Ideas are put on a white board and everybody sits around the table and argues. Those initial meetings go on for a long time.
BIG HERO 6 TROPES MOVIE
The first problem they have to solve, according to Baird, is answering one question: “What is this movie about? Not plot-wise, but what are we trying to say?” That group sits in a room and begins hashing the movie out, using the core concept as a starting point. Those people are the story team - the studio’s stable of directors and writers and, every now and again, John Lasseter - the Chief Creative Officer of Pixar and Disney Animation - himself. People sitting in a room talking for months and months,” says Baird. The standard version of Hollywood screenwriting is a tortured guy typing away on his own (or in a Starbucks), but the animated process is very different. “That’s where you start, and then you get this group of people and embark on a journey of years to develop the story.” “When Don first pitched this idea there was something at its core, this story of a boy who experiences a loss and gets through it with the help of his robot,” says Chris Williams, co-director of Big Hero 6. It was that boy, Hiro, and his robot, Baymax, that seemed to be the starting place for a movie. Technically Big Hero 6 adapts a little-known Marvel comic, but the truth is that director Don Hall took only the title and character names from the book, leaving almost everything else behind. But they all begin with one core idea, and in the case of Big Hero 6 that core idea was a boy and his robot.
“I didn’t want to work on it.”Įvery Disney Animation film goes through a process that everyone involved calls ‘iterative,’ a multi-year effort that’s filled with false starts and bad choices. It was so bad that Head of Story Paul Briggs (who was also Head of Story on Big Hero 6) was absolutely disheartened. Even Frozen, the latest classic in the Disney canon, stunk up the screening room the first time through.
When they say the first screening is a disaster, it’s truly a horrible mess. The system perfected by Walt Disney himself in the 1930s is one of continuing, massive failure, a system that can take years to achieve a finished film. “I’ve never worked on a movie where it was right the first time.”īut that’s okay, as it’s part of the system that brings animated films to theaters, a system that is so unlike live action filmmaking some of the greatest animation filmmakers have a hard time crossing over. Robert Baird, co-writer of Disney Animation’s superhero cartoon Big Hero 6, has worked at Disney and Pixar long enough to have attended his share of disastrous first screenings of animated movies. “The first screening is always a disaster.
0 kommentar(er)
