going fast enough,
the action is not really exciting enough.
We've seen Violet's protective bubble already in the film several times,
and it was a really fun thing trying to figure out
where we left that in the first film.
Throughout the film, the idea was she's becoming stronger.
She's able to do more and more.
So, all these background characters we have in this scene with the signing,
there was a lot of back-and-forth on,
"These characters all fit in the lncredibles world,
"they all look like Supers,
"but they're not so designed that they draw the attention
"from the other characters around them..."
Yeah. Most definitely.
There's 33 characters in any one of those scenes.
And so, when you put them in as a whole, suddenly you realize, like,
"It is an appealing character, but maybe a little too appealing."
- Like the Potato Face guy. - Yeah.
We had Potato Face Guy, basically he looked like a potato,
and you would just see him in every scene, it's like,
"There he is."
So, it's going, what, Bret, here, 375 miles an hour?
No, we ended up at 600.
- Even on these first scenes? Okay. - Yeah, yeah.
Yeah, so the boat's going a lot faster than it actually would.
Love this choice, just to see the hand become visible.
Yeah, the hand and head.
Such great emphasis on the older sister bossing him around.
That's what that shot turned out to be. Okay. That looks good.
You wouldn't know it, but this scene took,
I don't know, three months, four months...
Forever, yeah.
I thought it was gonna be the last scene animated on the film.
I love the clarity of the staging in this section of the film.
There's so much action going on, there's so much to track,
and Brad's so good at staging everything in a way that really reads.
We went over and over and over on all these scenes
to make sure the action's reading.
It was really exciting to be moving at a break-neck speed,
but also, you feel like kind of a guerrilla filmmaker.
You're in dailies, you're trimming frames off the cuts,
you're combining shots,
and you're reworking the camera with the Layout Department,
and it's just fun.
It feels almost like an independent film in a big, giant studio.
In the case of this film,
everybody's in the same room making a film,
every department is represented and talking.
And there's a chaos that's beautiful, to be honest.
It's painful, it's hard,
but you're solving problems as you're on set, if you will.
Yeah, versus... Layout takes a pass, and then Animation takes a pass,
and then we toss it down to Cloth.
Then Lighting takes a pass.
We're all doing it at once.
I think CG in general is moving towards this very exciting time
where it's not so technically difficult
that it prevents you from working with other groups,
and ends up making this collage and this free-form
where your scene can play
because of a great effect or playing with light.
So, the sophistication of a director like Brad
being able to play with that in animation
adds to the filmmaking style.
And the more we get to see this,
the more we're gonna start to see really unique styles of other directors.
This moment's kind of interesting when the Ambassador walks by Helen here,
she looks at her and nods and Helen does nothing,
and she's like, "Wait a minute. What the..."
She looks back and like, "What's her problem?"
The animation had been shown in dailies, and Brad, he missed it the first time,
which, he never misses anything the first time,
but he missed it the first time, and the second viewing, he's like,
"Did she just look back at her?"
And there was this big laugh which was really, really fun.
And there's the baby on fire.
Didn't know you could catch a baby on fire in a Pixar film,
-but there it is. - As long as you can put him out.
- Yeah, as long as you can put him out. - We're good.
- And it's under his control. - Yes.
Part of the struggle of having Jack-Jack on fire
was showing that the fire was coming from him being angry
and that he wasn't in pain and he wasn't being hurt.
And as long as we could show that it was under his control,
then we could get away with him being on fire.
Big baby.
That model got turned around pretty quickly,
like within a month or something,
and then there was a ton of sculpting on top of it to make it work.
In this shot coming up where Jack-Jack goes through the wall,
we had a lot of discussion about how to get this to read.
Initially, it was like a static shot where it was just held,
and then Brad wanted to reveal it, so we panned up,
and then we had to go back before we went in and there was...
Ended up being this really complicated shot
to get these layers of Jack-Jack being revealed
as he's shrinking and going through these walls.
And it never actually really worked until even the lighting was in,
because that was part of the reveal,
so it really needed the fog and the lighting
before it just really clicked.
In the end, you look at it and it's like,
-"It's a simple shot, just kinda works." - Yeah.
A lot of the film happens on the screens in the film, too,
which was just another little layer of complexity.
Yeah, how much extra animation did your team do?
- Twelve minutes or something? - Something like that.
- Just in TV screens. - Yeah.
All picture-in-picture, 12 minutes of PIPs.
I wanted a T-shirt that just was "Missing PIP."
It was really interesting jumping from Chad being hypnotized
to then our main heroes being hypnotized.
Physically, they had to be doing a lot,
but we had to know that it was Evelyn driving them.
And that they weren't attacking the people on the ship
or their own children of their own will.
And then again when Jack-Jack gets the glasses off of Helen,
to be able to very quickly see her come back into herself.
There's so many of these beats
that are happening on top of one another,
we're just trying to make sure that they read really clearly.
So, when Helen pulls off Fr0z0ne's mask,
and she tackles Bob and then Bob rips her shirt,
we're trying to make sure each one of these beats
that happen on top of one another
happens in a very clear way that the audience can read.
A lot of pep talks from Brad to the crew in this point of the film,
where we're trying to hit those beats, as Dave said,
and be really clear and quick.
And if you could trim frames, trim frames to keep the intensity up.
So, this fight here was incredibly complex.
There were so many aspects to look at, all at the same time,
and it really took a lot of delegation.
What's interesting about some of the best directors is,
the more experienced, and the more talented they are,
the more they leave the responsibility up to the artists.
You kind of have to because there's so much complexity going on.
There's effects on top of animation, on top of other effects.
Look at this scene.
It's insane.
There's lava and there's a force field, and frost.
We were just on top of each other,
and he had to trust us to figure it out.
And our jobs as leads were to trust the artists that we're supporting.
It's really like going back to school for everyone
and continually learning Brad's amazing stories of his life experience.
Yeah, you suddenly realize you're not a part of an industry,
you're part of a craft,
this is an artist sharing information that was passed down to him.
It makes you appreciative that someone like Brad takes time for that.
What's interesting about this third act is there's a lot of parallel action.
You're tracking what's going on with Deavor.
You're tracking what's going on with the Supers.
You're tracking what's going on with the kids.
There's a lot of things going on at once.
And as the scenes come in to our department, in Animation,
we're working with only part of the information at times.
Helen and Evelyn are fighting on the jet here,
but we don't have what's cutting back-and-forth.
We're trying as much as possible to review this work-in-context,
but it's not always possible, so you have to rely heavily on Brad,
knowing how all this stuff is going to cut back-and-forth
to build this tension.
He does this a lot in his films.
That sense of parallel action,
where multiple things are building at the same time,
gives you this feeling of excitement.
As the animators, that's tough to work with
when you don't know what's cutting from one thing to the next
'cause some of it is still being written.
This stuff that we're looking at here
with her going through all these portals,
is so complicated to get this stuff to read
and to cut from one shot to the next.
When we were moving portals, it was just an ongoing conversation.
There was never anything locked down until it worked.
We could be in digital dailies which is the final process in the film,
and it's like,
"You know what? That still isn't working.
"We still need to fix that."
Hopefully you don't do it there 'cause it's too expensive,
but we were doing it kind of late in the game and it was fun.
There was a lot of discussion on the plane here.
"When you pull back on the yoke, how quickly can the plane go up?"
You know, really trying to pay attention to the physics of that.
While there's opportunity there,
I think a lesser director to speed up a lot of these scenes,
how the plane turns,
it's not a lot of story information, why not play that twice as fast?
But I believe wholeheartedly that you care for these characters
because Brad took the time to show that plane,
to feel the pull in the yoke and the intensity of the situation
versus skipping over it, making it cartoony.
Which is our biggest worry.
This scene is a great example where Violet's taking the time to talk to Bob.
Brad takes a moment in the middle of an action scene
to have an emotional beat,
where you can really stop for a second
and reconnect with the characters and what they're going through,
and the real emotion behind that.
Yeah, in the end, it's a film about family,
which is why we all gravitate towards working on it.
We had a lot of discussions about hypoxia here and how it works.
- And what it is and how to spell it. - Yeah, what it is.
And it does work really quickly within seconds.
So, you can get hypoxia if there's not enough oxygen in the compartment.
It's oxygen and air pressure, too, right?
It's both of those things.
I don't know if I fully passed this class, to be honest.
I still don't know how to spell it.
There's so much learning that goes into a film.
At a certain point, you just have these experts who are like,
-"Just check in with that person." - You're like, "Is that a real thing?"
-"Do you know how to fly?" -"How does it work?"
Well, within seconds, you're gonna... Hypoxia.
-"For sure someone who knows." - Wikipedia said... Yes.
So, you get this kind of euphoric, drunk sort of feel when...
I guess the air pressure drops really suddenly
and there's not enough oxygen in the air,
you start to feel like you're intoxicated.
It's such an interesting scene for Helen to be so close to Evelyn
and be able to take her out,
but she's so close, but she's so far away,
and it's so frustrating on so many levels
that she just can't get it together to take her out.
And then, right at the last moment, she pulls herself together to do it.
Now that oxygen's come back, she gets her wits about her.
"FOLLOW."
One of my favorite scenes in the whole film.
- It always made us laugh. - Every time.
"FOLLOW."
Yeah, it's funny how often if a scene doesn't work in dailies,
you'd be sure it won't work in the theaters,
but if tired animators in the morning get a laugh, you're in good shape.
Brad would always talk about this set.
You get excited about an idea and it gets a laugh,
and then, a month later, no one's laughing anymore.
And you can get in that pitfall of changing the idea.
"IS this still funny?"
"Yeah, it was funny the first 10 times you saw it, it's still funny.
"You just have seen it 100 times."
We always trusted that first laugh.
And we're gonna stay with it, we know it works, go on.
So, as you get closer to the city here,
you can really see how fast they're going.
I mean, 600 and some miles an hour.
But when you're out on the open ocean,
it's hard to tell without anything around for context
how fast it's going.
We actually went in and threw an extra little boat
that the Hydrolinerwould be passing, just to give you that context.
I didn't know that Frozone was this powerful,
but, man, he is super-powerful.
- Look at that. - Loveit
- Effects just stealing the show here. - Loveit
- Yeah. - It's awesome.
This was real hand-holding between Animation and Effects.
It was one department, really, to get this effect to work.
Like this last shot here, for example, had no snow in it,
but Brad was wanting the focus to really be on Helen,
but we have all the characters in the scene.
So, it's either cut to a close-up
or they had the great idea to get some snow in there
and help us draw around its placement.
- That was your idea, wasn't it? - I think it's everybody's idea.
"Their idea." It was your idea.
Helen's hair here is a little messed up.
We had a version where it was like totally crazy,
and it's like, "Okay, that's a bit much. Let's get her back on model."
You may not notice on first go-around,
but Jack-Jack is imitating Deavor and what he's doing.
And I love that
'cause around that age, babies imitate everything they see.
How is Deavorjust walking away from this?
I think he should be pulled in. Cops should be on him.
I wanted him to do his car key's...
And just lock his boat since he just left it in the middle of the city.
- But if you really look... - Jerkparking award.
Tommy, the driver, is back there waiting for him.
- That's right. - That's right.
So, just drives him away.
I love this judge.
I wanna go over to his house and...
- Have some tea? - Have dinner or something.
- You've got a good chance with that. - Yeah.
"Come on, I wasn't speeding that much."
The choice not to have crowds, Brad.
It's a strong choice these characters...
It's a Saturday, just after detention.
- That's the lncredibles' old house. - Yeah.
For story reasons, they had a different house at one point.
It's beautiful inside. Trust us.
This scene wraps up the level of detail
just the way that everybody is interacting with one another.
The amount of touching that's happening between them.
Just the details of the car.
They're just bouncing around through the road.
And it really makes you feel like they're there.
They're real characters, you believe in 'em,
you've been on this journey with them.
I just love that attention to details that the animators put into our films,
and the level of appeal that they get is just fantastic.
- Bob's look. - Such a "Dad" moment.
Does that say, "A-113"? It does.
I love how when you first saw this scene, Dave,
you were like, "Wait, why... The crowd looks like they're afraid."
I'm like, "Yeah, well, a shootout just happened in front of them."
I was looking at the shot raw.
The cops and robbers weren't in there.
I'm like, "Are those people freaking out in the background?"
Bret's like, "Yeah, because there's robbers!"
- I was like, "Yeah, you're right." - Success.
Thanks for bringing that up, Bret. That's awesome.
Anytime. Anytime.
- These credits look great. - Yeah.
- Andy Jimenez. - Shout-out here to Andy Jimenez,
who did an awesome job on the opening titles and the end credits.
- So, Brad Bird was the director. - Yeah.
- And... - Comment on the credits...
John Walker and Nicole Paradis Grindle were the producers.
- That's the worst commentary ever. - Yeah.
- What can we say? - How do you wrap this up?
We had a great, quick time on this film.
You guys ready for lncredibles 3?
Every decade, we wanna be...
-lncredibles for every decade? - A little grayer.
By 2020, we have to have another lncredibles ready.
You have to gain a certain amount of experience
to jump back on a Brad Bird movie.
- So, we have a lot of homework to do. - Yeah.
To crunch, to get ready for the next one.
And all these names are like a yearbook.
The guilt now sets in of all the people we should have mentioned.
Trust us when we say, these people are so important.
You could put a different collection of names here
and you'd have a different result.
Movies are always this experience
of a group of folks that get together and make something.
And they're bringing something unique.
You said something pretty cool at the anim wrap party,
which was, "You only get so many of these films."
And to be able to do it with you guys and do it with this team at this studio,
-it's a special thing. - Yeah.
If you're going to put it in your scrapbook of your life,
-this is a great one to have. - I couldn't agree more.
It's like when you were a kid, you watch a film,
and you can't imagine being a part of it.
It's always the point in the credits when you're in the theater going,
"How did this even happen?
"How did you get to be a part of something like that?"
- Yeah. - Yeah.
So many people on this film are like,
"I grew up watching..." It makes you feel old, but...
"I grew up watching The lncredibles.
"I promised myself I'm gonna work on the lncredibles one day."
And they were just pouring everything they had into it.
Just their hearts and souls, they made a great experience.
We're like the few people at the end of the film
when you go to the theater,
that are just staring at the credits and not getting up.
"I know that person. Oh, my God. I know that person."
- Half the time, it's my mom. -"He's done a great job."
Yeah, my mom will stay for the credits, and when my name comes up she goes,
"That's my boy! That David Mullins.
"His name is David Harless Mullins ll, and that's my son."
- Suddenly, she'd turn into an old... - An old Jewish grandmother.
But she'll wear the T-shirt, and she stands up before the movie,
and she says, "My son, David Mullins, worked on this film.
"It's a very important role."
Like everybody in Winchester, Virginia knows that...
- That you worked on the film. - That I worked on whatever film it is.
Yeah.
Yeah, well, we wanna thank you for listening to us ramble on about
animation and the making of lncredibles 2.
- Thanks for indulging us. - I know.
We've had fun. We had an amazing time.
I'd say, for you, animation students, if we're to give you one bit of advice,
we'd say it's never easy,
but if you keep at it, give it all your heart,
and work your butt off, you can get there.
We'll see you on lncredibles 3 and you can school us.
- Yeah. - Yeah.
Try to keep up with you all.
Bret, give us the last Kari. We gotta hear a little Kari.
- Yeah. - Just a little Kari.
We're sitting here with Kari.
In case you didn't know, Bret Parker is the voice of Kari,
the babysitter in the first Incredibles.
How does Kari feel about the experience of lncredibles 2?
Well, let's see here.
Kari doesn't worry about one single thing.
She just takes things as they come.
I can't top that. It's so good.
Where will you see her next?
Well, she gonna have a big part in lncredibles 3, what do you think?
It's the Kari show.
She can just do all the interviews from now on out.
Okay, we're gonna redo this whole commentary...
- You have to do it in Kari's voice. - With just Kari.
From her perspective.
Well, I think this scene is really wrong because Kari's not in it.
- She belongs right there, babysitting. - Yeah.
And she's very prepared.
She has CDs and certificates.
Her very serious job to get back to.
Yeah, exactly.