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Brave (2012)

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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.

Writers:

Brenda Chapman (story by), Mark Andrews (screenplay by) | 3 more credits »
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Popularity
1,212 ( 411)
Won 1 Oscar. Another 18 wins & 48 nominations. See more awards »

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Cast

Complete credited cast:
Kelly Macdonald ... Merida (voice)
Billy Connolly ... Fergus (voice)
Emma Thompson ... Elinor (voice)
Julie Walters ... The Witch (voice)
Robbie Coltrane ... Lord Dingwall (voice)
Kevin McKidd ... Lord MacGuffin / Young MacGuffin (voice)
Craig Ferguson ... Lord Macintosh (voice)
Sally Kinghorn Sally Kinghorn ... Maudie (voice)
Eilidh Fraser Eilidh Fraser ... Maudie (voice)
Peigi Barker Peigi Barker ... Young Merida (voice)
Steven Cree ... Young Macintosh (voice)
Steve Purcell Steve Purcell ... The Crow (voice)
Callum O'Neill Callum O'Neill ... Wee Dingwall (voice)
Patrick Doyle ... Martin (voice)
John Ratzenberger ... Gordon (voice)
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Storyline

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

Plot Summary | Plot Synopsis

Taglines:

Change your fate.


Motion Picture Rating (MPAA)

Rated PG for some scary action and rude humor | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site | See more »

Country:

USA | UK

Language:

English

Release Date:

22 June 2012 (USA) See more »

Also Known As:

The Bear and the Bow See more »

Filming Locations:

Emeryville, California, USA See more »

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Box Office

Budget:

$185,000,000 (estimated)

Opening Weekend USA:

$66,323,594, 24 June 2012, Wide Release

Gross USA:

$237,283,207

Cumulative Worldwide Gross:

$538,983,207
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Atmos | Datasat | Dolby Surround 7.1 | SDDS | Dolby Digital | D-Cinema 96kHz Dolby Surround 7.1 | D-Cinema 48kHz Dolby Surround 7.1 | D-Cinema 48kHz 5.1 (D-Cinema prints) (5.1 Surround Sound) (5.1)| D-Cinema 96kHz 5.1 (D-Cinema prints) (5.1 Surround Sound) (5.1)

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

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 »

Goofs

In the falconry scene, one of the birds is a Harris's Hawk which is native to the Americas. See more »

Quotes

[first lines]
Queen Elinor: 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]
Queen Elinor: 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]
Queen Elinor: 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]
Queen Elinor: Eat you!
[...]
See more »

Crazy Credits

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 »

Connections

Referenced in 500 Questions: Episode #2.4 (2016) See more »

Soundtracks

Touch the Sky
Music by Alex Mandel
Lyrics by Mark Andrews and Alex Mandel
Performed by Julie Fowlis
Produced by Jim Sutherland with Éamon Doorley and Julie Fowlis
Julie Fowlis and Éamon Doorley appear courtesy of Machair Records
See more »

Frequently Asked Questions

See more »

User Reviews

Engineering
16 September 2012 | by tedgSee all my reviews

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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