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Podcast

FMC 026: The Incredibles Written and Directed by Brad Bird

May 18, 2026
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The Filmmaker Commentary podcast takes a deep dive into Brad Bird’s animated classic, “The Incredibles” (2004), a first for the podcast. Tune in as Reginald and Casey G. Smith analyze the director’s commentary, revealing filmmaking insights that can elevate your own video production and storytelling. Expect a detailed breakdown of this ambitious Pixar film, from its box office success to its groundbreaking visual narrative.

What We Cover

  • The unique challenges and triumphs of analyzing an animated film’s commentary for the first time.
  • “The Incredibles'” ambitious nature, its surprising box office success, and why it took significant risks for a Pixar film.
  • How visual elements like color and lens choice are meticulously used to enhance emotional storytelling and character development.
  • Brad Bird’s philosophy on balancing explosive action with crucial character-driven moments, ensuring the narrative always moves forward.
  • The importance of every character, even secondary ones, and how dedicated animation teams refine these roles.
  • Insights into the collaborative process of animation, including managing complex visuals, maintaining continuity, and the vital role of executive producers.

Key Moments

  • 8:17 – Casey G. Smith marvels at the intricate animation and emotional depth of Elastigirl saving her children from the exploding plane.
  • 9:17 – Reginald highlights Mr. Incredible’s clever use of a thrown rock to distract a guard, referencing it as a “Metal Gear” moment.
  • 30:58 – A discussion on how Bob’s desaturated office visually communicates his unhappiness, contrasting sharply with the vibrant superhero world.
  • 1:19:54 – How Violet’s changing hairstyle throughout the film subtly reflects her evolving confidence and empowerment.

Gear & Films Mentioned

  • The Incredibles 2
  • Skyscraper
  • American Satan
  • Bedazzled (2000 film with Brendan Fraser, Elizabeth Hurley)
  • Vampire in Brooklyn
  • Black Panther
  • Ninja Scroll
  • Jungle Book (2016)
  • Crying Freeman
  • Up
  • Toy Story (1, 2, 3)
  • Cars
  • Akira
  • Ghost in the Shell
  • One-Punch Man
  • The Fly (1986)
  • Predator (1987)
  • Predators (2010)
  • The Room
  • The Disaster Artist
  • Mother!
  • Blade Runner

Listener Questions

  • How can filmmakers effectively use color and lens choices to convey character emotions and drive narrative?
  • What are the advantages and disadvantages of recording a film’s commentary track early in its production versus after its release?
  • How do animated films, particularly those with superhero themes, translate character personalities into their superpowers?

Full Transcript

Read the full transcript

Full Episode Transcript
This episode of Filmmaker Commentary dives into Brad Bird's "The Incredibles," offering insights from its commentary track and discussing the nuances of animation as a cinematic art form.

Episode Introduction and Animation as a Medium
Reginald Titus Jr.: Filmmaker Commentary episode 26. Welcome to Filmmaker Commentary, where we give you insights from our favorite filmmaking commentaries. These commentaries can be heard on your DVD and Blu-rays of your favorite movies. We'll show you how you can use these commentaries and apply them to improve your video production and filmmaking techniques. All of this here on Filmmaker Commentary. I'm your host, Reginald Titus Jr.
Reginald Titus Jr.: Welcome to another episode of Filmmaker Commentary. I'm Reginald Titus Jr. and I am with
Casey G. Smith: Casey G. Smith.
Reginald Titus Jr.: Welcome back, sir.
Casey G. Smith: Good to be back, sir.
Reginald Titus Jr.: So today we are going to go over the movie The Incredibles from 2004. And if this is your first time listening to the podcast, we review DVD, Blu-ray commentaries and we take gems from that to help you become a better video producer, filmmaker. So we listen to commentary so you don't have to.
Casey G. Smith: And with that being said, we want to let you know upfront that there will be spoilers.
Reginald Titus Jr.: Always spoilers.
Casey G. Smith.: Always.
Reginald Titus Jr.: This movie was recommended from a listener, Jonathan Jones Speaks. First he said, hey, won't y'all check out Incredibles 2? And I was like, well, it's in theaters and it has to have commentary. But what we can do is we can watch the first Incredibles since, I don't know if y'all know or if y'all, since The Incredibles part two has come out, like the Blu-ray and the DVDs have been selling and flying off the shelves. It's like number two and number three, like best-selling Blu-ray.
Casey G. Smith: I could, I could see why. It's, it's, it was fantastic to revisit, so.
Reginald Titus Jr.: And I, and I was going to look for this film and like it's selling like 20 bucks. I'm like, y'all are tripping. Yeah. That's incredible. Yeah, this price is incredible.
Reginald Titus Jr.: I was like, I'm just hold out and see who has it.
Casey G. Smith: Oh man. I ain't mad at 'em though, they gotta get their money.
Reginald Titus Jr.: So we're starting with, you know, the first Incredibles and then once Incredibles 2 comes out, we will review that one, assuming that it has a commentary. And this is our first time going, what, um, reviewing an animation.
Casey G. Smith: It is. Man, yeah, you're right, it is. So, how do you feel about that, Reginald?
Reginald Titus Jr.: I never really considered, um, I know like in, like in our brains, like in America, we when we think movies, a lot of times we don't, especially like adults don't associate animation/cartoons or whatever you want to say, right?
Casey G. Smith: What?
Reginald Titus Jr.: They don't really associate it. I hope, hopefully that's changed, but like just in our brain, it's not really. So when you think movies and things, it doesn't automatically like just register. Like when you say what's your top ten movies? People don't say, uh, you know, Cool World or, you know what I mean? Like, they're not or Fantasia. Nobody, most of the people when I say what's your top five films or whatever, it's never an animation.
Casey G. Smith: Really?
Reginald Titus Jr.: Never.
Casey G. Smith: I guess it depends on
Reginald Titus Jr.: Never. Unless it's an animator.
Casey G. Smith: Yeah, I mean, yeah, I can't really argue that. I guess it's kind of depends on, I guess we're talking about, I guess more kind of the cinephile crowd. I could see where that would, would take place. I kind of fall in between, you know, I'm, I'm the, the, I'm a fanboy cinephile. So I've, I've seen a lot of animated features. I've listened to quite a few animated commentaries. So, so when I do see it, I'm like, yes, this is, this is a film. But I definitely, you know, see it by and large that people will see animation as something separate. And even, and some maybe even, we'll see it not as the same, not, not, not, not on par or as less. I mean, obviously, you know, Beauty and the Beast was the first film, animated film, animated feature to be nominated for an Academy Award.
Reginald Titus Jr.: I didn't know that.
Casey G. Smith: Mm-hmm. It was, it was. It broke, so it broke ground there. It started setting a precedence. But then, then I think after that, I think it's also when they started the animation category at the Oscars, possibly.
Reginald Titus Jr.: There you go.
Casey G. Smith: It was after, after Beauty and the Beast, which, I don't know, after listening to some things Brad Bird said, I'm like, filmmaker is filmmaker. But we'll dive into some more.
Reginald Titus Jr.: We'll dive into that a little bit later.
Reginald Titus Jr.: It's debatable.
Casey G. Smith: Isn't everything? Best picture?
Reginald Titus Jr.: I don't know.

Film's Impact and Filmmaking Choices
Reginald Titus Jr.: All right, so this movie had a budget of $92 million. So it's spending like the big boys.
Casey G. Smith: Wow, that's a
Reginald Titus Jr.: $92 million bucks. That's a really big budget. Okay. Want to know where that went to. Domestically, it made $261,441,092.
Reginald Titus Jr.: Internationally, go ahead.
Casey G. Smith: $70 million opening weekend.
Reginald Titus Jr.: Yikes.
Reginald Titus Jr.: Internationally, $353,285,660, which makes a worldwide of $614,726,752, according to the numbers.
Casey G. Smith: And this is back in '04. That's
Reginald Titus Jr.: Was it half a billion? A little bit over half a billion? That's a win.
Casey G. Smith: Mm-hmm. This film was a big risk.
Reginald Titus Jr.: Mm-hmm.
Casey G. Smith: They, they, uh, they did a lot of things that you don't typically see in some, in some animated features and in some Pixar features. So they, they had, they had risked, this was, this is a very ambitious film.
Reginald Titus Jr.: What's different in this film that wasn't typical in like Pixar? Because I noticed it was PG versus just being a rated G film. So like what's different about this one?
Casey G. Smith: There are higher stakes. There's the level of, of destruction and, and danger. So these, these characters come across as characters that are existing in, in, in a real world where the risk of actual death. Those stakes are, are there. There's also the, so one of the things when you, you talk about animated violence, uh, things like punches to the face, shots to the head,
Reginald Titus Jr.: Oh, and actually seeing them take a shot.
Casey G. Smith: Oh, oh yeah. Like when, uh, when Elastigirl is rescuing Mr. Incredible and, and she finds him, you know, embracing Mirage who has just set him free. And she walks over to kind of extend her hand and then, just, I mean, instantly just she's popped, the animation is beautiful. She gets popped in the face and like is like falling down. Um, but it's, you know, things like that. Like shots to the head, uh, the, and again, to kind of give the context of the danger, Elastigirl tells uh Dash and Violet that, look, these are real bad guys who will not hesitate to kill you. The fact that she says that in animate, like, and talks about like death, like you could be killed, that's, that's next level. And honestly, I think, I think some people actually do die in the film. Um, when, when Dash is kind of having his big scene and he's running around and he has those two hover vehicles after him. And he runs off a cliff and ends, and ends up landing on one and the guy's trying to hit him and he's just moving out of the way and he hits him once and then he's like going kind of just rapid fire punching the guy. And then the guy kind of like is not out and Dash is surprised. And Dash falls off the vehicle, but the guy stays on and it crashes into a some rocks. I, maybe I missed it, but I didn't see that guy parachute out of that machine or like,
Reginald Titus Jr.: Right, right.
Casey G. Smith: That dude's dead.
Reginald Titus Jr.: Death number one? Yes. Now that may be the uh, that may be the only, that's the only one I can really think of, but yeah, the, yeah, the stakes are, the stakes are higher.
Reginald Titus Jr.: True.
Casey G. Smith: And there's, there's some, you know, between Bob and his, and his wife, you know, when they're kind of flirting. I don't know, nothing explicitly speaking, but yeah, it's, it's a little more, a little more mature.
Reginald Titus Jr.: Oh yeah, it's got, got the heat going, you know. He's getting in shape. She's like turned on and stuff like that. So, you're right. Showing the montage of that progress.
Casey G. Smith: Yeah, and even the opening, the, the music said they actually changed the music for the, the Disney opening and the Pixar opening, the music is actually even different there, just as far as a difference in the film. So, those are a couple of, uh, a couple of things.
Reginald Titus Jr.: What's your favorite scene?
Casey G. Smith: Ooh, my favorite scene, hmm, man, I, I, I like a lot of things in this film. My favorite scene, okay, when I first saw the film, the one, the one scene that really stood out to me where I kind of was like, that I marveled at, is when the plane exploded and they're, they're falling. You can just see that the mom had, had clearly wrapped the kids up. And, and you got, I mean, like I didn't notice it before, but when I watched it again, I noticed it. She had, had kind of had the kids wrapped up and then as the, as, as it came out of it, she kind of went unconscious and then they're, they're all free-falling and you get the close-up of her face and she's semi-unconscious, but then kind of comes to and you know, the kids are just screaming for their life and she reaches out and grabs one, grabs the other and then, she forms the parachute, they float down and when they touch the water, how the hair get is wet. Like that, I just, I still marvel at that. I'm like,
Reginald Titus Jr.: Great animation.
Casey G. Smith: I'm like,
Reginald Titus Jr.: And then Dash is like, We're dead! We're dead!
Casey G. Smith: There, there's just so many subtle things. So, I don't know if that's my favorite scene, but that's one scene that I just, I'm, I'm marvel at when I first saw it. How about you? Do you have one?
Reginald Titus Jr.: Not, not as cinematic as that. Mine's more simple. It's, um, and, and when Brad Bird actually pointed it out in the commentary is when, um, Mr. Incredible has a rock and throws it up to the top and then, and then the guard's like, falls down, and then the other guy's, and then you see, the angle stays the same. You pan to the left and you see the other guy come across and come and see what's going on. Reminds me of like a, uh, video game, that's like a spy game, Snake. The character name was Snake.
Casey G. Smith: Oh, you're talking about Metal Gear. Metal Gear.
Reginald Titus Jr.: Reminds me like, like a Metal Gear sequence when you're trying to do something over here to get them to run over there and you're going, yeah. And so that's what it reminded me of. I was like, I like that little shot. And then my son, he watched me watch that scene and then he just kept laughing every time the dude get hit with the rock and fall down. So I'll just kept rewinding it.
Casey G. Smith: Ha! It's, it's a funny scene. It, it really is. There's, oh man. I, I like all the scenes with Edna Mode. That, okay, I'm going to say, yeah. All the scenes with Edna Mode are my favorite scenes. She just, when she's on, uh, she just, she, she, she, she steals the show every time she's on. So yes, that, that's, that's my vote, Edna Mode.
Reginald Titus Jr.: Edna. Also with that rock scene, they say that because the animator, I guess, just enjoyed doing animating that scene. He did seven different takes of the guy falls and they're over the top, he's crying. One of the other guys crying for him or something like that.
Casey G. Smith: I heard they mentioned that did were there
Reginald Titus Jr.: I didn't see it in the outtakes. Maybe it's in there, but I did, I didn't.
Casey G. Smith: There's a lot of features on there.
Reginald Titus Jr.: It's a lot, so it'll be funny if you, if you find it, let me know, because that is, uh, that would be hilarious to see those different takes of that fall.
Casey G. Smith: Oh, yeah. I want, I want to, I want to find that.
Reginald Titus Jr.: The movie itself, , I think it's, it's top. Even though we, you know, we say movies, usually when you're saying like top 10, top 5, top 20 films, usually animation isn't part of those top 20 when you talk films, films or whatever. But I would definitely say this is top 20 film for me. Um, especially just, yeah. It's solid. For anybody. It's, it's for anybody, kids, adults, like, you can relate some kind of way.
Casey G. Smith: I agree, because even in going back and sometimes, let's be real, sometimes we have to go back and watch the commentary, you're like, okay, all right. Let me make sure I'm ready, you know, to jump in. But with this, I was like, okay, started out and he's like, you, you kind of just in it. You're like, all right. Oh yeah, and I, I found myself catching things that I, that I hadn't seen before. And I'm like, man, I, I should own this film. Like, I feel like, I should own this.
Reginald Titus Jr.: Should be in the library, yeah.
Casey G. Smith: Yeah. Um, yeah, it is, it's solid. I don't, I don't, the, the pacing is great. Yeah. Uh, yeah, I, I definitely would say, in the top 20, I, I got no, I got no issue with that.

Recent Viewings and Commentary Impressions
Reginald Titus Jr.: Um, before we dive deeper into The Incredibles, let's talk about movies that we've seen this past week. So what movies have you seen this past week?
Casey G. Smith: Oh wow. So, I saw Skyscraper. Okay. With Dwayne "The Rock" Johnson. Uh, I saw that in the, in the theaters. Really enjoyed it.
Reginald Titus Jr.: Okay.
Casey G. Smith: Uh, more so than I expected to. I was like, okay, you know, it's a, it's an action flick. I really, I really felt the stakes, which I didn't, again, I did not expect to. We, we, we've seen stakes in films before and we see from the previews and from the name, Skyscraper,
Reginald Titus Jr.: Titles that tell you what it's about. What the movie is about.
Casey G. Smith: There you go. It's, it's plain and clear. Um, you know, obviously the twist that, that the, uh, that the Rock is playing an amputee. Uh, which, which makes for interesting dynamics in the, in the storytelling.
Reginald Titus Jr.: Gives him obstacles for sure.
Casey G. Smith: Neve Campbell, I really enjoyed her. Uh, she plays his wife in the film and she doesn't, she doesn't play a damsel in distress. Uh, and the opening scenes of the film, they, they get your attention.
Reginald Titus Jr.: Okay.
Casey G. Smith: And so, yeah, I, I enjoyed Skyscraper. I think and I think it's worth potentially checking out in the, in the theater just because of the, you know, kind of the scope and, and, and spectacle of it. But yeah, I really did feel, the way that it's, I guess maybe that's, that's a cue to the, the cinematography and the, and the editing, um, you, you feel some of the stakes when, you know, with the, the height of the, of this skyscraper and things that he has to, to do to go where he has to go and get where he has to get. So, yeah. Uh, did I mention um, Sorry to Bother You?
Reginald Titus Jr.: I don't remember. I don't think I mentioned that in the last one. I think I'd seen it so.
Casey G. Smith: I don't think on, on the podcast, I don't think you have.
Reginald Titus Jr.: Okay, so I saw Sorry to Bother You last Tuesday.
Casey G. Smith: Mm-hmm. Yeah, it was, it was, it was last, it was last Tuesday.
Reginald Titus Jr.: Oh yeah. Oh yeah, listeners, sorry, but uh, we were supposed to record this last week, but uh, hey, you know, life.
Casey G. Smith: Life does happen, but we're, we're back on track. So no, no major sabbaticals, just, just, just life.
Reginald Titus Jr.: There you go.
Casey G. Smith: But I did see Sorry to Bother You. I enjoyed it. It was, uh, it was a little bit more than, than I expected. I, I want to actually, I want to see it, I want to see it again. Um, they're making some interesting commentaries on, on things in society and there were some, there were some people that, that showed up in the film that I didn't expect to see it. I don't want to give, I don't want to give any spoilers, but it, it is fascinating and, uh, it's layered. So I feel like I need to, to see it again. And there's a lot of things mixed in, but kudos to, uh, Boots Riley for his, uh, directorial debut and, you know, LaKeith, he, he always does his thing as, as, as, you know, Tessa Thompson and there's a nice Easter egg to one of my favorite films from the, from the '80s. Uh, again, I won't spoil that either. You gotta see the, the, the film and you'll, you'll, uh, you'll, you'll, you'll hear it, but it's a, it's a, it's a nice, nice deep cut to one of my, one of my favorite films.
Reginald Titus Jr.: Okay.
Casey G. Smith: But yeah. How about you, Reginald? What, what, what did you see? Anything?
Reginald Titus Jr.: I saw two movies that I probably wouldn't recommend.
Casey G. Smith: Oh!
Reginald Titus Jr.: But I'm doing research for a film, so that's the reason why I watched these films. The first one, it's a movie that came out in 2017. It's called American Satan. Um, it's about a rock, an independent rockstar band and they go out to Hollywood and they see the devil and they sell their souls to get fame and fortune.
Casey G. Smith: Wow.
Reginald Titus Jr.: We've seen, I think the whole selling your soul, I think that's like a genre like, uh, when you're selling your soul to, um, to the devil, it's based on, uh, a short story by Faust. I think it's John Faust or Jeremy, but Faust for sure. And this is like an old tale about selling your soul for riches and fame and things like that. And I've seen it done several different times. Sometimes, it depends on how you can play it. You can play it dark, you can play it with like the comedy. Um, I forgot the guy that played in Teen Wolf Man. What was his guy, the guy's name that played in Teen Wolf Man? But, um, taller guy and
Casey G. Smith: Brendan Fraser.
Reginald Titus Jr.: He had a film, he had a movie that came out. It was called Bedazzled. I think it was called Bedazzled. Uh, Bedeviled, Bedeviled. Was it called Bedeviled?
Reginald Titus Jr.: I said Bedazzled. It maybe it was Bedazzled. All right, let's see. It's IMDb time.
Casey G. Smith: Got to make sure we get this right. It is, yep, Brendan Fraser. That's the actor. And the film was with the, um, an actress, brunette hair, right? And she's wearing a lot of red. That was a, that was in the '90s, right?
Reginald Titus Jr.: What's your old people references?
Casey G. Smith: You know what? You may, you may have been right the first go around.
Reginald Titus Jr.: Was it, was it called Bedazzled?
Casey G. Smith: Mm-hmm.
Reginald Titus Jr.: Okay.
Casey G. Smith: With Elizabeth Hurley, that's, that's the name I had on the tip of my tongue. Well. Brendan Fraser, yep, and Elizabeth Hurley, who plays the devil.
Reginald Titus Jr.: So yeah, so this is like a genre or premise all by itself and you can play it with comedy, you can play it dark. There's different ways that you can play it, but basically the premise is the same, you know, you're offered these riches. You have the choice, it's all about choices and then, yeah, you're supposed to learn something from it. Um, this American Satan, like the cinematography, I liked it, especially from independent film and like the cinematography is good. Well done. But it's just, uh, the writing seems a little bit rushed and then acting, some of the people are like real musicians, so like trying to teach people to, to act and stuff, that can be difficult, you know, especially if it's like your first time directing in that way. So, yeah, I try not to crap on filmmakers because it's so difficult. Like, it doesn't matter if, if your stuff is, yeah. It's so difficult to get a film done whether it's zero dollars or a hundred million, it still takes a long time. So I try not to talk badly about a film. But I got to be honest, too, you know, it's.
Casey G. Smith: So, so it's, it's, it's, it's shot well, but the writing and the, and the, and the acting,
Reginald Titus Jr.: Meh. Okay. And then another one, but yeah, and it's good for just, uh, for research purposes, kind of seeing where, where things are going. Um, another one is Vampire in Brooklyn.
Reginald Titus Jr.: That's another film I saw this past week.
Casey G. Smith: Indeed.
Reginald Titus Jr.: And directed by Wes Craven. Had no idea it was directed by Wes Craven.
Casey G. Smith: What? That, that shocked me. I was like,
Reginald Titus Jr.: The movie , it's, it, it seemed like it couldn't decide what it wanted to be. If it wanted to be a comedy, they didn't want to play straight dark because the filming, the look of the film, it's dark. It looks scary. But certain scenes, Eddie can't help himself, he wants to do comedy. And so it kind of throws you for a loop. It's like, like it should be scary, some parts are, got blood, it's got everything you're supposed to have, got some crazy special effects, but, um, with the comedy mixed in, it's kind of hard to, it's, it's very difficult.
Casey G. Smith: So an uneven tone, huh?
Reginald Titus Jr.: Yeah, uneven tone. It, it should have been played straight, should have been playing dark the whole time. No comedy, just, it's a straight up, straight up genre, vampire genre film. But hey, there were some good shots in there. The favorite shot I got in there is when Eddie Murphy gets shot as the vampire. And it's like smoke everywhere. He just raises right back up. Like, oh, interesting.
Casey G. Smith: I think that may have been in the, in the trailer maybe. Because I think that shot is pretty, that like comic, but familiar. When you mentioned it because it's been a long time since I've seen The Vampire in Brooklyn.
Reginald Titus Jr.: That, I'm going to take that shot. That is, that's on point. I don't know how they did it, but uh, for and for if it's, obviously, it's some kind of thing that leads on, some string or something. But the way he played it off, like you have to be very confident to pull it off without kind of being scared. So, that, that was a good shot in there. There were some, there were some interesting shots. But anyhow, that's the movies I saw this past week. Now, back into the commentary.

Commentary Review and Animation Techniques
Reginald Titus Jr.: Okay, so, The Incredibles. commentary, I listened to the one with Brad Bird and he was accompanied by
Casey G. Smith: Producer John Walker.
Reginald Titus Jr.: , they seem pretty excited. Especially Brad Bird, like, I think that's just who he is, just kind of feels a little over the top and like, hey, hey, and just in there. And I like how they introduced themselves. They, yeah. Yes. And, and apparently what this was, uh, recorded before it was, the movie was released nationally, right?
Casey G. Smith: Yes, they actually mentioned that at towards the end of the commentary that they actually recorded this before the, uh, wide release of the film. So they didn't know it would have the success that it had. They, they said, we hope you guys like it, you know, in viewing of this, you know, home, home viewers. We do.
Reginald Titus Jr.: Yeah. So what do you think about commentaries? Do you prefer the them to do the commentary before they know the results of the film? Maybe in the middle while it's still in theaters, because we've had come, you know, people comment in different, uh, parts of the distribution, or like after the fact? Because it could be great or it could be
Casey G. Smith: I, if I'm going to the commentary to find out how the film was made, then I'd want them to do it sooner while it's all fresh. I can gain perspective from an interview, you know, after the fact. Again, there, there is a nice, you know, like 10 years later featurette on the Blu-ray where they sit around and they talk. And it's insightful. But yeah, if I, if I want to learn about what the process was like, then I'd want to get that while it's fresh. So, I, I prefer for them to do it early. Whether, whether the film has just come out by a couple of months or whether it's, you know, a little bit after it went into picture lock. Uh, I'd be okay with that. How about you?
Reginald Titus Jr.: Probably beforehand. But sometimes I'm nosy, too, and kind of when you can kind of feel the vibe. When we listened to, to Black Panther, it seemed like Ryan Coogler, like they were having a good time. He was like, they're kind of over it. It felt like they were like, let's hurry up and do this and get this over with. That's what it felt like.
Casey G. Smith: Yeah, they they're tired. Yeah, they they probably knew they, did they do that actually during the press tour?
Reginald Titus Jr.: Probably. I know they were like in the right in the middle. They were still in the middle of things. They, it might have been right before the, um, the release of the Blu-ray when it,
Casey G. Smith: So that's after they had done all the press tours. Right.
Reginald Titus Jr.: Oof.
Casey G. Smith: That's what it's
Reginald Titus Jr.: It's, it's hard to pinpoint it, but it, it felt like that it was like, they're just ready, they were just trying to get it done. That's, that's the feeling I got from and rightfully so, cuz those guys were marketing their butts off. They were flying everywhere. So, I would prefer probably beforehand. But every now and then, I would like to hear like kind of like a retrospective point of view, you know, after everything dies down and then they can kind of clear out and then come back to it. If they're a kind of director or producer that takes notes and knows exactly what was going on. Sometimes, some of 'em don't do that and they just think that, they remember it different than how it really was.
Casey G. Smith: Everything was fine.
Reginald Titus Jr.: No. So how, no, you were a jerk.
Casey G. Smith: How far out would you want them or what's the furthest out you would want someone to revisit, uh, let's say, a commentary?
Reginald Titus Jr.: A year. A year.
Casey G. Smith: Yeah, okay.
Reginald Titus Jr.: Maybe a year. People like Ridley Scott and some of those people, they can kind of go back and just probably jump right into it. Probably because they have journals and from when they were writing, drawing and stuff like that.
Casey G. Smith: Right.
Reginald Titus Jr.: And especially writer directors, like they can probably jump right into the
Casey G. Smith: Because they have, they've lived with the material. They're different. They're different.
Reginald Titus Jr.: Yeah, so it, yeah, it kind of depends on who it is, but I think , probably it'd be better to catch them right before it goes into theaters.
Casey G. Smith: Okay. So what are your thoughts about, about this comment? How, how do you feel, feel about the commentary from, uh, from Brad Bird and John Walker?
Reginald Titus Jr.: I like Brad's energy. I think because it's before it's released and he's really excited and he, he wants to give everybody their props. Just probably because he was probably like the true leader throughout the process. Some that kind of gets in the way a little bit of telling us more about how things develop. But it's not a bad thing because, you know, your animators when they watch this, they're going to be like appreciative of that.
Casey G. Smith: Right.
Reginald Titus Jr.: So yeah, so , I liked it though. I liked the commentary.
Casey G. Smith: I, I, I can see what I can see why you would say that. And, and there is a lot of that. Like, they, even, even, even when they try to slow it down and not do it as much. He says, okay, we're going to, we're going to, you know, we're going to apologize to all the animators out there. I can't get everybody's name. We're going to, you know, try to, you know, not just stop and give everybody credit every couple moments. But speaking of that, this is a lovely shot by fill in the blank and it's just kind of this mutual admiration, which is great. And it, it, it gave me a different perspective and just seeing just how many people are, you know, from scene to scene, you know, a different animator. So-and-so handled this scene and this person handled this scene, you know, these two people work together or this person spent a whole month or a couple of months working on this one scene that literally you may see for five seconds. And that's like, wow, but the point being that they wanted to be so good, the details so good that, you know, you, you notice it, but all you notice is that you saw quality flash by.
Reginald Titus Jr.: It makes me want to do an animated film. I, like before I, I'm done with this whole film stuff, I do want to do an animated film.
Casey G. Smith: I've wanted to do one for, I've got one of mine I've wanted to do for
Reginald Titus Jr.: Yeah.
Casey G. Smith: Yeah, based off a a graphic novel that from the moment I read this, this one graphic novel, I'm not going to say what it is just yet and I already do that. But from the moment I read this one graphic novel, I was like, yeah. I, I want, I want, I want to produce this this animated feature. That that's been on my mind for a couple years now.
Reginald Titus Jr.: That's what's up.
Reginald Titus Jr.: And the reason is because you there's no limits when you're doing animation. You create this world and you can just be anywhere in that world. And of course, if you do that in the real world, quote unquote real world, it's more expensive, it's, yeah, there's a lot involved. Um, in elementary, me and my buddies, we would always draw comics, comic books, my cousins would do the same thing. One of my cousins makes a living doing it. But I started getting away from the drawing on the panel and I wanted to be more involved in like the, the world, dealing with real people and things like that. So, but I, I still have, I still want to do that. The animation because I like the voices, doing like the voice-overs. And if you, and if whenever you're doing a voice, like that person that's the voice of that character, I mean, if they're spot on, man, they can just make that character come to life.
Casey G. Smith: Absolutely. I mean, you know, I'm, I'm a huge fan of voice over and voiceover artists. I, uh, I listen to, um, Rob Paulsen and his talking tunes podcast, which I've watched develop over the years from something he was doing literally sitting in, you know, the kitchen of and living rooms of other famous and, and, and fantastic voice actors, like Phil LaMarr and, um, Tress MacNeille and, and John DiMaggio and Fred Tatasciore and Nolan North to now he's on the Nerdist network. Like his, his, his show has progressed. Like, the Nerdist network picked him up and he's doing his show. And it's like, I was like, man, it's been awesome to see, but he's still actively working and, and, and Rob, I mean, he's the original voice of Raphael on Ninja Turtles.
Reginald Titus Jr.: Oh, wow.
Casey G. Smith: He's Pinky from Pinky and the Brain. He's Yakko from Animaniacs. Like,
Reginald Titus Jr.: All those old memories. You got old man memories.
Casey G. Smith: Yeah, hey, you know, hey, but, but, but I, I love listening.
Reginald Titus Jr.: Yeah.
Casey G. Smith: Time stops for no man. Time stops for no man. But I love listening to his guests come on and, and hearing them talk about their backgrounds, what it took for them to get there. And the point of the all that being is that voice actors are first and foremost, they are actors. They are actors. And what they are able to, to bring to life, like, it, it endures, it, it endures them to people. You, you can see them at these different conventions and, and people travel from miles to come and see these people who have brought the characters voice to life. I mean, they, they didn't animate it or draw it or write the dialogue. But it's a powerful, powerful thing, but yeah, I would, I would, I would,
Reginald Titus Jr.: The voices in this film, one of my favorite ones, I like the Dash voice. It's just like, I was it a, was it a guy? Was it a girl who did, uh, Dash's voice?
Casey G. Smith: So Dash is voiced by Spencer Fox.
Reginald Titus Jr.: Spencer Fox. An adult or
Casey G. Smith: Spencer Fox looks like, uh, a young, young man. He was a boy.
Reginald Titus Jr.: Oh, really? When you did the voice, it was a, was a boy? Yeah. So you like, you can just like feel it or like when, um, like there's a scene when, um, Samuel Jackson's character
Casey G. Smith: Frozone.
Reginald Titus Jr.: Frozone. Comes into the house and then Dash drinks some water, spits the water into the air and then Samuel Jackson like shoots, freezes it and then does a roll and catches it and then Dash like, mm, I like it when it shatters. It's just like little stuff like that and then the animation kind of going with that, kind of seeing his face, it's perfect.
Casey G. Smith: When he finds, uh, his mom with the uniforms and he kind of bursts in the room, hey, what is that going on over there? And then she boom, closed the door with one hand and then all of a sudden he's, he's outside, you know, in the window. Hey, what's going on, and she closed the blind and he goes over the other one and she has to use the other arm to close that one and then he tries to get in the door and he's like, ha ha. Yeah, Dash is, Dash is a riot, man. He is a absolute riot. But he does, he, he takes on those tropes of not just a, a boy character, which is one of those things, I guess in anything you, you shoot, the family dynamic. He's not just a brother, he's the younger brother. Right? Uh, and it's interesting sometimes when you're making something animated, but also something that involves people with abilities or powers, how a lot of times their abilities speak to literally part of their personality. Dash is impatient, you know, and wants things done quickly and wants immediate gratification. Violet is, is shy and, and, and at, in many instances, kind of hidden. Uh, and, and invisible to, to a certain degree. Um, and, and kind of maybe felt unseen, whereas, you know, Helen is trying to, to reach out and grab everybody and kind of keep everybody together, you know, uh, and to be able to stretch and move that takes an enormous amount of control and she probably feels like she's being stretched in, in being an at-home mom and watching all the kids and where, of course, you know, Bob as Mr. Incredible, he feels like he has to be the strength of, of, of his family. He has to be the one to go out and provide and to protect and to, and just to be incredible, which, you know, he's, at the beginning of the film, you know, once things set in, life isn't so incredible.
Reginald Titus Jr.: And then Dash's hair has like the hair is going always like going backwards, like it's waves. Like, you can see that. Um, one of the points in the film is, so this is for your filmmakers out there and how you can use this to help you with your films. I know this is an animation, so everybody may not be an animator, but there are some points that, uh, Brad Bird talks about that you can help tell a story.
Casey G. Smith: Yes.
Reginald Titus Jr.: And one of those is, we talk about color in some of the other commentaries, but again, use color to tell your story. And there's a scene at Bob's office where all the colors are like desaturated and it illustrates how he feels at this job.
Casey G. Smith: It's a contrast to the opening of the film. Opening of the film, once you get past the, kind of the initial, uh, interviews that they're doing and they're all talking about what they want in the future. Right. And when you get to the reality of, later on, after the, the, the initial action of the time, their lives are all pretty different, uh, in terms of what they've accepted. But before that, you, you have a scene with them superheroing in their prime and the colors are very bright and vibrant. Kind of like this is, this is the peak of the time where it was at. And then once, once the heroes get banned and now you're into Bob's everyday life. Just like the excitement has drained out, so the color they, they drained it out of that scene and in that office space. But when he talks to, you know, Helen on the phone, there's a little bit of color in the house, you know, because there's, there's still some lightness, still some family, some warm, you know, some love coming through and everything. But that office space, man. I know that feeling. That feeling when I graduated from college and then went into my first office job, I was like,
Reginald Titus Jr.: The good times over, boys.
Casey G. Smith: The real world came calling.
Reginald Titus Jr.: Oh my God. So, yeah, I definitely know how that feels. Point number two, your lens choice can have a dramatic effect on the story. So, again, at Bob's, um, office, Brad Bird, he pushes the camera back and then he uses a long lens to kind of focus in on Bob. And what that does is it brings the the objects behind him closer. It feels like everything's just flat and like claustrophobic feeling.
Casey G. Smith: Yes, it does.
Reginald Titus Jr.: Use these tricks and and kind of know why you're using them. Cuz sometimes you can do that and you don't really have a purpose behind. You're just doing it just to be doing it.
Casey G. Smith: In that scene, obviously, we have to show that Bob's world has, has shrunk. And that, and that he really, we, we instantly know just from seeing him like, this is not where this guy belongs. You do not belong in a cubicle, dude. You were, you were, you were made for greater things.
Reginald Titus Jr.: And, uh, Brian talks about the purpose of doing that. He wanted to make it feel claustrophobic, um, in this office setting. Um, before knowing this, I felt like seeing this world like that, like seeing, I just felt like he was just too big for this world. He literally has to stoop down to talk to the normal people in this world. Um, so that's what I felt before knowing what Brian's intention. Brad, I say Brian, Brad.
Casey G. Smith: I think also with, with, with Brad, one of, one of the things in this film are the, the, you know, in animation, there is power and subtlety. The facial expressions on these characters, I mean, they are, they, they, they are acting, you know, they are emoting and it's, it's just, it's just amazing to see. Like, you, you feel their, their, their pain, their disappointment, their joy, their laughter. When you first see Bob sitting there and he's, I mean, his posture, he's hunched over. Yeah. He looks, he looks defeated. And even as he's hearing this woman's case, oh, there's really nothing I can do about it, ma'am. I'm sorry. You know, it's just all the nuances. Like, man. Uh, and then even with the times, at times with the eyes of the characters, where, when they're, when they're talking to each other and just that, that times when you're looking and that, that slight, like, you know,
Reginald Titus Jr.: Yeah, darting, yeah.
Casey G. Smith: Yeah, darting of the eyes. There, there's a great scene later on with Violet and when she's talking to her mom where that happens. And it's just, they pointed out in the commentary and it was, I'm like, and it's still and it's, even though he's in this environment, he's still a hero. Because he's helping out this old lady. And this is a, they're supposed to be worried about money and profit, but he still finds a way to help out people. So in, in his own way, he's still a hero. So you, you start to like the, you still, you like this guy.
Casey G. Smith: Right. Like he, yeah, at his core, he, he has to come to the rescue, right? Even, even if it means, you know, kind of stretching and bending the rules and that's kind of, I think, like a thing with him that, that he's going to, he's going to save people even, even if it's against the rules, you know, at his core, he has to. Now whether he does that, whether he, well, I mean, in that instance, he doesn't do it for the glory, he just does it because he feels it's the thing that he has to do. He has to save and and protect. Yeah. Because then we see later on him and Frozone in the car, they're listening to the police scanner, looking for things to get into, people to save, reliving the glory days. But Bob has to, he has to be a hero. He has to, he has to, he has to save people.
Reginald Titus Jr.: Point number three, know the kind of effect you will have on your film if you keep a sequence or cut it out. So there's a sequence when the Dash sequence. So, you know, we go from Bob in his home and then you see Dash, he's in trouble, you know, he's in the principal's office and his teacher is like, this guy is playing tricks on me. He's running around, putting tacks on my, on my seat and and all that stuff. And you can actually see it on like the TV. It's like real quick. It's like a little blip and you can
Casey G. Smith: Right there.
Reginald Titus Jr.: Nobody, the principal can't see it, but the teacher can. He was like, all right, y'all go ahead and get out of here. And so like he, you see this kid is, um, he's trying to express himself, but he's being restrained, you know. Yeah. He's expressing himself through how fast he can run, but we learn more about this character through that sequence. And if you cut that sequence out, the movie, according to what Brad was saying, it felt like it was more about Bob versus kind of knowing what's going on with the family. And kind of knowing their motivation.
Casey G. Smith: That's a really good point. And he even, he even talks about it in that scene when, when Helen is, when his mom's talking to him that even a scene like that, which is confined to a car, that, you know, they say, uh, constantly throughout the film, oh, this was a difficult shot. This was a difficult, this was difficult. Uh, but even when you have to animate two people in a car interacting and the vehicle's moving and you're passing scenery, animating something having been, you know, that in motion while two people are still inside, but still moving at a different speed. Oh, man. And then, and then again, the expressions because, you know, again, you have the, the over-expressiveness of a little boy with super speed and, and, you know, he's not moving super fast, but he's just, you know, oh, come on, you know, and, and knowing that he's different and the mom trying to, to explain that. And he says, he says a line that, oh, you know, when, when you say that everybody's special, then it just, just a way of saying that nobody's special. And he kind of slumps over, you know, the handle and chains. Yeah, those, again, all the nuance, man. There's so much nuance in this film. And I, I'm glad they, they, they kept that scene.
Reginald Titus Jr.: Point number four, a great executive producer can help you tremendously. And, uh, their executive producer was John Lasseter. John Lasseter and Brad Bird, when they went to school together. They mentioned how like the characters are very hard to build and it just takes time to do it. Uh, to do it right where it's convincing. And there are some secondary characters and some of those secondary characters were not the best that they can be in comparison to the main characters, the lead characters. Right at the last minute, John Laster said he decided to go ahead and fix those characters, those secondary characters.
Casey G. Smith: He gave that green light, which is important because those who work at Pixar, again, they're some of the best in the world. These are people who are, probably could tell, maybe our perfectionist and or overachievers, they want to put out their best work. And even if you are working on one of those secondary characters, you want to put probably more time into them than time into them than maybe you should. Sometimes it's the, sometimes it's the boss saying, hey, look, we don't have time for you to spend that much time on, on this part. We gotta move on. So, they were all happy to hear, yes, we get to punch up these, you know, these secondary characters and, yeah, that extra attention to detail, it, it definitely shows in the, in the film.
Reginald Titus Jr.: True. And it and it makes it feel cohesive and like they match. Like her crush that she has on, I can't think of the the little boy's name, that she has a crush on. Uh, but they said he looked very different before they started to pick him up. That's right. He didn't look as dreamy. That makes sense, too, because sometimes you can see it. When you see characters, like at the junior high, I think it was junior high, um, at their school, you'll see like characters walking by and you can tell there's not no, there aren't any details in these characters who are walking by. You just further. Look, they're just people. They're just kids walking. And they, they mentioned from time to time having to use different tactics to kind of cheat. Like, just like on a real set, you know, if the camera were to pan just a, you know, a couple of inches over to the, you know, the left or right, you might see some duct tape or something like that, you know, holding something together or or stage hand or whatever it might be or, you know, a PA. Yeah, but they, they've had to use different techniques to kind of cheat to, and then maintain the illusion. And then that was interesting because someone said like building a whole wall, I mean, a whole set, animating a whole, not even animating. What would it be? Uh, it would be rendering, rendering. Yeah, rendering. So like instead of rendering a whole set, maybe it's just two walls. And of course, you know, movies, we do it. Uh, Ridley Scott talked about it in Blade Runner. Of just using those two walls and that's you, you can't stand up, cuz we'll see like the open ceiling. Or if you go too far to the right, you might see outside a little bit. So they do this in animation, as well. So that's a way you can kind of cut corners and build more sets.
Casey G. Smith: Yeah, I mean, it also comes down to, to money. With with animation, I mean, every, you know, back in the day, of course, with actual physical film, every time you're rolling, you know, that's, that's money. Every time you have somebody spending time to, to do a concept for something and then to, to take it through the, the process of, um, you know, going into your 3D modeling and then going into hard surfacing and then going into texture maps and then going into rigging and then actually, yeah, moving forward each step. That's, and then there's all of these decisions and approvals. Okay, we're going to go with this color or this color? Do we go with this version of it or this version of it? And like, like Brad Bird said literally that, you get to a point in this kind of project, years and years of of like, you, you're making all these small micro approvals, like hundreds of decisions every day. To different people working on different scenes. And after a while you're like, is this, is this an actual film that's coming together? And then a couple years in you, you see some cuts and you see you're like, oh. Oh, okay, you see it beginning to come together. But just so many decisions to be made and, yeah, everything you choose to animate, it's going to cost you.
Reginald Titus Jr.: Gonna cost you money. Gonna cost.
Reginald Titus Jr.: Point number five, continuity. We, this is the thing that keeps coming up. Continuity with food. So even on a multimillion dollar budget with animation, this could be a problem.
Reginald Titus Jr.: So Brad Bird, he talks about like how when they're fighting at the dinner table, how like the broccoli or the steak cutting through that, how people will have fights, the animators will have fights on where the gravy was or where the broccoli was or where she's should have been.
Casey G. Smith: And it's back to the issue of, of, of the gravy, please.
Reginald Titus Jr.: So I was like, okay, well, even on multimillion dollar films, animations, they have the same problem you would have with no budget.
Casey G. Smith: Yeah.
Reginald Titus Jr.: Continuity with food. And they say, if you really want to look, you can, you can probably find some of the inconsistencies with the placement of the food in the, in the, in the dinner room, in the, in the dinner room, no, in the, at the dining table, I should say.
Reginald Titus Jr.: Point number six, animation is not a genre. It's an art form that can, what? Oh, that can produce any genre.
Casey G. Smith: Yes. Yes, it is. I wholeheartedly agree. Animation is, it is an art form. You can make something rated G, you can make something rated R, you can make something not rated. You can make something that is a Western or sci-fi or a period piece or, um, horror or, you know, an an Oscar drama related film.
Reginald Titus Jr.: True. You could do, you can do anything.
Reginald Titus Jr.: With animation, I think my, my favorite genre would probably be action, like this or, um, yeah, I'll probably say action for the most part. I remember my first anime film was, uh, it's a movie called Ninja Scroll.
Casey G. Smith: Oh, dear boy.
Reginald Titus Jr.: God.
Casey G. Smith: Talk about baptism by fire.
Reginald Titus Jr.: Dude. Like my friend, that was like back, I think this was in high school. And anime, anime was like becoming a big thing for Americans. And because they were dubbing it over in English and, um, I'm watching this anime, I'm like, man, what is this? Cuz, it's a cartoon. Oh, so you thought? Yeah, so I thought and then you just see somebody's sword take off somebody's head and blood is like showering in the air and you're like, whoa, highly stylized. I'm like, what is this? What adults made this?
Casey G. Smith: Those are valid questions to ask. Yes.
Reginald Titus Jr.: Yeah, I'm like, what are these people? They are not American. Like, who are these?
Casey G. Smith: These are different sensibilities. This is different.
Reginald Titus Jr.: And so I really enjoyed the animation. I'm like, okay. Oh, crap. Yeah, man. I used to go to Blockbuster. Yes, Blockbuster video.
Casey G. Smith: There you go.
Reginald Titus Jr.: Where you go. There's one Blockbuster left in in America. I don't know where it's at. Where is it?
Casey G. Smith: Uh, was it in Alaska? Oh, wow. That's part of America. I don't know. I don't know. I know there was, there was one still in Alaska.
Reginald Titus Jr.: Okay.
Casey G. Smith: But, oh no. There were like, I think like last week there were like two or something like that. And now there's just like one. Maybe Alaska one shut down. Um, I have to, I have to look it up to verify. But yeah, there's only one left and they're going to try to, you know, keep doing their thing. They're still holding on. Yeah, they're going to hold on. But Blockbuster used to be a wonderful place just to go and peruse with the family on a Friday evening after a long week of work and school and to go up and down the aisles or the new release section. And literally, I mean, the what covers you would see, that would, that would entice you to grab and, and, and look, but I would often go, you know, when I finally figured out what it was to the anime section. And one of the first series that I watched was one called Crying Freeman.
Reginald Titus Jr.: Sounds dark.
Casey G. Smith: Yeah, a guy who was a a brainwashed to be an assassin and whenever he would make a kill on someone, you know, he would, he would have tears that would stream from his eyes because he had to kill against his will.
Reginald Titus Jr.: Right. Crying Freeman. Crying Freeman.
Casey G. Smith: But the action was, was pretty intense and it, it's, it's a, it's a dark, it's a dark series. And anyway, without spoiling anything. Yeah, it was, it was something else, but yeah, I'm just going to leave it there. So yeah, and animation, it is absolutely an art form and you can go anywhere. Whether we're talking 2D, whether we're talking 3D because we are getting, we are getting to places with 3D animation where we're hitting that, that, uh, that uncanny valley with what they can do and produce. Uh, we are seeing lines. I mean, the Jungle Book. You know, aside from, you know, the most recent remake of the Jungle Book. Aside from,
Reginald Titus Jr.: The live, the live action one with the, was that what you're referring to, that one or the cartoon?
Casey G. Smith: Yeah, Jon Favreau.
Reginald Titus Jr.: Or the animation?
Casey G. Smith: Yeah. Jon Favreau. So except for the kid, everything in that film is all CGI.
Reginald Titus Jr.: But like it, they shot that on a sound stage.
Casey G. Smith: Got you. So CGI is becoming, is starting to look more realistic, like real life. But whereas I feel like animation, they still want to keep the stylized approach, keep it stylized and looking like an animation or a cartoon.
Reginald Titus Jr.: That's just a, that's a, that's a potentially maybe a, a genre or or sub, sub-genre.
Casey G. Smith: So like say like anime. Right. You know. Anime is a sub-genre of or maybe just a genre. Yeah, anime is a, is a, is a genre. And it's got a specific style to it, the way characters are, are drawn, how they look, how they interact. Um, they may take influence from, you know, the different manga magazines that are out there. Um, but when you're, if you're, if you're, I don't know, if if you are animating a feature, if you if people are going in and they're having to draw and create. I'm not talking about like Planet of the Apes where they're digitizing over, over a performance capture. That's, I say that's different because underneath it, you still have, you still shot with an actual physical camera on, on set for the most part. Right. Jungle Book gets very close to kind of blurring that, blurring that line because aside from the kid, everything else is, is digital. Is it made to look like an animation or is it made to look like real animals?
Reginald Titus Jr.: You said you haven't seen it.
Casey G. Smith: In the new, the new Jungle Book? They look like real animals, dude. Like you, I, I highly encourage you, if it's still on Netflix, I highly encourage you to watch it. And it's, it's amazing. When I saw it, I was like, no way. No way that all this was done on a sound stage. And the kid's the only thing that's real. I'm talk, when you see the water, the grass, the sky, you're like, no way. Come on.
Reginald Titus Jr.: And then they're going for a real look. So it kind of tricks you a little bit. But like, um, uh, cartoons are a bad thing to say. Cartoons not a bad thing to say, but I would say again, with, with animation being an art form, meaning that somebody had to create, they had to draw or render every element, the character, the sky, whatever, regardless of how quote unquote realistic it looks, regardless of how it gets close, how close it gets to, crossing the uncanny valley, it still, if it had to be animated. And if everything is done that way, but it looks real, then it still, it still, it's, it's just an animated feature and, or, and, or movie. It may not look like, uh, uh, 2D cartoon or it may not look overly stylized or pixelated or whatever you want to call it, but it still doesn't mean it wouldn't be animation. I think we're going to very much, we're going to get to a point very soon where the, the argument's going to be,
Reginald Titus Jr.: I don't know. I think, I think it's still compartmentalized. We probably have to bring somebody in to talk about this because somebody that's working on like, say like Family Guy or something like that, they may not have the tool set to create, you know, the textures and the hairs for like you were saying, the Planet of the Apes or something like that.
Casey G. Smith: Or the money. Cuz it's so expensive.
Reginald Titus Jr.: But like on like Family Guy, so like kind of talking about CGI, how things are changing. Now on Family Guy, you see CGI inside, uh, the cart, the animation cartoon or whatever. Oh yeah. Just so you can kind of move around more in three dimension. But they're trying to hold on to the style of it versus making it look more realistic, which they probably could. But that would be creepy.
Casey G. Smith: Oh yeah. I mean, yeah, and so sometimes, again, depending on the effect they're going for, right? If you're going for comedy or laughs or certain styles, then you can do that. And some things we look back at now when they were trying to make it more, whatever, it's dated and you can tell, oh, that doesn't look realistic at all now. X amount of years later. But, I don't know. I, check, check out that, that new Jungle Book. That, that speaks. And then again, they're doing the remake of the Lion King using the same technology. Now that, I can't say it around, that's an animated feature that they're making.
Reginald Titus Jr.: So they're going for the animation look for that?
Casey G. Smith: Or, they're going for the same look they're going to use with Jungle Book.
Reginald Titus Jr.: Interesting. Again, you could almost say, it's, it's, to me, it's hard to call that performance capture. It's going to be voiceover work done, but these people aren't going to be walking around like animals and having their performances captured. They're just going to go and they're going to more than likely do voiceover work. So, to me, I'm like, well, would that be considered an animated? So, uh, Jungle, so Jungle Book, was it put into like the animation kind of section, like with Pixar and stuff? Or was it treated more like, um, a live action film?
Casey G. Smith: Live action because there was a lot, the boy in it is real.
Reginald Titus Jr.: That's it.
Casey G. Smith: Yeah, just him.
Reginald Titus Jr.: I mean, that's the only reason why they would consider it live action. Cuz out of all the characters, only one person that's real. He's, he's the lead. Like, and he, he did his stuff on a sound stage, running around and all that kind of stuff, which I don't think there's any other actual real people, like maybe some villagers maybe at some point that they show, you know, but, yeah. Otherwise, everything else in there is, is was, was created and, so they treated it like a live action film. Yeah. So it was in that section. Um, But yeah, check I highly recommend checking that out and I'd love to hear your, I'd love to hear your, your thoughts and impressions once you, what oh, I hope it still on Netflix, man. It's, it's something else, dude. It is something else.
Reginald Titus Jr.: Unbelievable. So animation. That would be one we have to kind of dive into and kind of see. We have to do some research on that to see.
Casey G. Smith: Yeah, if you can, if you can't find, I'd love to see if that's out and has if it has a commentary, then. Maybe we want to get in there. Point number seven, pre-planning allowed us to have a lot of different locations. And we we talked about it earlier about how they had like the different setups and having a set with those two walls. And I think they had like over a hundred and something sets because this Blu-ray came with two discs. The first disc had the movie, had the round table with the filmmakers, then it had multiple commentary tracks. Yeah, commentaries. And then on the second disc, they had like little vignettes kind of talking about like, you know, if somebody wants to be an animator, what would you say they should do? And so they talked to different animators on the film. And say, you should do this, you should do that. Um, that probably inspired a lot of There was one point in time where I wanted it cuz I could draw. At one point, I could draw really well. And I was trying to make it a decision, like, do I want to do this? Cuz I didn't really, I don't really enjoy the process of drawing. I like look, after I'm done with it, I like looking at it and admiring. And that's why I like admiring other people's art. I can look at it and like, I, I can appreciate that art. I can appreciate that. So, I don't really like the process of it, but I think I would like the job of like Brad Bird, you know, picking. Telling people what to do? Not just that, but picking the artists, you know, picking the artists like, I like your work. That's what I wanted it to look like. Seeing those like crazy people from Spain, like, hey, let's, uh, you're going to do the, um, all the athletic stuff in the film. Like, that requires a lot of physicality that, that looks. Yeah. So just finding the, the dream team to build something. I think I would like that job a little bit better cuz I appreciate the art, you know. But it takes a lot of work. Even when I was looking at a documentary with, what's that guy that did Spawn? Todd McFarlane? Yeah, and he just talked about like how, like, just the hours and hours and hours he put into drawing. Oh yeah. I'm like, dear. And I remember that. Like, I remember like getting, seeing yourself get better at drawing, but it just, it's such a brutal process to to getting to, you might be able to draw faces and the body good, but then your hands suck. And so you're spending hours trying to figure out how to draw hands or feet and toes and things like that. Those are, those are some of the hardest elements. And, and it is. It is like a, like a, like a muscle, it's like a language. You know, you, you put time into it to to improve at it. Uh, when people go away from these things for a while, like a language, you'll begin to lose it or you won't be as sharp as you were, if you, if you weren't doing it on a daily basis. At my, at my, my day job, you know, I, I work at a place of higher education that specializes in some of these areas and I watch students go through the process and and learn these things and put in the time and begin to learn and understand, oh, okay, if I want to become, you know, a character modeler or or an animator that, yeah, it's going to be a lot of repetition. And I'm going to want to work for one of these companies and I have a role on a project, I may spend a month on one scene that may only show up for three seconds in the film. And my name may appear with a list of hundreds of other names in the credits. Um, but if you love what you do, which is really, I mean, it's what it comes down to, right? Loving what you do. If you're going to go into that field and, and, you know, it takes a different kind of person to be able to, to do that kind of thing over and over. But these people that love what they do. So, yeah. And I've revisited drawing and my whole point in why I'm going back and drawing and doing some stuff is just so I can get better at storyboarding and kind of getting things ready for pre-visualization. Uh-huh. But not to become a, you know, a storyboard artist or anything like that. Time is gone for that. So, my job is to find a budget and to get hired people to do that. Point number 12. This will be one of the last points is, good filmmakers when you, when you're dealing with a filmmaker storyteller, you always know where you are in the story. Yes. Even when there's a lot of action going on and Brad, Brad talks about in the, in the final scene, the climax of the film, when, you know, Bob and his family are reunited and they're trying to fight off, uh, the, the evil villain, the, the protagonist, they're trying to fight off Syndrome in the city. There's a lot going on and they're they're throwing around his, uh, his little gauntlet piece and the, and the robots destroying the city. You know where you're at. Even when you cut to, to, to Dash and he's going long to to to catch the device and and Frozone is, is, is kind of Frozone, he's, and he's sliding around looking cool and freezing parts of the robot and, and you still know where you're at. I didn't, I didn't feel lost. Now there have been other films that I've seen in the past, yeah, Transformers. When I watch the first Transformers, the big scene, fight scene at the end in the city, I'm like, what is going on? Because even how they do like the camera, like there's just like, it feels like I'm like, no, this, I'm like, I, I don't like this experience. I, I don't feel like I don't know where I'm at. Or or the action that's taking place on the screen. Like, I can't decipher it cuz it's just this weird thing going on. And I love the Transformers franchise as a, as a, as an intellectual property. There you go. But yeah, I just was not down with that. I, I didn't, I, I felt lost and who wants to feel that way in a film? No. In the movies that we were talking about earlier, American Satan and Vampires in Brooklyn. Uh, in the film particular, American Satan. There were times when it was like, it was a jump cut and you're like in a new, like, you don't know if the day changed or what. And, and that happened a lot of times. You're like, man, this is not. I can look over it because I'm a filmmaker, but it's, if you're trying to look at it for enjoyment, it's, uh, it could be brutal and frustrating. I know we talked in Requiem for a Dream, you know, when, uh, Darren Aronofsky, during that transition when he was trying to do, when he flipped to the dark side when he was talking to his mom. Right. Um, but he had to do that in a way that it didn't kind of bring notice to that. Because if he would have just flipped over, it would have been like, what are you doing? What's going on? Yeah. It would, it would have tripped us out. So, you know, good filmmakers will are aware of that and want to tell you where where this is where we are today. You're in good hands. Yes. Follow. Let me guide you. Let me set out this journey for you to, to take and let me let you to allow you to get in the vehicle and and let it guide you there. And if I've done my job correctly, it's it's not depending on your intentions. But if I've done my job correctly, I'll be come out the other side knowing where you were and where you have been. You might want to go back on the ride again because you enjoyed it or you wanted to see some other things. You wanted to look to the left and to the right. But you got to your destination and you knew where you were starting and ending. Um, but yeah, so even at the climax of the film with so much action going on, you know where you are with The Incredibles. You you know who is where and it doesn't feel overwhelming, but it's it feels appropriately big and and at the same time kind of contained because it's still a small cast of of characters. It's still the main family. And then, and then Frozone. It's not too many still. There's one bad guy. It's not a bunch of minions you gotta fight through. Um, oh, and yeah, speaking of, of, of, you know, this being PG and more mature. Syndrome dies at the end. He died? His cape, just like all those other superheroes that died and why Edna Mode said why she didn't want to put a cape. No capes, darling. Syndrome's cape after, after he lets go of Jack-Jack, his cape gets caught in the, in the turbine and sucked in that and that thing explodes and then it falls down and destroys the house. That dude is dead. So. Syndrome died. But it's done so, it's like, you're like, oh. He's a ghost now. Back to the family. And that's just like, yeah, and I'm like, oh, wow, you sly devils, you. They 86ed the bad guy and you don't feel anything. Like you don't even realize he was dead. I was I remember I watched it, I was like, I didn't realize he died the first time. And I didn't feel anything. I was like, that wasn't shocked, I wasn't nothing. It was like, oh. So all those characters that was she was showing, they were they were their capes were being caught. They died. All those people died. Yes, darling. Yes. All dead. All dead. Yeah, man. There were a lot, there was a lot of dead heroes in this film. There's a lot of dead heroes. I even like how they showed the deceased, deceased. Yeah, and at times they showed like when the robot was like got, got jacked up and then the second version you could tell the second version got him. That was smart. Like, you know, a smart way to get that information out. I'm like, so that concludes The Incredibles 2004. A billion dollar franchise just for one film. Indeed. So next week, what are we, what are we in the mood for? I, um, I just recently bought some films from Family Video just because they were like on sale. One is Mother with an exclamation mark, um, by Darren Aronofsky. Right, right. With Jennifer, Jennifer Lawrence and Javier Bardem. And then, um, what's another one? I bought The Disaster Artist. Oh. Do you have The Room? No, but it's on our subscription. Gotcha. I need to, I feel like I need to watch that first. I know, right? That's going to be, that's going to take some time because you're going to have to watch that terrible movie. Well, I know The Disaster Artist also is on, it's also streaming on Prime if I'm not mistaken. Okay, okay. But is it what you got, does it have commentary? I think so. I think that's why I got it. And, uh, it was directed by, um, Is James Franco direct it? Yeah. He acted. Oh, really? Yeah. He, I think he, he directed it. He acted. Oh, really? Yeah. He, I think he, he directed it. He acted. Oh, really? Yeah. He, I think he, he directed it. He acted. Oh, really? 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Reginald Titus Jr.

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