this will, eventually be coming out so.......
Incredibles Cast And Story Info
Source: Box Office Prophets Monday, July 28, 2003
Box Office Prophets reports on more details for Pixar's The Incredibles:
The story follows the adventures of a dysfunctional family of high-profile superheroes who are trying to live a quiet life in the suburbs after having been placed there by the Witness Protection Program to protect them from a particularly ingenious supervillain (here's hoping it's Hank Scorpio). This quiet and idyllic existence is shattered when The Incredibles are called into action to save the world, led by Mr. Incredible, who is the father and head of household. What results is a comedy of errors as the family disagreements start to come out during super-powered battles with the baddies. For example, the daughter of the family dates the son of the arch-nemesis (girls always like rebels), and Mr. Incredible is alarmed to find that the rotten kid has X-ray vision.
Craig T. Nelson will provide the voice for Mr. Incredible, while other cast members include Samuel L. Jackson as the main arch-nemesis, Jason Lee, Holly Hunter and Wallace Shawn. A cameo from Jerry Springer (as himself) is even rumored.
I thought the trailer looked great.
Plus, it's written and directed by Brad Bird, who, between working on The Simpsons and writing and directing The Iron Giant, officially qualifies as awesome.
Quote from: GhostboyPlus, it's written and directed by Brad Bird, who, between working on The Simpsons and writing and directing The Iron Giant, officially qualifies as awesome.
That alone will be worth the price of admission!
Nick
Brad Bird was only responsible for a couple of early Krusty episodes, they're classic tho: the one where sideshow bob frames him, and where he's reunited with his pops.
so yeah, that and iron giant is ekzellent enuff to warrant this dude a great talent.
Meet Pixar's The Incredibles!
Source: Animated-Movies Sunday, October 12, 2003
Disney & Pixar gave a first look at the cast of The Incredibles during three commercial breaks on The Wonderful World of Disney Saturday night. Craig T. Nelson, Holly Hunter, Samuel L. Jackson, Jason Lee, and John Ratzenberger were all confirmed as part of the voice cast.
CG Talk has up a 45-second clip from the preview http://www.cgtalk.com/showthread.php?threadid=93735
while Animated-Movies has posted many screenshots from the clips and even more can be found here and here!
http://www.digitaldoo.com/theincredibles.html
http://www.digitaldoo.com/theincredibles2.html
The animated adventure is about a family of undercover superheroes who try to live the quiet suburban life but are forced into action to save the world. Disney will release the film on November 5, 2004.
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that 45 second clip looks really *incredible. i cant wait for this.
Am I the only one sitting here going... "Craig T. Nelson... what the fuck?" But still, he was the villain in 'Action Jackson.'
This looks just fabulous. I'm praying Pixars winning streak never ends, and it sure doesn't look like it. As long as they keep 'em coming once a year, instead of spitting out two or three in a quality comparable with what Disney does now a days.
http://www.themoviebox.net/trailers/incredibles/preview.html
WATCH A SNEAK PEEK OF A NEW PIXAR SHORT ENTITLED "BOUNDIN" HERE...
http://www.pixar.com/shorts/bdn/
modernage, your av is hypnotic.
i hadnt seen the movie in a year or more and just watched it again last nite. i looked everywhere for the damn picture.
Almost Famous or Untitled?
well, I hadnt seen either since the Untitled DVD was released probably. but last night since it was late, I watched theatrical cut.
on the NEXT pixar film after Incredibles...
Disney & Pixar Announce the Cars Voice Cast
Source: Walt Disney Pictures, Pixar Tuesday, January 27, 2004
Film legend Paul Newman has been set to lend his voice to a car character in the upcoming animated feature, Cars, the latest film from Pixar Animation Studios' Academy Award-winning director John Lasseter (Toy Story, Toy Story 2, and A Bug's Life) and presented by Walt Disney Pictures.
In conjunction with this new role, Newman will take the wheel of the Disney/Pixar sponsored racecar on January 31st and February 1st at "The Rolex 24 At Daytona" race in an attempt to break his own record. Newman holds a place in the Guinness Book of World Records as the oldest driver to win a professionally sanctioned race in 1995 at Daytona. Racing on a team with NASCAR champ Kyle Petty, Michael Brockman, and Gunnar Jeannette, Newman is hoping to establish a new record at the age of 79. The car he will be driving is a Fabcar-Porsche Daytona Prototype.
Cars, the seventh animated feature to be created by Pixar Animation Studios and released by Walt Disney Pictures, is a high octane adventure comedy that features a wide assortment of cars as characters who get their kicks on Route 66. In addition to Paul Newman, the voice cast includes NASCAR legend Richard Petty, as well as Owen Wilson (Shanghai Knights), Bonnie Hunt (Monsters, Inc.), and Dan Whitney (Bravo's Larry the Cable Guy). Cars is being produced by Darla K. Anderson (A Bug's Life, Monsters, Inc.), and is due to be released holiday, 2005.
Commenting on the announcement, Newman said, "It's great to have another shot at Daytona and to be teamed up with some of the best drivers in the world. We've got a competitive car, thanks to Disney and Pixar, and we're ready for the challenge. I'm also looking forward to having some fun playing a car for John Lasseter in the film 'Cars.'"
Pixar's Lasseter added, "Paul Newman is an acting and racing legend. He is one of the greatest actors of all time, and his love and close association with automobiles makes him the perfect choice for our film. I can't wait to see him beat his own record at Daytona and he'll have a lot fans here at Pixar cheering him on."
Dick Cook, chairman of The Walt Disney Studios, said, "It's always a great pleasure working with the incredible team at Pixar. 'Cars' is going to deliver just what audiences have come to expect from them -- great storytelling, cutting edge animation, and superb acting from the animated characters and the actors who play them. Having Paul Newman and Richard Petty providing voices is inspired casting and will add to the fun. All of us at Disney are also excited to be co-sponsoring Paul's car at Daytona and know that he'll do us proud."
Owen Wilson reveals animated movie detail
There’s finally been a confirmation as to an important detail about Pixar’s final Disney film, Cars.
Finally, voice actor Owen Wilson, confirmed there are no humans. "It’s a world of cars. That’s the hook." Wilson’s specific character is "a race car that is kind of cocky and is going to learn his lesson." Expect the character to sound familiar. “It’s a voice kind of similar to my own," Wilson said. The film, aimed for a holiday 2005 release, is in the middle of production and Wilson has not even seen final animation yet. "Just stuff that they showed me when I went in, but it won’t be the final stuff. They take forever to do, so it's been a couple years now and I think it’ll be a least two more."
New Trailer here. (http://bvim-qt.vitalstream.com/TheIncredibles/Incredibles_Trailer1_9825_1500.mov)
From the little we can gather from that trailer, it seems like another jackpot for Pixar. Love the Monkey Island-esque island, the little inventor woman, everything relating to superheroes being just regular joes (which I guess is the bulk of the trailer), and I love, I love when Mr. Incredible leans to close to the camera and goes out of focus.
if this is as good as its concept it could be my favorite pixar film. the sam jackson stuff at the end is great.
Fantastic Trailer
Quote from: WithnailLove the Monkey Island-esque island
Exactly what I thought. That game ruled.
Quote from: ®edlumQuote from: WithnailLove the Monkey Island-esque island
Exactly what I thought. That game ruled.
Yeah, I love 'em :)
I'm just happy Craig T. Nelson's found work again.
...what?
Who is Craig T. Nelson?
The guy from Coach and Poltergeist.
http://www.imdb.com/name/nm0005266/
I thing Cine was reffering to the Keith Moon-joke this (http://www.xixax.com/viewtopic.php?t=4994&postdays=0&postorder=asc&start=330) thread.
Quote from: WithnailI thing Cine was reffering to the Keith Moon-joke this (http://www.xixax.com/viewtopic.php?t=4994&postdays=0&postorder=asc&start=330) thread.
Touchè!
:-D
:-D
:|
:crazyeyes:
:yabbse-shocked:
:arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow: :arrow:
:love:
:whip:
(https://xixax.com/proxy.php?request=http%3A%2F%2Fmembers.home.nl%2Fozz-works%2FImages%2FSmilies%2Fsex.gif&hash=9c03918e63cd2836b80030e5a362bb3b63b74b1c)
:embrace:
http://www.wired.com/wired/archive/12.06/pixar.html
i can't watch any of the pixar dvd supplement features because of this creepy guy:
(https://xixax.com/proxy.php?request=http%3A%2F%2Fbz.berlin1.de%2Fkino%2Farch%2Fgifs%2Fda31lasseter.jpg&hash=3d48fed120c3d1bd6e5f41e484c5a765bdb4cfac)
"oooh, we gathered a bunch of fiiiine actors and they contributed to sooo mannny fiiiinne moments that will be heard on screen."
"i loooove toys, i can't seeeem to groooow up".
"my only facial expression is pictured above".
Quote from: mogwai
"i loooove toys, i can't seeeem to groooow up".
:-D
We don't want mature people working at Pixar, that's the fun of their films.
NEW TRAILER HERE in QUICKTIME and WINDOWS MEDIA:
http://movies.yahoo.com/movies/feature/theincredibles.html
Pixar spotlight on projection
ORLANDO -- Projectionists at movie theaters nationwide are in for an incredible surprise. For the upcoming animated feature "The Incredibles," Pixar Animation Studios, Walt Disney's Buena Vista Distribution and Dolby Production Services have organized an opening weekend contest to honor the best cinema presentations in the United States -- and to ensure that the movie is properly presented. "We just realize how important the projectionists are,"Bill Kinder, Pixar's director of editorial and postproduction, said. "They're the last link in the quality-control chain for us. We spend four years in order to make our movies look and sound great. We want to put a spotlight on projectionists and open a direct line of communication with them." Reps from the three companies plan to randomly visit 300 theaters on opening day of "The Incredibles" -- Nov. 5 -- in search of the perfect theatrical presentation. The grand prize winner, for the best presentation, will win a two-day round trip to San Francisco, a tour of Pixar and hotel accommodations for up to four people.
The movie's fantastic. A friend of mine works at a theater and they got their prints tonight. I think it hits on all cylinders. Really funny, subtle stuff going on that I totally fell in love with. The pacing is interesting...I don't think it's structured in a typical fashion so that may be refreshing to most viewers. Or unfulfilling, as one of my friends thought. Personally, I think it delivered. Pixar's genius; the boys and girls over there hit another one clean out of the park.
Staring 'em down
Pixar's animated 'The Incredibles' grew from outsider Brad Bird's tenacious passion. His is a tale of failure, ambition and a one-track mind. Source: Los Angeles Times
*READ AT OWN RISK*
Poor Bob Parr. Not too long into the opening of the new animated film "The Incredibles," the man formerly known as the superhero Mr. Incredible has become a faceless corporate drone — consigned to the quietly humiliating life of a powerless insurance adjuster. Driven by skyrocketing malpractice claims into a witness protection program for superheroes, his once fabulous physique has gone to seed, his spirit has deflated and he's literally squished into a tiny office chair where his days are ruled by the mercurial whims of a Nazi bean counter.
It's a comic portrait of gifts denied, of society's penchant to penalize the unusual and the outsize.
Parr's journey into mediocrity comprises the first sequences of the film that its writer-director, Brad Bird, devised, and it's hard not to see the metaphoric implications for any artist who's gone unappreciated, and for Bird in particular.
In his late 40s, Bird is one of those talents who almost got squashed by the Hollywood system. He knocked around for years, impressing some with his "Family Dog" episode of Steven Spielberg's "Amazing Stories," his work on "The Simpsons" (where he breathed life into Krusty the Clown), his little-seen but often admired animated film, 1999's "The Iron Giant." He got fired from other jobs for being too opinionated, for pushing too hard to make films better. He spent a lot of time watching film projects wither. "I could always get on the runway, but various things would happen that are boring and typical in Hollywood," he says. "There's not a lot of courage in Hollywood and not a lot of vision."
Bird is speaking from the vantage point of someone who's narrowly escaped his fate. As his film winds toward its debut Friday, he's moving with the surefire efficiency of an East German swimmer, where every millisecond counts.
Compelled to slow down for an interview, he's hunched over a table at the press room at Pixar, the Northern California computer animation studio that has begotten an unparalleled string of computer-generated hits, such as "Toy Story," "Monsters, Inc." and "Finding Nemo." Pixar's work fuses technical prowess and creativity as seamlessly as an iPod. The whole cavernous complex practically hums with the sound of true believers, all worshipping the gods of animation.
For Bird, it's even more than animation — it's storytelling itself. With his elongated wholesome features and strawberry blond hair, Bird looks like a kid from "Leave It to Beaver" all grown up. He's consciously trying to tone down his famously opinionated mouth, but his message still sounds urgent. "Everybody is going, 'What is the magical, mysterious trick that Pixar is doing?' " says the director. He's referring to the awe in which Hollywood holds Pixar; after its public squabble with corporate partner Walt Disney Co., the company has been courted by every studio in town. "There must be some secret formula in a vault somewhere that they're all drinking.
"The basic thing is the people here love movies….They make films they themselves would want to see. I don't think a lot of people want to hear that, because there's no way they can just magically make that appear."
Indeed, it sounds so deceptively simple, but it's not, in an era of corporate consolidation, when movie studios are increasingly just small divisions of megaliths churning out new versions of films they made decades ago.
"I always felt Brad Bird was a thoroughbred race horse attached to a very heavy plow," says Pixar's creative chief John Lasseter, a college friend of Bird's from Cal Arts, who brought him to the company. "We were able to unhook him and let him run in a big beautiful field. He kept walking close to the plow, not realizing that he was free from it. He was like, 'Oh, Pixar is great. When are the executives coming to squash my idea?' We kept saying, 'Go, go, go,' and all of a sudden that horse is running faster than he's ever gone." Run he did.
A world of firsts
Bird's film represents a number of firsts for the company. It is Pixar's first PG venture, the first that features zippity-zip head-spinning action sequences, the first to star human characters. The stakes are particularly high for Bird too -- it is the first to be directed by an outsider, not someone from the homegrown Pixar farm team. He had to prove himself inside as well as out.
In the beginning, when the folks at Pixar saw the story reels of Bob in his depressed mode, they were skeptical. "People would go, 'What are you guys making, some sort of Bergman film?' " recalls producer John Walker. "Brad would go, 'No, no, no, there's more' — but we didn't have it to show anybody yet. Fortunately at Pixar, John Lasseter throws his body in front of the tracks. He was able to build us a fence."
Indeed, gloomy Bob soon gives way to buoyant Bob. Set in a retro-futuristic world much like Disneyland's World of Tomorrow, "The Incredibles" is the story of how an aging superhero rediscovers his heroics, and the strength of family. After Mr. Incredible is kidnapped on the Island of Nemoanism, by Syndrome, a one-time fan turned nemesis, Helen Parr (a.k.a. Mrs. Incredible, a.k.a. the former superhero known as Elastigirl) flies to the rescue along with two of her children, Violet and Dash, who possess their own distinctive superpowers, although they've never been allowed to use them among the mere mortals of suburbia. Each family member's superpower is a witty comment on their life issues: multitasking Mom has arms that can stretch down the street; shy, body-conscious teenager Violet can literally disappear; and irrepressible 10-year-old Dash can run faster than a rocket.
Like any normal family, they bicker and, at the beginning, Mr. Incredible — who can do a little of everything — is pining for his glory days, oblivious to the joys of his family. Mr. Incredible's ambivalence was the genesis of the film, the idea for which Bird first hatched 12 years ago or so, when his middle son, Jack (the baby in the film is Jack-Jack), was an infant. He was working on "The Simpsons" at the time and fretting that he'd never get to direct a movie. "I wanted work that I was fully invested in, and I wanted to be fully invested in my family. And I was worried that having not made it at that point I would never make it. If I was truly a good father, I would never be able to dedicate the time necessary to break through," he recalls. "And I felt like I was at a crossroads where I was either going to be a lousy filmmaker or a lousy dad. And I didn't want to be that either. The film came out of that anxiety of, you know, wanting to do what you love and also wanting to give your family all that it's due."
Bird is undoubtedly ambitious. For instance, "The Incredibles" features more than 100 background sets, while "Finding Nemo" has only 20. Yet he wanted to make sure that the price tag remained $145 million, about the cost of the other Pixar films, a feat that required him to plan to the last detail, and to be sure to be right. The film's biggest technical challenge was also front and center — the animation of humans, with their muscles, their pliant clothes and their hair that blows in the wind, all of which provided distinctive challenges.
CG animation is something akin to building a computer puppet in 3-D. It requires 150 controls just to animate the face, and paradoxically, if it's too lifelike, the effect is soulless and creepy. Says Bird, "It's like the zombies are kissing."
Bird gambled that it would be better to keep "The Incredibles" as cartoons, human caricatures, albeit with vulnerable human-like pathos.
"I think the goal of photorealistic humans is a really weird goal," Bird says. "To me it's like saying, 'Hey, look, I can make an orange out of dog poop. Now if I spend $20 million, I can re-engineer the dog poop on a subatomic level and make an orange. It doesn't taste very good. But it's kind of like an orange. And isn't that amazing?' Well, the bottom line is, an orange will cost you 25 cents and it will be delicious. Don't spend your time on that. Spend your time on something that is going to be meaningful."
Besides writing and directing, the director also acts in the film. No, Craig T. Nelson plays Mr. Incredible, and Holly Hunter provides her distinctive way of talking out of the side of her mouth for the spunky-yet-maternal Elastigirl. Bird, by contrast, plays Edna Mode, the diminutive, half Japanese, half German designer of superhero costumes. Part Coco Chanel, part weapons designer, she's a genial autocrat. Self-doubt is not in her emotional repertoire.
"[Bird's] a little like Edna in that way," says Walker, who also worked with Bird on "The Iron Giant." "He's very confident about what he wants to do. He has a very clear picture in his head of the entire movie and he expresses that. 'This is what I want.' And if somebody comes up with something better, he is happy to change. But it's not sort of open for discussion."
Boinky, version 1.0
In the beginning was Boinky, a box with a circle on it and two dots for eyes. A rabbit. Bird was 3 at the time and, most significantly, he drew the Boinky pictures sequentially. "I would just show the pictures moving from the top of the stack to the bottom of the stack and tell the story while I was showing it," Bird says. "I didn't figure it out until years and years later. I was trying to do sort of the crudest version of filmmaking."
Bird grew up in Oregon. At age 11, he began drawing animation in earnest, and at 14, finished his first film, "The Tortoise and the Hare," a Road Runner-like version of the Aesop's fable in which the tortoise was the bad guy trying to slow down the hare. The film won some awards from a contest sponsored by Kodak, and Bird sent it to Disney, where it ultimately found its way to the animation department, still run by the nine grand old men who had created such classic animated films as "Snow White and the Seven Dwarves" and "Pinocchio."
They invited Bird to visit the next time he was in L.A. and he immediately flew down. They cleared an equipment room and gave him a desk, and on vacations he'd fly down to study with Milt Kahl, a legendary taskmaster.
"It was like being an aspiring actor and all of a sudden you get to work with Brando," he says. Kahl drilled in him artistic relentlessness, "this idea that you need to push yourself and there's always a better way."
Despite the encouragement, Bird found himself isolated from his peers, whose eyes would quickly droop when he began talking animation. "I started to realize that I was missing out on life," he says. He quit, rejoined the adolescent world, played football, discovered girls.
Normal life, he says, helped his animation, grounding it in real experience rather than just other movies. He went to Cal Arts, in the newly relaunched animation program where he met a fellow devotee in Lasseter. They were keepers of a dying flame, Bird recalls. "The TV was filled with just the worst 'animation' that you could imagine. It was like all the good ideas had long ago been done, so now here's the Harlem Globe Trotters meet the Brady Bunch in the Flintstones' living room. It was like a meal that's been cooked and recooked so many times that now it's breaking down on a cellular level and just turning into goo."
"We learned more from each other than even our teachers," recalls Lasseter. "This is 1975. In the library at Cal Arts, there are 16 mm prints of six Disney films, 'Snow White,' 'Pinocchio,' 'Dumbo.' … We would check one of these out, bring it to the animation room where there was a projector that could stop and play the film backwards. We'd study and study and study. Every frame, we got to know."
When Bird graduated, Disney was essentially the only animation game in town, and attracted all who were interested, including Bird, Lasseter and Tim Burton. Unfortunately, the art form was at its nadir, the era after the nine old men but before the renaissance under Michael Eisner and Jeffrey Katzenberg.
"What was happening was that they promoted the guys that had been there for 20 years but were never really good enough to rise to the top under the old masters. So those guys made the kind of decisions that they made, and anybody that aspired to do more than that was kind of considered a troublemaker," Bird says.
"We were in there ready to change the world, ready to entertain audiences, and they looked at that like a threat," Lasseter says.
Bird got fired, as he did from another animation job in San Francisco. "I had this false idea that you could be outspoken and if you could back it up, that was OK," he says.
He wound up directing and animating "Family Dog" for "Amazing Stories," about a dog whose whole emotional life could be discerned by the way he moved. Yet, when the studio decided to turn the episode into its own series, Bird declined the job "because I didn't want to fail in front of someone I admire as much as Steven Spielberg." He thought it couldn't be done without a lengthy full animation schedule. Instead, he took a supporting role on "The Simpsons," where he was often charged with unpacking the show's fat suitcase of jokes and turning them into visuals. Bird contributed enormously to Krusty the Clown, says "Simpsons" creator Matt Groening. "Brad and I both grew up in Oregon and we were mesmerized by a local TV clown named Rusty Nails, and even though Rusty Nails was a very sweet clown, it was fun for Brad to take Krusty and push him to extremes. All those crazy poses that we come to expect from Krusty originated with Brad Bird."
"Brad's very opinionated," Groening says, "but when he tells you you're completely wrong, it's charming. It's not offensive. It's not about ego. It's about the shared assumption that we all want to make the best piece of art we can. I knew from the moment I met him, this guy was going to be destined for big things."
Yet Bird couldn't get those bigger things going. For several years he had a deal at Turner Pictures, but none of his movies took off.
"I wish I had the good sense to make every single thing he wanted to make," sighs Amy Pascal, the chairwoman of Columbia Pictures who ran Turner at that time. "I didn't understand animation in those days."
Turner was eventually absorbed by Warner Bros., and Bird finally made the film "The Iron Giant." Poet Ted Hughes' original story was about a boy's friendship with a giant robot. Bird set the story in Maine, circa 1957, when America was gripped with Cold War paranoia and gave it a moral underpinning.
"I said, what if a gun (i.e. the giant) had a soul and didn't want to be a gun?" he recalls. It was a small, thoughtful animated film that went up against the Disney animation juggernaut then in its "Lion King" glory. Critics loved it, but audiences never came.
Bird was actually considering making "The Incredibles" as a traditional animated feature for Warner Bros. when Lasseter came calling … again.
"Studio executives have never quite understood Brad," says Lasseter, who at the time was finishing "Toy Story 2." "He will never accept stupidity. He has no patience for executives that are just worried about their standing or their jobs. He cares about making the best possible movie, and he'll work and push and push and push and take every battle to the very end, no matter how small. People kept saying, 'I can't work with this guy.' I kept going, 'This is exactly what I want.' … Brad was so disappointed in ['Iron Giant'], he finally started listening to me." For Bird, the decision to move himself and his family northward was simple.
"I didn't want any kind of uncertainty," he says. "I wanted somebody that said, 'I want to make this,' and Pixar said, 'We've got to make this.' " There were those who toiled in traditional animation who were disappointed in his decision to leave. "Some of them said, 'You're selling out to CG,' " he recalls with a shrug.
He points to the original drawings for the 2-D version of "The Incredibles" on the wall; the characters look precisely how they look in the completed film, albeit flat. "I said, 'I'm not going to Pixar to work on CG. I'm going to Pixar because they protect their stories.' "
Disney, Pixar Rev Up 'Cars'
Disney and Pixar are planning to begin building buzz for Cars, a computer-animated race-car feature directed by Pixar co-founder John Lasseter, beginning this week when the two partners roll out a trailer for the movie attached to The Incredibles. The film is scheduled for release one year from now and will likely be Pixar's final collaboration with Disney. In an interview with USA Today, Lasseter said that the film will display a greater sophistication in computer animation than any previous film. "The level of detail, the patina on the road, the peeling paint, the dirt -- everything looks so real," he said.
ah, so this is what love feels like. goddamn, this was good. i knew it would be great, because a new pixar movie is like money in the bank. but this was unexpectedly good. or maybe just good in a way i didnt expect. or whatever. the look is just gorgeous, and some of the action sequences are jaw-dropping, but what makes it so great is the characters and the story which, even as an amalgam of familiar themes, is unlike anything else you've seen before.
the movie is much darker and more serious than the trailers make it look, and i'm glad for that. the way the superheroes are forced into hiding after they are sued and how mr. incredible is forced to abandon his skills and work some crummy job to support his family somehow felt more real and heartfelt than most 'real' movies do. they just managed to really strike a chord with superpowers being like a metaphor for having to give up your passion and having to settle down, the way incredible longs for the way he used to help people. just great stuff.
also, its hilarious. too many favorite parts to name.
it is THE BEST SUPERHERO MOVIE OF THE YEAR. it is MY FAVORITE PIXAR FILM BEHIND TOY STORY(S). it is (so far) in MY TOP THREE FAVORITE FILMS OF THE YEAR. and it is just great. i will see this again on sunday.
also: this NEEDS a sequel. in the way that toy story 2 was probably better than the first one, this is a film that if made, could destroy all other movies for all time.
Oh FUCK, I loved this movie!!!!
Not everyone is gonna like this as much as me, but it worked so well on me. Brad Bird's love for the 50s design style matched with the mind-blowing Pixar animation (it's no longer computer animated, it just looks like actual objects, dolls or what have you, acting and moving). It worked so well for me.
so great. Brad Bird has stuck his arm into my brain and stolen my dreams.
I KNOW!!! :-D
I was overwhelmed by the genius of these people... it was excellent... flawless... I absolutely loved it. Nothing I can say that wasnt said before.
Woooh!
Yes! Amazing! Brilliant!
Ultimately, I still prefer Monsters Inc and The Iron Giant (as far as Pixar and Bird go), but this is still superior to them in all but the most subjective ways.
If that piece of crap Shrek 2 wins the best picture for animated film this year, there's gonna be hell to pay.
BTW, on a technical note -- did anyone notice the characters' hair? Hot damn. The few parts of my brain that have a grasp on the technical process of creating and animating CGI characters was completely fried by each follicle present in this film.
Quote from: GhostboyBTW, on a technical note -- did anyone notice the characters' hair? Hot damn. The few parts of my brain that have a grasp on the technical process of creating and animating CGI characters was completely fried by each follicle present in this film.
I definitely noticed. I remember thinking, "Wasn't it just a couple of years ago that they were saying how hard it was to get Sully's hair to look right in Monsters Inc?" Everything about the movie was just pants-wetting. Some of the backgrounds and sets were so photo-realistic it was scary.
Fuck Animated Feature, this deserves a shot at best picture. You just can't say the same for Shrek 2.
I didn't get the chance to post last night about this movie because I got drunk when I came back to the apartment but that's another story for another time (and not a very interesting story at that).
But, anyway, the Animated Film was spectacular. I can't say anything anything else that has already been posted. Just a really fantastic flick.
fucking brilliance.....pixar continues to amaze me
Quote from: themodernage02also: this NEEDS a sequel. in the way that toy story 2 was probably better than the first one, this is a film that if made, could destroy all other movies for all time.
The Incredibles writer and director Brad Bird told Moviehole that he would be up for a sequel:Brad Bird: Well, you know, I think some people nowadays think that anytime a movie is successful it magically is a franchise and I don't think that is true of every project. I don't think that we need Jaws II, however, I do think we need Empire Strikes Back or Godfather II or Road Warrior or a Goldfinger so I think that if you get the original film makers and the intent of the original filmmakers is to equal or better the one that everyone like then they believe going in that they can do that then I would, you know, I love these characters and I would, you know, if I could do Incredibles II that was to Incredibles what Toy Story II was to Toy Story, I would do it.
SWEET!
if was one of the coolest things I've ever seen.
I'm relieved I won't have to wait 6 fucking months for this one, Nowhereland will be getting getting it next friday.
Quote from: themodernage02The Incredibles writer and director Brad Bird told Moviehole that he would be up for a sequel:
Brad Bird: Well, you know, I think some people nowadays think that anytime a movie is successful it magically is a franchise and I don't think that is true of every project. I don't think that we need Jaws II, however, I do think we need Empire Strikes Back or Godfather II or Road Warrior or a Goldfinger so I think that if you get the original film makers and the intent of the original filmmakers is to equal or better the one that everyone like then they believe going in that they can do that then I would, you know, I love these characters and I would, you know, if I could do Incredibles II that was to Incredibles what Toy Story II was to Toy Story, I would do it.
Wait, he did
not just dump on Jaws 2, did he?! That's one of the better, enjoyable sequels, granted it's no where near the league of the other follow-ups he listed, but it wasn't "Jaws: The Revenge" bad. He should have said: Bambi 2, Beauty and the Beast 2, Little Mermaid II, Dumbo II, Lion King 2 & 1 1/2, Cinderella II, etc. Those we don't "need."
Quote from: hacksparrowEverything about the movie was just pants-wetting.
that made me smile :-D
so yeah, tomorrow i'm gonna go to the halfmoon diner and have a big ol' breakfast then i'm seein this....excitement
is it just me?
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Syndrome
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Freak-a-zoid
similar?
Nope, it ain't just you Rudieob. There is a resemblance, of sorts.
Quote from: peteif was one of the coolest things I've ever seen.
I know dude. It was so good that when I tell people how good it was, I can't get my words to come out right either.
Quote from: rudieobis it just me?
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Syndrome
similar?
also: the hair reminded me of Heatmiser
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I'm Mr. Heatmeiser
I'm Mr. Sun
I'm Mr. Heatmeiser
I'm Mr. 101!
Just got back from it. Friggin' amazing. I hate to formulate an opinion of this magnitude so hastily after seeing it, but I seriously think this could THE best Pixar film. I loved the characters with their Golden Age family sensibilities and the retroish super hero vibe. Bird somehow tackled familial issues in the form of his super hero characters (eg Dash wanting to do his best), and he really focused on their personalities and development rather than simply exploiting their powers for entertainment. He didn't try to insult our intelligence, which is appreciated. Seriously, it was so fun; this smile creeped on my face from the very beginning and wouldn't leave till just a second ago.
And the animation is fantastic. Whoever said whatever about the hair follicles was right. I noticed they had a rather large animation team exclusively for hair and cloth.
Terrific terrific film. Brad Bird + Pixar = Perfection. They turned the superhero idea upside down with the idea that people started
suing superheroes for injuries sustained while they were saving people. Nice dig at American litigiousness. I also loved the little jabs at these types of movies, such as the cape montage and the use of "monologuing." Glad they didn't go with the obvious choice of Patrick Warburton for the father. The cast was excellent and the visuals were extremely creative. The set design, the crazy character design, the ball things that were shot at Robert after he broke into the computer, etc. All wonderful. The only things that could have made the film a little better were perhaps more Frozone and her (http://www.themoviebox.net/gallery/2003/ComicCON2003/digitalpics/images/pic00009.jpg).
Quote from: rudieobis it just me?
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Also
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and
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Very, very good.
I liked it as much, if not more than I liked Finding Nemo. Also, the action sequences in this were as good, if not better than anything I have ever seen before.
Spoilers:
The Dash running scene was like an animated speeder bike race from Jedi. There were other scenes that I'm forgetting about that were homages to other movies, these were some of the touches that I loved.
In the same sequence when one of the guards crashes into the cliff, I thought it was an homage to Indiana Jones.
Quote from: POZERIn the same sequence when one of the guards crashes into the cliff, I thought it was an homage to Indiana Jones.
I thought when the Machine turned into a ball and chased Mr Incredible, that was an homage to Raiders of the Lost Ark.
When Mr. Incredible is trying to remember Incrediboy's (Jason Lee) name, he says "Brodie" as one of the guesses.
Quote from: RegularKarateWhen Mr. Incredible is trying to remember Incrediboy's (Jason Lee) name, he says "Brodie" as one of the guesses.
Oh, shoot, I just remembered that.
Quote from: RegularKarateWhen Mr. Incredible is trying to remember Incrediboy's (Jason Lee) name, he says "Brodie" as one of the guesses.
Didn't he also call him "Fan Boy?"
okay, um, BRILLIANT!!!
p was right. pixar is the second coming of christ, most definitely.
all these wannabe action directions (Emmerich, Sonnenfeld, Zemeckis (oh God Zemeckis) Bruckheimer, Bay, Cameron, Scott(both of them)) could learn a thing or 5 from these good folk.
my thing is this- these movies are far from kids movies, right? i can't imagine a kid getting 3/4's of all that great stuff. but maybe i underestimate the intelligence of a kid these days. i dunno.
anyways, loved it. my top 2 of the year.
Quote from: ©bradmy top 2 of the year.
As in its good enough to take both First and Second place?
i got an invitation to the preview last night. I got me an incredibles eye mask.
This film is so good, I adore every minute of it. The action and the humor is better than any animation film I've ever seen. These pixar people are geniuses and I hope They get all the cash that they deverve.
Shreck 2 looks like a fart now that I've seen this.
with this being pixar first pg rated film dealing with a little bit mature topics (well kind of)...do you think there is a strong possiblity of seeing a serious drama or adult comedy being fully animated by pixar or would that be too much of a risk...
Quote from: mdwith this being pixar first pg rated film dealing with a little bit mature topics (well kind of)...do you think there is a strong possiblity of seeing a serious drama or adult comedy being fully animated by pixar or would that be too much of a risk...
There would have to be a reason for it. They could go an anime route and produce some more adult-oriented stuff but what does that really mean? More sex and/or violence.
While I have no problem with that, it would have to be a story that is virtually impossible to produce live-action, because (as Polar Express has begged the question) why produce a CGI film for over $150 million that would have been cheaper if it was live-action?
In a business perspective, no Hollywood company would bankroll a serious drama (R-rated) computer-animated movie. Who would go see it?
The obvious expense would be the major reason for a denial, like hacksparrow said.
There is a Japanese director (in which I hesitate to call his movies "anime") by the name of Satoshi Kon who makes great dramatic animated movies. He's made Perfect Blue, Millennium Actress, and Tokyo Godfathers, all avoiding the sci-fi/fantasy spin that usually encompasses animes. He's one of my personal faves.
I'm not sure if somebody already mentioned but there is a nice little nod to die hard 3. When the shaky cop has a gun pointed at frozone and he says "I'm really thirsty.", it reminded me of when he is in the subway in die hard 3:" I need to answer this phone."
Totally. I noticed that right away.
yea so i took my little brother to see this last night. so good. he was imitating certain things from it the whole ride home.
this is what cinema is all about, yea, i saw this either the day before or the day after thanksgiving, it's hard to remember. great movie tho. i admire pixar hugely for what they're doing.
i think their shorts are worth the price of admission in and of themselves...
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UPDATED: Disney has finally OFFICIALLY announced The Incredibles for 3/15 (SRP $29.99). As we expected, the 2-disc set will be THX-certified and will be available in separate full frame and anamorphic widescreen versions. Both will include Dolby Digital 5.1 EX audio. Extras on the DVD will include audio commentary with director Brad Bird and producer John Walker, a second commentary with key animators, the all-new Jack-Jack Attack animated short, the Boundin' animated short, the Who is Bud Luckey? featurette, The Making of The Incredibles documentary, More Making of The Incredibles featurettes, the all-new Mr. Incredible and Pals "lost" cartoon (featuring audio commentary with Mr. Incredible and Frozone), character interviews, Vowellet: An Essay by Sarah Vowell, bloopers and outtakes, deleted scenes and an alternate opening, "top secret files" on all the superhero characters and a gallery of theatrical trailers and TV spots for the film.
Quote from: ewardi think their shorts are worth the price of admission in and of themselves...
I remember when someone once said this about me...
:yabbse-cool:
2LB
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USA Today's Mike Snider is confirming reports that Disney and Pixar's The Incredibles will street on DVD on 3/15 (SRP $29.99). Expect filmmaker audio commentaries, an all-new Jack-Jack Attack animated short, the Boundin' animated short, bloopers and outtakes, deleted scenes and an alternate opening, "top secret files" on all the superhero characters, a behind-the-scenes documentary and much more.
For some reason, I pictured a much more minimalistic, classy 2 disc collector's edition. Like one for the kids and then one for the adults. They could target this for adults and do very well. I have an Incredibles T-Shirt that's done in a minimalistic style that's very nice; I expected a classier front cover, I dunno.
I'm probably buying this. I don't think they'll have another edition coming out (but you never know). Didn't Disney put out a Tarzan DVD geared towards adults?
Quote from: Two Lane BlacktopQuote from: ewardi think their shorts are worth the price of admission in and of themselves...
I remember when someone once said this about me...
:yabbse-cool:
2LB
hehe, you.
Quote from: matt35mmFor some reason, I pictured a much more minimalistic, classy 2 disc collector's edition. Like one for the kids and then one for the adults.
This may not be the final art. They pre-released a cover art (1) for Finding Nemo that didn't end up being what was released (2).
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Quote from: matt35mmDidn't Disney put out a Tarzan DVD geared towards adults?
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An Interview with Brad Bird
The real Mr. Incredible talks about his Oscar-winning movie.
Talk about timing. We scheduled our interview with The Incredibles director Brad Bird just three days after the biggest night of his professional life - he had just won an Oscar for Best Animated Film. Bird was also nominated in the Best Original Screenplay category, but lost out to Eternal Sunshine Of The Spotless Mind.
Bird began his career in animation in 1981 as an animator for Disney's The Fox and the Hound. He also worked for Steven Spielberg on an episode of Amazing Stories in 1985. He'd make a brief foray into live action, co-writing the screenplay for *batteries not included.
He would spend several years working as a consultant for The Simpsons, The Critic and King of the Hill. In 1999, made his feature film debut with The Iron Giant, which received massive critical acclaim (97 percent fresh on Rotten Tomatoes) and the few who saw it absolutely fell in love with the heart-felt film.
Unfortunately for him and the movie, Warner Bros. had decided to ditch its animation efforts and more or less threw the movie on the market with no promotion and it promptly sank. Like another Warner title, The Shawshank Redemption, the movie's fan base would grow slowly on the home video market and its fan base didn't just like the movie, they adored it. Such is its popularity that every year on Thanksgiving, Cartoon Network runs an Iron Giant marathon, replaying the movie for 24 hours straight.
For his next trick, Bird went to an animation studio that had its pixels together; Pixar Animation Studios. His film The Incredibles had everything fans loved about The Iron Giant; intellectual honesty, it was relatable, heart, and it spoke to us like we were adults. Audiences responded in kind, to the tune of $260 million.
The Incredibles represented a real change for Pixar. It had never used humans to any great extent before in one of its films, and human motion is a lot more complex than a fish swimming. The extras for The Incredibles shows the effort that went into this, as Pixar animators recorded themselves walking, just to get the hang of proper human motion.
We only had 15 minutes to chat with Bird, but could have talked for three times that length. He has plenty to offer. Here's what he said to us.
IGN DVD Editor Andy Patrizio: Congratulations on your big win.
Brad Bird: Thanks.
IGN DVD: Be honest. Did you think you had it locked up?
Bird: Every time I started going in the direction of thinking how it might turn out, I started to just turn my brain around and not go there, because I think the surest way to guarantee that you won't win is to assume that you will. So I tried to not think about anything else except "Hey, I get to go to the ceremony and a bunch of cool parties later."
IGN DVD: What was the feedback from your peers and fellow directors at the show?
Bird: Everyone is delighted. Part of us would have loved to have gotten the screenplay as well, but we were delighted, and felt like it capped a wonderful experience of making the film. It was really, really hard to make but we had a really good time and we all got very close to each other making it. It was kinda like going through a war or something, we all had this huge mountain to climb, the weather got bad a few times, we got stranded at the 16,000 foot level a few times. But we all made it down alive and we're very happy with the film. So it's just been a wonderful experience all around.
IGN DVD: Perhaps you're a better man than me, because I would have been on the Warner lot the next day rubbing it in, after the way they bungled The Iron Giant.
Bird: (chuckles) You know what? We got to make that film, and you can focus on that, but the bottom line is they gave me my first opportunity to direct a film, and even though it could have been an easier experience and they could have handled it better, they did allow me to make the film I wanted to make, so I am grateful.
IGN DVD: You said how difficult it was. How long have you worked on the project?
Bird: Well I had the idea 12 years ago but came up to Pixar in March of 2000.
IGN DVD: You must be sick of it by now.
Bird: You know, I'm not. I'm probably getting sick of talking about it but I still really love the characters and love the movie. You'd think I would be sick of it. But I don't just see the movie when I see the movie, I see all the great people who worked on it and all their hard work, because they could not have worked any harder. They were just absolutely committed. I had about the biggest, longest wish list anyone could have, and 99 percent of what I wanted to get on the screen we got on the screen within our schedule and within our budget and within our resources. So I'm just stunned we were able to do it. We were told at the beginning of it by some people here that it was an unmakable movie.
IGN DVD: In what sense?
Bird: Just way too complicated, too many characters, too many costume changes, too many effects, too many locations, too many sets. If we had done the humans the way Pixar had done them prior to this, it would have taken four years just to build the characters. So we had to invent a whole new way to build them. We were told it would take ten years and cost a gazillion dollars by people here who are very smart.
IGN DVD: So it was very different from doing bugs and fish.
Bird: Oh yeah. Even in hand drawn animation, humans are widely considered to be the most difficult to execute, because everybody has a feeling for how they move. If your goal is just to be funny then you can do something simple like The Simpsons and South Park. But if you're trying to be dramatic and put your characters in jeopardy and have them feel pain and regret and complexity, then you have to be very careful as to how you put them on screen.
IGN DVD: Right, you couldn't do the Helen and Bob argument-
Bird: -with Homer and Marge. The thing is, our goal wasn't to reproduce reality. We didn't want it to look real, we wanted it to feel real. We wanted to have very stylized characters that were designy and fun to look at, but we wanted to move them through space convincingly, so Bob feels heavy when he moves, and there's a feeling of real physics when Helen stretches, even though it's physically impossible to do. If you look at a lot of animated movies, they don't pay attention to how things move through space. If you move something 10 pounds through space and then stop suddenly, there's a little overshoot. When you transfer weight from one leg to another, there's a certain way that it happens. Again, we're doing unrealistic stuff all the way through the film, but we're trying to pay attention to real physics when we do the unreal stuff so you believe it. We had a number of people come up to us and say "Five minutes into the movie I forgot I was watching an animated film." I don't think the film looks realistic, I don't think it looks remotely realistic. But it feels realistic.
IGN DVD: One of the things I noticed was Bob's proportions were very similar to that of the Iron Giant. He had a massive torso and almost no lower body.
Bird: (laughs) Well what's funny is, again, people say they believed what was going on, but again, Bob's hands are about three times bigger than his feet. So these are very caricatured. Particularly in the area of computer graphics, when people do humans, they get suckered into trying to make them realistic. Without naming names, I think other movies look more realistic but they feel less real.
IGN DVD: I know what you're saying. In a lot of anime they walk stiff as boards.
Bird: Yeah stiff or they feel like they are weightless. I think if you have a really big, heavy person, there's a feeling of an invisible puppeteer jerking them around in space. They don't feel like they are moving themselves. Also, a lot of people don't pay attention to the differences in how they move. Ten-year-old boys move differently than middle-aged women, who move differently than athletic guys, who move differently than government bureaucrats.
IGN DVD: So did you put people in motion capture suits like Andy Sirkis had to do?
Bird: No, not remotely. We just have very good animators who observe things and invent. I think that motion capture has its place, but for me, from an animation point of view it's just a modern equivalent of rotoscope in a lot of ways and has the limitations of rotoscope, because neither has the subtlety of real live action or the clever caricature of animation. So it's neither fish nor fowl and it feels neither fish nor fowl. Now if you have a team of animators to go over the motion capture to get the most out of it and plus it, like Gollum, I think the results are extraordinary. But if you leave it alone and just take the information that's given to you from the machine, you get creepy, unconvincing stuff.
IGN DVD: So are you a permanent part a of Pixar?
Bird: Oh yeah, I'm still employed at Pixar and I love it here.
IGN DVD: So your next project will be with Pixar?
Bird: Well I gotta pitch it and see if they wanna do it, but-
IGN DVD: If you had your choice?
Bird: I think it's the most extraordinary studio around. I would love to do my next project with Pixar.
IGN DVD: Let's talk a little about the DVD. What are your favorite elements on the DVD?
Bird: You know, I get asked this and I get asked who's my favorite character and I truly don't know what to answer because I was very involved in the DVD, I wanted to jam as much stuff as I possibly could on there. There are things that are put on a lot of DVDs that I didn't want to put on there. We had discussions about it, but I didn't have to do anything I didn't want on the DVD, so I just enjoy all of it. I really enjoy the Jack-Jack short, I think the TV pilot for the 60s animation show that we uncovered was a real cool thing-
IGN DVD: Ok spoil it. Was that for real or a joke?
Bird: Oh no, it's real. Bob, Mr. Incredible, allowed his likeness, and Frozone did to, allowed for their likeness to be used in a Saturday morning pilot way back when they were young, and when the superheroes were forced underground and the pilot was shelved. The pilot got made, and this is the first time Mr. Incredible and Frozone have seen it and did a commentary for it.
IGN DVD: Ok, I gotcha. One of the things I liked was Bob's frustration, when he talked about celebrating mediocrity, and Syndrome's comment that if everyone is super, then no one is. Do you think people picked up on that point?
Bird: I think so. I think it got misinterpreted a few times. Some people said it was Ayn Rand or something like that, which is ridiculous. other people threw Nietzsche around, which I also find ridiculous. But I think the vast majority of people took it the way I intended. Some people said it was sort of a right-wing feeling, but I think that's as silly of an analysis as saying The Iron Giant was left-wing. I'm definitely a centrist and feel like both parties can be absurd.
IGN DVD: How in the world can you see The Iron Giant as left-wing?
Bird: It was one New York paper, not the Times, I don't remember which one, but a reviewer said the Iron Giant represented Russia and that my standpoint was that Russia was just a cuddly friend and we never should have had nuclear missiles against Russia, and he said that was a ridiculous thing, that Russia was dangerous. And I'm sitting here thinking "You think the Iron Giant is Russia? Where the hell did you get that?" But you can't control how people interpret your stuff. Have you ever met someone and you say something nice to them and they make a face and are deeply offended? You just don't know how people are going to take things. Ninty-eight percent of the people got that stuff the way I intended and two percent thought I was doing The Fountainhead or Atlas Shrugged.
IGN DVD: Well I just thought you were expressing what I've heard other parents say.
Bird: Well the cool thing about it was even though I may have disagreed with a couple of writers' analysis of what it was, the fact that it was written about in the op/ed section of the New York Times several times was really gratifying to me. Look, it's a mainstream animated movie, and how often are those considered thought provoking? It's meant to be a great time at the theater, but it's also designed to work on more than one level.
IGN DVD: That's the unfortunate thing I've noticed about most American animation, is that it's aimed at kids with maybe a bone thrown to adults, whereas the Japanese are very good at making mature animation.
Bird: But you know what? My kids love anime, but I don't show them the really graphic stuff. Look, I think if you talk down to a kid or aim specifically at a kid, most kids aren't gonna like it, really, because most kids can feel when you are being patronizing. And if you are making entertainment that you yourself wouldn't watch, I think there's something insulting about that. People have gone the other way and asked, not only to me but about Pixar in general, "How do you guys do just the right balance," as though there's some really complex equation that we follow. It's really, really simple. We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.
IGN DVD: So what's next for you?
Bird: Well I'm still working on The Incredibles. So I'm going to take a little time off. I've got a couple of tricks up my sleeve. I'm not ready to talk about them yet, but expect the unexpected.
IGN DVD: Would you do an Incredibles 2?
Bird: Look as a movie fan, there are two kinds of sequels. There's the great sequel you want to see. The Empire Strikes Back, T2, Godfather 2, Toy Story 2. those are all done by the original filmmakers and done with the assumption the filmmakers could match or better the film everyone liked. Then there's Jaws 2 and Butch and Sundance: The Early Days and Grease 2, that are done cynically to cash in on the film, but have none of the original team. I don't think the world needs any more of those sequels. If I could figure out an idea that was worth exploring and we could reassemble the original team, I would do it, because I love the characters. I don't think every movie deserves a sequel, but if I could meet those two criteria and make a sequel to The Incredibles what Toy Story 2 was to Toy Story, I would do it.
There has to be at least one sequel to this film. I'm sure it will be even better.
So, up until The Incredibles, I had seen every Pixar flick in theatres, liked them all (well, A Bug's Life isn't a masterpiece, but I remember it being watchable), and for some ungodly reason, this one slipped through the cracks (I'm trying to pinpoint if it was b/c of my mega-drinking-binge during my time unemployed, or if I was too busy once I started working again, or too busy writing... anyway...).
So yeah. Finally caught this on dvd. I'm a dumbass. Hands down, my favorite film of 2004. Dammit. I'm seriously kicking myself I didn't see this in theatres. The last half hour was so damn amazing, I can only imagine would it sounded/looked like in a nice theatre.
I now plan on spending my weekend devouring the dvd, playing the Incredibles video game, and finally seeing the Iron Giant (yes, my dumbass never caught that either, I guess too much time spent being a Miike compleatlist).
Please, Brad Bird, make a sequel... pretty please...
And despite my overjoyed reaction... I have absolutely no faith in Cars. What the fuck is THAT about? I hope there's something I'm missing here...
Quote from: Weak2ndActAnd despite my overjoyed reaction... I have absolutely no faith in Cars. What the fuck is THAT about? I hope there's something I'm missing here...
Have you seen any promotional material for Cars? It'll be much better than it sounds. This is one case where things like teasers and trailers are necessary. I'm really pumped for that one too. It has potential.
Quote from: ono mo cuishleQuote from: Weak2ndActAnd despite my overjoyed reaction... I have absolutely no faith in Cars. What the fuck is THAT about? I hope there's something I'm missing here...
Have you seen any promotional material for Cars? It'll be much better than it sounds. This is one case where things like teasers and trailers are necessary. I'm really pumped for that one too. It has potential.
I don't know. It looks like a ploy to get all the nascar fans into a theater, and i hope it's not cause I won't fucking see it. Also, it looks very childish. Granted this is all from a teaser but that was the impression I got. It's just trying to cash in on the nascar craze right now. But, pixar has never steered me wrong before so i'm probably wrong like I normally am.
...there's a Nascar craze now?
Quote from: ono mo cuishle...there's a Nascar craze now?
yeah dude, havn't u heard?
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Just got the DVD. Jack Jack Attack is wonderful - so wonderful that it feels way too short.
FEATURE - A Very Animated Speech
Brad Bird, the writer and director of last year’s phenomenon The Incredibles, takes time out to blister Hollywood studios, theatre owners, moviegoers and the media. Souce: FilmStew.com
When The Incredibles writer-director Brad Bird took to the stage this past weekend at the 48th San Francisco International Film Festival, the very same sensibility that powered his 2004 animated Pixar smash immediately took hold. As this year’s invited ‘State of the Cinema’ speaker, Bird suggested instead that his 90-minute speech should simply be thought of as ‘A Bunch of Stuff I Think About the Movies.’
Here is a man whose seminal moviegoing experiences are of an unabashedly populist bent: watching A Hard Day's Night as a child, mystified by the screams of the teenage girls in the audience; attending Star Wars that magical spring of 1977 and cheering along with a crowd that didn't yet know that they were witnessing a phenomenon; seeing Casablanca in a packed rep house in the days before video took over and becoming one with a group that passionately reacted to every turn in its classic story; and taking his own children to the first 12:01 AM screening last year of Spider-Man 2 at a single-screen theater in Corte Madera, California so that they would be able to see the movie in all of its widescreen splendor before heading off to summer vacation in Vermont and temporary banishment to a small-screen multiplex.
"The thrill is not what it used to be," Bird warned of today’s cinematic experience, noting that even San Francisco festival attendance has been dwindling, a reflection of the changes happening in the wider world of the box office that has reflected declining attendance for the past nine weeks.
Certainly, the festival has had its early triumphs, with films such as Todd Solondz's Palindromes and hot Korean director Kim Ki-Duk's 3-Iron selling out their screenings. But unlike in years past, the main board in the Kabuki lobby that provides a master festival calendar is not yet covered in a sea of red dots, indicating sell out shows and rush only tickets.
To Bird's way of thinking, the blame for this drop off in movie attendance is shared among the studios, exhibitors, media, and the audience. He objects to the shabby way the studios treat a movie's theatrical release. "They're training people to wait for the DVD release," he complains, noting that the window between exhibition and the home consumer release grows ever shorter. "The vibe is the DVD release is more important than the theatrical release."
He holds particular disdain for what he calls "flops that aren't," movies like Godzilla that open big based on their marketing campaigns and then die quickly, making money for the studios on clearly inferior properties. Nor is Bird pleased with the way that the studios throw their movies on as many screens as they can in anticipation of making a killing on opening weekend, caring little whether it makes sense to show something like a Cinemascope movie on a tiny multiplex screen, so long as they make their money back.
But Bird does not let the theaters off the hook either, citing ads and video games in the lobby as sources of irritation. Ironically, while he was speaking in a multiplex, he hates them, referring to them contemptuously as the ‘googleplex.’ He is a passionate advocate for the survival of the single-screen theater and not just because those full-size screens provide the ultimate viewing experience for a 'Scope film like The Incredibles, but because of their architectural magnificence.
"They aren't going to make them like that again," he notes, waxing rhapsodically over Oakland's Art Deco gem, the Paramount, and mourning the recent passing of San Francisco's own Coronet, one of the first theaters to show a little unheralded 1977 film called Star Wars.
Bird accuses the media of being guilty of ‘television think,’ ruing the day in the mid-1980s when publishing box office stats became the norm. "It's not a horse race, people!" he declares, averring that the emphasis on big weekend grosses has changed the way the studios do business to the detriment of movies that might benefit from word-of-mouth and the old, platform release model.
Not left out of the equation are the moviegoers themselves, who he thinks need to be far more assertive in demanding quality from theaters, so that exhibitors cannot get away with such practices as trying to save money by not turning their projector bulbs to full brightness. And while he acknowledges that a six-track, surround-sound home theater system can be had for under $150, he would like to hear that question, "When can I get on DVD?" a lot less often. In the future, he believes, "Small movies will [screen] in the home," but for big event movies or comedies, Bird cannot imagine why anyone would stay at home when they can sit in the dark in communal delight.
Bird concluded his speech with a call to arms. "No tiny screens on opening day!" Further, he thinks the studios should dump their MBAs and find executives with good instincts and the courage to follow them. He would love to see an end to the box office handicapping, the banishment of ads, the return of movie music before screenings, and the revival of movie programs. He believes that the half-century prohibition on studios owning theaters should end, giving them more of a stake in the exhibition. And he longs to see movies more elegantly presented. "I want to see theaters with curtains!"
Mostly, though, Bird just wants to see a return of the showman with enough sense of razzle-dazzle to make going to the movies something special again. Bird cited Disney's Dick Cook as one such specimen, offering a local example in Cook's arranging for premiere of 1996's The Rock to actually take place on the movie's set on the rock, a.k.a. Alcatraz.
Certainly, the San Francisco International Film Festival itself seems to get Bird's point about showmanship. It is evident in the presentation of their Midnight Movies series where festival programmer Rod Armstrong whips up an already enthusiastic crowd with a pre-screening trivia contest. It is evident in the festival's latest gambit, their sold-out Sneak Peeks program, a slate of three movies sold as a package, which they promise will be among the year's hottest but keep the titles under wraps until the movies actually screen. It is evident in the way the festival recruited two very different screenwriters, Todd Solondz and Paul Haggis, to participate in screenwriting seminars.
Most of all, it is evident that SFIFF understands what Bird means by "showmanship" just in the fact that they tapped him for the ‘State of the Cinema’ address. Alone on stage with just a lectern, a pile of 3"x5" cards, and a microphone, he held an audience in the palm of his hands for 90 minutes with no clips and no cartoon characters to embroider his speech.
And yet when he was done, one could only conclude, "Now that's entertainment!"
wow. amen to that. if it werent for the pixar protection he would probably be blacklisted everywhere else in hollywood right now.
God bless Brad Bird.
Excellent.
I hate the shopping center vibe you can find now. Ive seen someone walk into a film with some flat pack furniture, before.
I was watching 'In Good Company' and in the last 20 minutes some girl comes in looking for somebody in the audience. When she couldnt find him/her she started asking people what the time was and when we thought the film would end. Where were the hell were the ushers?
Quote from: MacGuffin"They're training people to wait for the DVD release," he complains, noting that the window between exhibition and the home consumer release grows ever shorter. "The vibe is the DVD release is more important than the theatrical release."
So very, very true. Some people are becoming obsessed collectors. The very act of collecting the DVDs becomes more important the the films themselves. Everything is being packaged in plastic and handed out by the millions for the masses to grab, rush home, and bundle together with the rest of their unopened cases. I'm sick of it.
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Quote from: meatballSome people are becoming obsessed collectors. The very act of collecting the DVDs becomes more important the the films themselves. Everything is being packaged in plastic and handed out by the millions for the masses to grab, rush home, and bundle together with the rest of their unopened cases. I'm sick of it.
I'm sick of being that way. I've played that game and it's really not that fun.