Categories
Uncategorized

Watch BIG HERO 6 Bloopers, plus interview with movie directors

Big Hero 6 bloopers still

Don Hall and Chris Williams reveal computer accidents and silly artists from Big Hero 6 bloopers

There aren’t a whole lot of Big Hero 6 bloopers, but what they do have are pretty hilarious, whether they were done by animators on purpose, probably done to relieve the stress that comes with animation, or by digital errors, which are quite laughable on its own.  Check out the video and then see what directors Don Hall and Chris Williams, along with producer Roy Conli, had to say about the process of bringing Big Hero 6 to the big screen, after the jump.

http://youtu.be/ckUdDhs6lvY

EW: Big Hero 6 is based on a Marvel comic book from the early 1990s, right? But the film goes in a totally different direction. So what was the essence of the original comic-book story and characters that made you think there was a movie here?
DON HALL: Yeah, Big Hero 6 was early 1990s, and then Marvel reinvented it in the early 2000s. The movie came out of a desire on my part to follow my childhood passions. John Lasseter always encourages us to look at what we’re passionate about, and I lovedDisney as a kid, I loved Marvel as a kid. And lucky for me, Disney had just purchased Marvel, so I pitched that idea of grabbing something of Marvel’s and bringing it over here. John got very excited so I got to looking around. I came across Big Hero 6—at first it was just the title, to be perfectly honest. I had never read the comics before, so I looked it up—they have a great Wiki page—and saw that it was a Japanese superhero team. Kind of a Japanese Avengers. And I thought, Oh, that’s cool. I got my hand on the comics, and I thought the characters were very fun and appealing. I really liked the tone of the books. You could tell the creators just loved Japanese pop culture. There were a lot of references to anime. Everyone in this building loves that stuff too. But most importantly, you could look through all that and see that there could be a really emotional story, with this 14-year-old super genius who loses his brother and this robot that essentially becomes his healer and his surrogate big brother. So even though it was really obscure by Marvel standards, it actually had all the really cool ingredients for an animated story.

CHRIS WILLIAMS: Don has been a hardcore fan of the genre his whole life, since he was a kid. So to me, I feel like it took about three and half years to make this film, but I really think it was more like 40 years in the making. I was not as hardcore a fan of the genre, so my in was really the character that Don created, Baymax, this really sweet and guileless character. The relationship between Baymax and Hiro is what I really connected with. Because I grew up loving the earliest Disney movies, specifically Bambi and Dumbo, and there is this pure, good, innocent quality that those characters have that is shared byBaymax. I think you see a lineage there. So I saw so much potential in this character and was so excited when Don asked me to join him.

Your Baymax looks much different than he did in the comics. Chris, you hinted that Don’s trip to universities, like Carnegie Mellon, gave some ideas. Were there other early iterations of Baymax and how were they different?
HALL: Yeah, not really. Again, in this early exploratory phase when it was just wide open, it was really more about the world. It seems that every piece that a conceptual artist did always was a really beautiful piece about the world and then there would be a really round robot with a kid flying on him. That’s what lead me to Carnegie Mellon: we don’t have a concept for this robot, and I want there to be a concept. There has to be a concept. Because he’s got to be unique. He can’t be a Transformer. He can’t be WALL•E or C-3PO or anything like that. And I wanted him to be different from all the Japanese robots too. He had to be something unique. So it was sort of the panic of “We’ve got to tackle this challenge right up front,” and “What is this robot going to be” that led me to MIT, Harvard, and Carnegie Mellon, and at Carnegie Mellon finding soft robotics. So it is a testament to John’s approach to research and that you never know what you’re going to find. You just have to jump into the deep end and really be a sponge and soak up everything you can, because it inevitably will lead to something groundbreaking. Baymax is a testament to our approach to storytelling.

WILLIAMS: You have to resist the urge to make the research fit the story in your mind. You have to let the research inform the story, and Baymax was such a perfect example. This idea of telling a superhero ensemble story and having the lynchpin character Baymax, the fact that he is an inflatable nurse robot—that is so strange actually, and that came purely from the research.

His face is so spare—just two black dots connected by a black line. Was there much debate about how much personality had to be in that face?
HALL: There wasn’t. That idea of the uncanny valley kept coming up, so it was always going to be very simple. The only debate was whether or not he should have a mouth or not. I was in Tokyo, and I was at this temple, and I looked up at one point, and they had these beautiful bells, kind of just staring down at me. The feeling I had was one of serenity and peacefulness and calm, and I thought that’s what Baymax’s face should evoke. Because much like his voice, he should be somebody that is soothing and calm and have a really non-threatening presence. So I took pictures of it and gave it to Shiyoon Kim, our character designer, when I got back. The only thing, Shiyoon’s first drawings had a tiny little mouth on him. John looked at it, and thought, “Yeah, I don’t think you need the mouth. I think it’s much more expressive with those two dot eyes and a line through.” And it wasn’t even much of a debate. John’s opinion was, “I’d go for it, make it as simple as you can.”

CONLI: One of the things that they referred to here was instead of animation, Baymax is un-imation—UN-animation. The gentle physical movement that the animators used to evoke so much emotion was really impressive.

WILLIAMS: One of the things that’s so amazing about Baymax is that because he’s so limited—because he just has the two eyes and he can blink quickly or blink slowly and he can tilt his head a little bit—what it does is it allows the audience to really impose emotion and to impose thinking on to him. And in doing so, they really connect with the character.

Big Hero 6 is nominated for an Oscar in the Best Animated Feature Film category. The Academy Awards will be held on this Sunday, February 22nd at 4pm PT/7pm ET on ABC.

Read the full interview here.