Determined to make her own path in life, Princess Merida defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse.
The magically long-haired Rapunzel has spent her entire life in a tower, but now that a runaway thief has stumbled upon her, she is about to discover the world for the first time, and who she really is.
When the newly-crowned Queen Elsa accidentally uses her power to turn things into ice to curse her home in infinite winter, her sister Anna teams up with a mountain man, his playful reindeer, and a snowman to change the weather condition.
The Dragon Warrior has to clash against the savage Tai Lung as China's fate hangs in the balance. However, the Dragon Warrior mantle is supposedly mistaken to be bestowed upon an obese panda who is a novice in martial arts.
Set in Scotland in a rugged and mythical time, "Brave" features Merida, an aspiring archer and impetuous daughter of royalty. Merida makes a reckless choice that unleashes unintended peril and forces her to spring into action to set things right.Written by
Walt Disney Pictures
Originally, the triplets were to distract Fergus with a bear puppet, but the filmmakers changed it to a chicken on a stick because they thought it would be funnier. See more »
In the falconry scene, one of the birds is a Harris's Hawk which is native to the Americas. See more »
Where are you? Come out! Come out! Come on out! I'm coming to get you!
[Young Merida laughs as she hides under the table]
Where are you, you little rascal? I'm coming to get you!
[Elinor looks under the table but Merida quickly moves to hide somewhere else]
Hmm. Where is my little birthday girl, hm? I'm going to gobble her up when I find her!
[Merida comes up behind Elinor and goes to run away but Elinor catches her]
[...] See more »
The final credit is headed Production Babies and is followed by a list of 68 given names (including a set of twins) of children born to members of the production team during filming. See more »
Steve Jobs remade Apple, embedding a very specific philosophy. Usually called 'design,' the idea is simple and the goal is simple. Have a vision of what you want to accomplish, a clear vision. Then engineer to that vision, ruthlessly eliminating all else. It sounds simple, but no Apple competitor has been able to emulate the approach; it is usual to start with a list of features and jam as many in as you can.
Jobs had far less work to do with Pixar because they started as an engineering shop and ended up making movies. The stories are effective because they are carefully engineered, based not initially on intuition, but on the science (such as it is) of narrative dynamics. As Pixar matured, they started to engineer the cinematic techniques as well.
Now Pixar is part of the Disney machine, and Disney has a princess franchise to feed, and I am sure that a very specific set of goals was supplied to Pixar to engineer to. So we have the story and the rather blunt girl-mother issues that apparently have market traction. You, dear viewer, will be in their scope and satisfied with the engineered results or not. I don't care much about that.
What I do appreciate is the parallel engineering, the cinematic engineering. Pixar in the past has been experimenting with space, particularly the position occupied by the camera and the space that is defined around it. Lots of consideration of dimension that gives something like a visual score. Sometimes it directly supports the goals of the story; sometimes it does so indirectly by just making the images more enticing.
I think what they did here is fascinating. The spatial experiments are muted, at least the space occupied by the action. Instead, the space around the chief character's head is engineered, no doubt using proprietary motion technology. You can see it in two recent Pixar patent applications (12/717,530 and 12/717,540) with the implementation here using NURBS rather than polygons. As a matter of hidden history, the technique of using linear NURBS to define things like hair came directly from military aircraft radiation modeling for stealth.
But that is another story. What interests us here is the ability to both *realistically* emulate the effect that curls of hair have in gravity, wind jostling and rubbing up against each other, *and* the agent system where tufts to have some individual character and personality within the assembly. They are characters in their own filmworld. The more glum I got over the story-in- front, the more joy I was able to find in what they did with this hair. Some of the 1500 individual curls work against the assembly just as Merida works against her constraints.
The personality of each of the tufts remains the same throughout the film, but the nature of the agentworld of the tufts develops.
Because they have to emphasize the hair, they de-emphasize hair elsewhere. For instance, the bearhides are from a bygone technology. The snow that originally would have used the same technology and echoed the hair dynamics would have made a great film. But 'creative differences' and a shift in the director killed this.
Red hair in cinema has a long history, and it can be said that film at least clarified certain stereotypes. I have a small project tracing the development from "It!" and following black and white films where the red was known from tinted fan magazines, through Technicolor. Many actresses were forced to dye their hair just so the filmstock would register their skin properly. By then we had the three main archetypes.
Merida has a rare double swirl. Fantastic research on that account.
So, an engineered hairworld, as a collection of characters, acting as a character to subvert the Disney constraints. Too bad about the original visionary leaving. Jobs would not have allowed it.
Ted's Evaluation -- 3 of 3: Worth watching.
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