The Incredibles
The Incredibles | |
---|---|
Directed by | Brad Bird |
Written by | Brad Bird |
Produced by | John Walker |
Starring | |
Cinematography |
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Edited by | Stephen Schaffer |
Music by | Michael Giacchino |
Production companies |
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Distributed by | Buena Vista Pictures Distribution[1] |
Release dates |
|
Running time | 115 minutes[2] |
Country | United States |
Language | English |
Budget | $92–145 million[3][4] |
Box office | $631.6 million[3] |
The Incredibles is a 2004 American animated
Bird, who was Pixar's first outside director, developed the film as an extension of the 1960s comic books and
The Incredibles debuted at the
Plot
On the day of his wedding with
Fifteen years later, a now-overweight Bob lives with Helen and their children,
Summoned back to Nomanisan Island, Bob discovers Mirage is working for Buddy, now calling himself "Syndrome" after being embittered by Bob's rejection. Syndrome has become wealthy by inventing weapons that mimic superpowers. He also has been perfecting the Omnidroid by luring supers to fight it until it kills them. Syndrome intends to send an Omnidroid to attack Metroville, then defeat it publicly with secret controls, thereby gaining "hero" status. He then plans to sell his inventions to the world to render supers irrelevant.
Helen visits Edna and learns what Bob has been up to. She activates a
Syndrome's plan backfires when the Omnidroid's artificial intelligence recognizes that Syndrome's remote control wristband is a threat; it shoots the remote off of Syndrome, who is knocked unconscious as he tries to flee. The Parrs and Lucius fight the Omnidroid; Helen and the kids retrieve the remote control, allowing Bob to use the Omnidroid's weapon to destroy the power source. The Parrs and Lucius are hailed by the public just as Syndrome awakens to see their victory. Returning home, the Parrs find Syndrome abducting Jack-Jack. As Syndrome flies away, Jack-Jack's superpowers manifest, and he escapes Syndrome's hold. Helen rescues the falling baby, and Bob throws his car at Syndrome's plane; Syndrome is sucked into the plane's engine, killing him and causing the plane to explode.
Three months later, the Parrs watch Dash wilfully come second-place in a foot-race and Violet is dating Tony. They witness the arrival of the Underminer, a supervillain, after the event. They don their masks and suits, ready to face the new threat.
Voice cast
- Bob Parr / Mr. Incredible, the patriarch of the Parr family who is Helen's husband, possessing superhuman strengthand endurance.
- shapeshifther body like rubber.
- force fields.
- superhuman speed.
- Eli Fucile and Maeve Andrews as Jack-Jack Parr, the Parrs' infant son who demonstrates a wide range of superhuman abilities.
- Buddy Pine / IncrediBoy / Syndrome, Mr. Incredible's obsessed fan-turned-supervillain who uses his scientific prowess to give himself enhanced abilities.
- Lucius Best / Frozone, Bob's best friend who can form ice from humidity.
- Mirage, Syndrome's right-hand woman.
- Brad Bird as Edna "E" Mode, the fashion designer for the Supers.
- Teddy Newton as Newsreel Narrator, heard narrating the changing public opinion of the Supers.
- Jean Sincere as Mrs. Hogenson, an elderly lady to whom Bob pretends to deny an insurance claim.
- Rick Dicker, a government agent responsible for keeping the Parrs undercover.
- Gilbert Huph, Bob's demeaning boss.
- Lou Romano as Bernie Kropp, Dash's teacher.
- Michael Bird as Tony Rydinger, Violet's love interest.
- Dominique Louis as Bomb Voyage, a French supervillain who uses explosives.
- Bret Parker as Kari, Jack-Jack's babysitter.
- Kimberly Adair Clark as Honey, Frozone's wife.
- Underminer, a mole-like supervillain
Production
Development and writing
The Incredibles as a concept dates back to 1993 when Bird sketched the family during an uncertain point in his film career.[8][9] Personal issues had percolated into the story as they weighed on him in life.[10] During this time, Bird had signed a production deal with Warner Bros. Feature Animation and was in the process of directing his first feature, The Iron Giant.[11] Approaching middle age and having high aspirations for his filmmaking, Bird pondered whether his career goals were attainable only at the price of his family life.[10] He stated, "Consciously, this was just a funny movie about superheroes. But I think that what was going on in my life definitely filtered into the movie."[12] After the box office failure of The Iron Giant, Bird gravitated toward his superhero story.[10][11]
He imagined it as a homage to the 1960s comic books and
The dad is always expected in the family to be strong, so I made him strong. The moms are always pulled in a million different directions, so I made her stretch like taffy. Teenagers, particularly teenage girls, are insecure and defensive, so I made her turn invisible and turn on shields. And ten-year-old boys are hyperactive energy balls. Babies are unrealized potential.
– Brad Bird, writer and director of The Incredibles.[15][16]
Bird came to Pixar with the lineup of the story's family members worked out: a mom and dad, both suffering through the dad's midlife crisis; a shy teenage girl; a cocky ten-year-old boy; and a baby. Bird had based their powers on family archetypes.[10][16][17] During production, Hayao Miyazaki of Studio Ghibli visited Pixar and saw the film's story reels. When Bird asked if the reels made any sense or if they were just "American nonsense," Miyazaki replied, through an interpreter, "I think it's a very adventurous thing you are trying to do in an American film."[18]
Syndrome was originally written as a minor character who assaults Bob and Helen at the beginning of the movie, only to die in an explosion that destroys the Parrs' house (in this version, the Smiths), but he was made the main antagonist because the filmmakers liked him more than the character of Xerek, who was intended to fulfill that role. The Snug character that Helen talks to at the phone in the final film was intended to fly Helen to Nomanisan Island and to die, but he was removed from that position when Lasseter suggested having Helen pilot the plane herself.[19][20] Syndrome was based on Brad Bird himself.[21]
Casting
Animation
Upon Pixar's acceptance of the project, Brad Bird was asked to bring in his own team for the production. He brought up a core group of people he worked with on The Iron Giant. Because of this, many 2D artists had to make the shift to 3D, including Bird himself. Bird found working with CGI "wonderfully malleable" in a way that traditional animation is not, calling the camera's ability to easily switch angles in a given scene "marvelously adaptable." He found working in computer animation "difficult" in a different way than working traditionally, finding the software "sophisticated and not particularly friendly."[32] Bird wrote the script without knowing the limitations or concerns that went hand-in-hand with the medium of computer animation. As a result, this was to be the most complex film yet for Pixar.[8] The film's characters were designed by Tony Fucile and Teddy Newton, whom Bird had brought with him from Warner Bros.[33] Like most computer-animated films, The Incredibles had a year-long period of building the film from the inside out: modeling the exterior and understanding controls that would work the face and the body—the articulation of the character—before animation could even begin.[32] Bird and Fucile tried to emphasize the graphic quality of good 2D animation to the Pixar team, who had only worked primarily in CGI. Bird attempted to incorporate teaching from Disney's Nine Old Men that the crew at Pixar had "never really emphasized."[32]
For the technical crew members, the film's human characters posed a difficult set of challenges.[14] Bird's story was filled with elements that were difficult to animate with CGI back then. Humans are widely considered to be the most difficult things to execute in animation. Pixar's animators filmed themselves walking to better grasp proper human motion.[9] Creating an all-human cast required creating new technology to animate detailed human anatomy, clothing, and realistic skin and hair. Although the technical team had some experience with hair and cloth in Monsters, Inc. (2001), the amount of hair and cloth required for The Incredibles had never been done by Pixar up until this point. Moreover, Bird would tolerate no compromises for the sake of technical simplicity. Where the technical team on Monsters, Inc. had persuaded director Pete Docter to accept pigtails on Boo to make her hair easier to animate, the character Violet had to have long hair that obscured her face; in fact, this was integral to her character.[14] Violet's long hair, which was extremely difficult to animate, was only successfully animated toward the end of production. In addition, animators had to adapt to having hair both underwater and blowing through the wind.[32] Disney was initially reluctant to make the film because of these issues, thinking that a live-action film would be preferable, but Lasseter denied this.[34]
The Incredibles was everything that computer-generated animation had trouble doing. It had human characters, it had hair, it had water, it had fire, it had a massive number of sets. The creative heads were excited about the idea of the film, but once I showed story reels of exactly what I wanted, the technical teams turned white. They took one look and thought, "This will take ten years and cost $500 million. How are we possibly going to do this?"
So I said, "Give us the black sheep. I want artists who are frustrated. I want the ones who have another way of doing things that nobody's listening to. Give us all the guys who are probably headed out the door." A lot of them were malcontents because they saw different ways of doing things, but there was little opportunity to try them, since the established way was working very, very well.
We gave the black sheep a chance to prove their theories, and we changed the way a number of things are done here. For less money per minute than was spent on the previous film, Finding Nemo, we did a movie that had three times the number of sets and had everything that was hard to do. All this because the heads of Pixar gave us leave to try crazy ideas.[35]
— Brad Bird speaking to McKinsey Quarterly in 2008
Not only did The Incredibles cope with the difficulty of animating CGI humans, but also many other complications. The story was bigger than any prior story at the studio, was longer in running time, and had four times the number of locations.[32][36] Supervising technical director Rick Sayre noted that the hardest thing about the film was that there was "no hardest thing," alluding to the amount of new technical challenges: fire, water, air, smoke, steam, and explosions were all additional to the new difficulty of working with humans.[32] The film's organizational structure could not be mapped out like previous Pixar features, and it became a running joke to the team.[32] Sayre said the team adopted "Alpha Omega," where one team was concerned with building modeling, shading, and layout, while another dealt with final camera, lighting, and effects. Another team, dubbed the "character team," digitally sculpted, rigged, and shaded all of the characters, and a simulation team was responsible for developing simulation technology for hair and clothing.[32] There were at least 781 visual effects shots in the film, and they were quite often visual gags, such as the window shattering when Bob angrily shuts the car door. Additionally, the effects team improved their modeling of clouds, using volumetric rendering for the first time.[32]
The skin of the characters gained a new level of realism from a technology to mimic "subsurface scattering."[33] The challenges did not stop with modeling humans. Bird decided that in a shot near the film's end, baby Jack-Jack would have to undergo a series of transformations, and in one of the five planned he would turn himself into a kind of goo. Technical directors, who anticipated spending two months or even longer to work out the goo effect, stealing precious hours from production that had already entered its final and most critical stages, petitioned the film's producer, John Walker, for help. Bird, who had himself brought Walker over from Warner Bros. to work on the project, was at first immovable, but after arguing with Walker in several invective-laced meetings over the course of two months, Bird finally conceded.[37] Bird also insisted that the storyboards define the blocking of characters' motions, lighting, and camera movements, which had previously been left to other departments rather than storyboarded.[14]
Bird admitted that he "had the knees of [the studio] trembling under the weight" of The Incredibles, but called the film a "testament to the talent of the animators at Pixar," who were admiring the challenges the film provoked.[32] He recalled, "Basically, I came into a wonderful studio, frightened a lot of people with how many presents I wanted for Christmas, and then got almost everything I asked for."[34]
Music
The Incredibles is the first Pixar film to be scored by
The film's orchestral score was released on November 2, 2004, by
Themes
Several film reviewers drew precise parallels between the film and certain superhero comic books, like Powers, Watchmen, Fantastic Four, Justice League, and The Avengers. The producers of the 2005 adaptation of Fantastic Four were forced to make significant script changes and add more special effects because of similarities to The Incredibles.[42] Bird was not surprised that comparisons arose due to superheroes being "the most well-trod turf on the planet," but noted that he had not been inspired by any comic books specifically, only having heard of Watchmen. He did comment that it was nice to be compared to it, since "if you're going to be compared to something, it's nice if it's something good".[16]
Some commentators took Bob's frustration with celebrating mediocrity and Syndrome's comment that "when everyone's super, no one will be" as a reflection of views shared by German philosopher
The film also explored Bird's dislike for the tendency of the children's comics and Saturday morning cartoons of his youth to portray villains as unrealistic, ineffectual, and non-threatening.
Release
Marketing
A teaser trailer of The Incredibles premiered on May 30, 2003, and was attached to the screenings of
Theatrical
The Incredibles was released theatrically in the United States on November 5, 2004.[54] In theaters, The Incredibles was accompanied by a short film, Boundin' (2003).[55] The theatrical release also included sneak peeks for Cars and Star Wars: Episode III – Revenge of the Sith.[56] While Pixar celebrated another triumph with The Incredibles, Steve Jobs was embroiled in a public feud with the head of its distribution partner, The Walt Disney Company.[57] This would eventually lead to the ousting of Michael Eisner and Disney's acquisition of Pixar the following year. In March 2014, Disney CEO and chairman Bob Iger announced that the film would be reformatted and re-released in 3D.[58] The Incredibles was re-released and digitally re-mastered for IMAX theaters (alongside its sequel, Incredibles 2) using their DMR Technology in a double feature on June 14, 2018.[59]
As part of Disney's 100th anniversary The Incredibles was re-released between September 1 to 14, 2023 in the United States[60] and October 5 to 11 in Latin America.[61]
Home media
The film was first released on both
Reception
Box office
The Incredibles earned $261.4 million in the United States and Canada and $370.1 million in other territories, for a worldwide total of $631.6 million.[3] It was the fourth-highest-grossing film of 2004, behind Shrek 2, Harry Potter and the Prisoner of Azkaban and Spider-Man 2.[70]
The Incredibles was released with
Critical response
On the
Roger Ebert of the Chicago Sun-Times gave the film three-and-a-half out of four, writing that the film "alternates breakneck action with satire of suburban sitcom life" and is "another example of Pixar's mastery of popular animation."[81] Peter Travers of Rolling Stone also gave the film three-and-a-half, calling it "one of the year's best" and saying that it "doesn't ring cartoonish, it rings true."[82] Giving the film three-and-a-half as well, People magazine found that The Incredibles "boasts a strong, entertaining story and a truckload of savvy comic touches."[83]
Eleanor Ringel Gillespie of The Atlanta Journal-Constitution was bored by the film's "recurring pastiches of earlier action films", concluding that "the Pixar whizzes do what they do excellently; you just wish they were doing something else."[84] Jessica Winter of The Village Voice criticized the film for "playing as a standard summer action film", despite being released in early November. Her review, titled as "Full Metal Racket," noted that The Incredibles "announces the studio's arrival in the vast yet overcrowded Hollywood lot of eardrum-bashing, metal-crunching action sludge."[85]
The Incredibles was included on a number of best-of lists. It appeared on professional rankings from
Accolades
The Incredibles led the
The film also received the 2004
It was included on Empire's 500 Greatest Films of All Time at number 400.[113]
Video games
It has received several game adaptations:
Sequel
A sequel, titled Incredibles 2, was released on June 15, 2018[120] and was once again a critical and commercial success.
Notes
References
Citations
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There's expectations for animation, and, you know, you make this connection with animation and superheroes, you think, 'Saturday morning,' and Saturday morning they have these very strange shows, completely designed around conflict and yet no one ever dies or gets really injured, or there's no consequence to it. I think that came out of, you know, a team of psychologists determined that it is bad for children, and I think just the opposite. I think that it's better if kids realize there's a cost and that if the hero gets injured and still has to fight, it's more dramatic, and it's closer to life.
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Remember the bad guys on the shows you used to watch on Saturday mornings?" she says. "Well, these guys aren't like those guys. They won't exercise restraint because you are children. They will kill you if they get the chance. Do not give them that chance.
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Works cited
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- Paik, Karen (November 1, 2007). To Infinity and Beyond!: The Story of Pixar Animation Studios. San Francisco: ISBN 9780811850124.
External links
- Official website
- The Incredibles at IMDb
- The Incredibles at the TCM Movie Database
- The Incredibles at AllMovie
- The Incredibles production notes Archived March 28, 2016, at the Wayback Machine